Star Trek--The Motion Picture in 1979

The post itself is such an characterization of military power. The ships of the Klingons and the Romulans atomic number 18 even more war-like in appearance, scarce there is no doubt that the Enterprise is withal a vessel designed for battle when necessary. The naval image is carried by means of with the photon torpedoes carried by the Enterprise as one of its primary types of weapon.

in that respect is a fusion of military iconography with visual style in the introduction of the physical presence of the Enterprise, for the slow moving tv camera along with the music brings the power and size of this ship to the fore. The princely size of the Enterprise is one of its militaristic features--such a immense machine must be capable of great pestiferous power as well.

The Enterprise also has strong iconographic splendour for the fans of the face, and that importance is emphasized by the way the film number 1 develops the plot and then introduces the ship at length in a series of glimpses through scaffolding:

These fragments of the Enterprise are sensualized by both the gentle rhythm of the musical punctuate and the warm, almost glowing facial expressions of Kirk. Many of the shots are also from the captain's point of view, thereby allowing the spectator to experience the spectacle of a dead white and subtly rounded starship through his eye (Bernardi 71).

The whiteness of the Enterprise places it on the side of right and referee in the usual iconography, and the rounded contours also deliberately personal credit line with

the jagged shapes of the enemy vessels.

The methodological analysis will be to analyze the nature of what was important in the television series and why those elements captured the imagination of the audience. The history of the nurture of the film places how these elements were incorporated, and the history of the protagonist trek franchise since shows how this operation picture set the stage for all the films and series to follow.

Beranrdi, Daniel Leonard. Star Trek and History. New Brunswick, New Jersey: Rutgers University Press, 1998.

The film was make at the end of the 1970s at a date when world tensions were still in the Cold War mode.

A dominant idealogy in all the different manifestations of Star Trek is the unity of humankind, and this is evident in this film in the ongoing image of the crew, made up of members of all races, human and non-human. The requisite crew is made up primarily of different reality cultures and races--Japanese, Russian, American, Scot, and African. This idea was radical in the 1960s when the TV show was on the air; it remained an unfulfilled dream in 1979 as it is today; and yet the film extends the concept into the future so that the ideal of the unity of intelligent life is realized.

Scottie is again in charge of Engineering and is a human manifestation of the ship itself. Uhura, Chekhov, and Sulu are introduced as a group, the crew that makes the ship operate. bone up arrives alone, and Mr. Spock comes on his own volition. As each is brought aboard the ship, the disposition of something that has fallen apart coming back together again is stronger. This is a form of family coming back together later a long absence, and the family ultimately meshes once more as if time has not passed. The visual style emphasizes the characters from the television show more than any others in the film, though Decker is given a good deal of attention as a jr. and newer member.

Wise, Robert. Star Trek--The Motion Picture. Paramount Pictures, 19
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