Abstract This is a review of "StarTrek and Sacred Ground". The "StarTrek" series and films are marked by an evolutionary process whereby by religion as irrational and mere superstition is displaced by religion with meaning and possible value. Above all, the portrayal of religion reflects Roddenberry's "guiding values: a love of humanity and an optimism concerning the human prospect".
Abstract This paper discusses how the original "StarTrek" series contains a surprising amount of social commentary. It examines how the multiracial, multi-ethnic makeup of Starfleet itself is testimony to Gene Roddenberry's optimistic conception of the future of race (or at least interplanetary) relations. It examines how the United Federation of Planets is like a cosmic United Nations, comprised of races more different in appearance than any found on Earth. It looks at how, for the most part, the missions of the U.S.S. Enterprise generally promote freedom and justice throughout the known universe and despite the stereotyping and sexism contained within StarTrek episodes, the crew of the U.S.S. Enterprise is surprisingly egalitarian.
From the Paper "The show follows a standard formula for Star Trek episodes. Starfleet is authorized to fetch zenite from the planet Ardana. Zenite is the only known antidote for a deadly plant disease plaguing Federation member planet Marak II. The plague on Marak II threatens to wipe out the entire population, which of course warrants intervention. Ardana is obligated to comply with Starfleet's orders because as a member planet they must offer assistance to another federation member. Therefore, Starfleet acts like ?big government,? and frequently interferes with the sovereignty of Federation planets. Kirk and Spock believe "there must be some mistake" that the High Advisor asked them to beam down to Stratos, the main Ardana city, rather than directly to the zenite mines. Of course, Kirk feels his "emergency" is more important than this simple request from the Ardana High Advisor. This is the kind of government that frightens libertarians and any critics of ?big government.?"
Abstract This paper describes the origins of the "trekkie" movement, the fan devotion and loyalty the series has generated and the common element that all "StarTrek" fans seem to share in spite of coming from diverse backgrounds.
From the Paper "Type Marilyn Monroe into Google search engine and up pops roughly 2, 600,000 web sites. Type in "M.A.S.H.", a television series that was on the air for some eleven years and up pops approximately the same number of sites. Type in "Star Trek" and up pops approximately 10,000,000 web sites, three times more than for Marilyn or M.A.S.h. Type in "Star Trek" fans and an estimated 919,000 sites pop up. That is truly an incredible number of web sites devoted to a television program that originally ran for only three years, 1966 through 1969 (StarTrek pp). Moreover, there are several thousand listings on Amazon.com for a myriad of products, including books, music, videos, computer games, toys, tools, housewares, jewelry, cell phones and clothing apparel (Amazon pp). "Star Trek" has spawned numerous movies and spin-off television series, including "Deep Space Nine", "Voyager" and "Archer's Boat", as well as global conventions of "Star Trek" fans, which has inspired several documentaries. Over the decades, "Star Trek" has spawned a sub-culture of fans who proudly call themselves Trekkies."
Abstract In order to shed some light onthe processes involved in the stars' life cycle, this paper discusses and analyzes how, throughout its 'life,' a star will remain dependent on other stars for its eventual re-birth--that is, the creation of another kind of a star. In line with the main topic of this paper, the discussion and analysis argue that the life cycle of a star is an interdependent and recurring process, mainly because stars depend on other stars to re-generate or create another star.
From the Paper "The second phase, the star's death, occurs when the star has finally used up its hydrogen atoms, and can no longer generate energy from its stellar body. As this happens, the star is "pulled" by the gravity and will burn its helium to become carbon, becoming a red giant. The dying star will be pulled towards the gravity because it will no longer have the counterforce that it once had (force from the energy radiated from it) in order to balance the two forces (gravity and energy pressure). Once helium gases were burned out or exhausted from the stellar body, carbon will be produced and scattered. The dead star will eventually have a carbon core, cool down, and become a white dwarf."
Abstract This paper examines how special effects have played a large part in the film industry since its initial birth. It looks at how it started with simple illusions and how it wasn't until the latter part of the 20th century that technology had progressed enough for these effects to begin to take on a highly evolved form of sophistication and depth and move toward what is today known as computer-generated imagery, or CGI. Through a review of films such as "Star Wars" and "Toy Story", it looks at how the field of computer-generated imagery requires, not only computer skills, but also basic art and animation skills.
From the Paper "As a teenager Edwin Catmull dreamed of becoming an animator. By the time he was old enough to begin to realize this dream he ran into two barriers that would prevent him from achieving his goal. The world of animation had come almost to a complete halt. The 1960s had resulted in only a few "dire, static efforts" at full-animated features due to the fact that animation was an immensely "labor-intensive" process that made the production of full, feature animated films a long and tedious procedure (McHugh). Secondly, Catmull discovered that he had no drawing talent. So he then settled on the pursuit of a degree in physics and computer science."
Abstract A paper on the movie "The Lone Star" based on the thesis that through his montage of the past and present and his editing techniques, Sayles managed to focus on various different themes without over burdening the audience with excessive emotion. The paper shows how the main focus remained the corruption of the law in view of complete power.
Abstract This paper presents a detailed examination of the main ideas of Sigmund Freud and how those ideas can be applied to the life of the "Star Wars" character, Darth Vader. The writer looks at some of the actions taken by the character and holds them against the theories of Sigmund Freud to explain Vader's personality and actions.
From the Paper "The id, the ego and the superego were perhaps the most famous theories of Freud. Darth Vader demonstrates all three concepts in the movie series throughout his life. The id is demonstrated when he displays the instincts to love his son. He displays a sliver of good and right when he doesn't want to kill his own son. A seeming evil being with no feelings whatsoever suddenly develops the instinct to protect that son. It is human instinct and one he was born with which comes from Id."
Tags: Galactic, Empire, Palpatine, Princess, Leia, Death, Star
Abstract This paper discusses how first generation immigrants view the world that they are entering as one of promise and hope. By the time that this group of individuals has become socialized however their offspring has inherited the first generation ideals, but their view of the world often lacks the strength of the cultural values that their parents originated with. The paper further discusses how by the third generation the socialization of the family often leaves a tremendous gap between the values of the original immigrants and their grandchildren. The paper then goes on to consider why the two groups often cannot relate to one another and much of the cultural identity is lost. Weber considered this process between the immigrant generations through the concept of value axiom in which social controls ultimately changed the ideologies held by individuals of the same background over periods of time.
Abstract This article contains a distribution plan for the marketing of portable generators in the United States. This concerns generators that are manufactured in China. The paper focuses on the consumer leisure business segment of the small generator business. The paper includes two charts in order to demonstrate the distribution strategy.
From the Paper "China Qianjiang Group is situated in Southeast China, kilometers from Shanghai City. China Qianjiang Group manufactures and markets a wide variety of products including small electrical power generators for home use and light business use. While enhancing its domestic market share, Qianjiang Group actively seeks opportunities to extend the company's reach to overseas markets. Today the company's products are exported to many countries and regions in Europe, North America, South America, the ..."
Abstract This paper describes the outlook for American companies in the electrical power generating equipment industry. The author evaluates the trend toward globalization within the industry. The paper examines the industry's dependence on international, not local, suppliers.
From the Paper "The twentieth century witnessed advances in logistics, communications, transportation and other technologies that made it possible for companies to reach international markets at a pace unlike a ..."
Tags: electrical power generating equipment, globalization
Abstract In this article, the writer looks at Aristotle's views of spontaneous generation. The following paper explores these beliefs by looking first at an article by James Lennox. The writer points out that in Lennox' article, he addresses some of the general criticisms often leveled against Aristotle on this point by his critics.
From the Paper "Few minds in history have been as brilliant as Aristotle's - especially in the areas of classification and typology. That being said however, Aristotle's explanation of spontaneous generation has sometimes incurred the wrath of scholars who believe it is not congruent with his general teleology and with his trademark emphasis upon causality."
Abstract The paper explains that Connell's history provides more details on the humanity of the white and Indian races (which existed between both Custer and Sitting Bull's Sioux victors at the Battle of Little Big Horn) than Robe. The paper contends that the manners of battle detail, characterization and narrative scope are both elements that Robe adheres to in the characterization of Custer, but he fails to generate a realistic sense of proportion and detail in the military aspects of the battle.
From the Paper "The aim of this study will be to examine the nature of western expansionist military history in the novel "Son of the Morning Star: Custer and the Little Big Horn" by Evan S. Connell, alongside the film adaptation of the book entitled similarly "Son of the Morning Star," directed by Mike Robe. The lesser value of the film makes demarcations of accuracy in battle details, characterizations, and narrative from Connell's historical analysis of Custer, which provide some comparisons in relation to the contrasts within these two mediums. The film making style of Rob that depicts Custer's final battle at Little Big Horn relate little of the larger cavalry battles that are depicted within Connell's sweeping narrative of horse fighting and the intensive savagery of war."
Abstract This paper explores the creation of the Hollywood star system, set up to encourage people to go to the cinema. This system, beginning in the 1920s, transformed the film actor into a kind of popular studio 'brand', which kept audiences coming back. The paper notes that the Hollywood star system contrasted with European cinema culture, which tended to be far more director- (rather than star-) driven and less oriented toward developing a brand. Finally, the paper discusses how the star system has contributed to Hollywood's enduring success, as is evident in today's star-centered movie culture.
Outline:
Introduction
Origins of the Star System
1920's: Rise of Star Power
Conclusion: The Breakdown of the Star System
From the Paper "The Impact of the Star System on Film The star system is so intimately intertwined with Hollywood of the pre-World War II era that celluloid and stars cannot be separated. Indeed, the Star System is what created an American dominance in a medium that was, after all, developed by the French and Germans, and in which the Americans were relative latecomers to the genre.
"The Star System is about more than the actors who played in Hollywood films. The stars were those special beings who created a link with their audiences. In many cases, and particularly during the silent movie era, the stars' draw was universal: Charlie Chaplin (a British native but naturalized American) was a universal "brand," known as Charlie around the world (and "Charlot" in the French-speaking world), equally powerful in Berlin or Miami.
"There is only one Hollywood in the world. Movies are made in London, Paris, Milan and Moscow, but the life of these cities is relatively uninfluenced by their production. Hollywood is a unique American phenomenon with a symbolism not limited to this country. It means many things to many people. For the majority it is the home of favored, godlike creatures (Powdermaker)."
Abstract This paper explains that stars have a life cycle that is simply too long for human life to perceive directly and even too long for all of human history to record. The author points out that astronomers have been able to categorize stars to show the different levels of development reached by different groups of stars. The paper relates that, over billions of years, the star slowly contracts, compensating for the heat and light energy it has lost. The author underscores that, as this contraction continues, the temperature, density and pressure at the core of the star increases. The paper tells that, as the temperature at the core rises and the star contracts, the tension between gravity pulling in and gas pressure pushing out determines the life of the star. The author describes this process through the star's life cycle from protostar to black holes.
From the Paper "At this stage, the star is called a planetary nebula. The core of this star becomes a whiter dwarf, an extremely dense star now the size of a planet. Once the white dwarf uses all its energy, it stops shining and becomes a "black dwarf," or a dead star. Astronomers see this as the final stage for our own Sun. however, for stars with higher masses than the Sun (up to about 40 times greater), the outer layers of the star may be thrown off with much more force in a supernova, an explosion leading to the collapse of the star down to a very compact size, producing what is known as a "neutron star."
Tags: protostar, black holes, white dwarf, infrared satellites, supernova
Abstract The writer of this essay explains that the Hollywood star system was developed prior to the 1920s, but perfected by the 1930s as a way to develop a studio 'brand,' and keep people coming to the cinema week after week. The writer notes that by finding, training, developing and promoting talent, Hollywood's studio moguls were able to control product and insure on-going success. In this article, the writer explores how the star system was created and how it contributed to Hollywood's enduring success. The writer discusses that this contrasts with European cinema, which tended to be far more personal, director-driven and less oriented to developing a 'brand,' other than for the specific director.
Outline:
Introduction
The Impact of the Star System on Film
Origins of the Star System
1920s: Rise of Star Power
1930s: Decade of Studio Power, Heyday of the Star System
Conclusion: The Breakdown of the Star System
From the Paper "The studios were able to weed out the independents through the above-named actions. They were helped by the environment and technology as well. Specifically, the coming of the 'talkies' in 1927 made it more expensive for studios to produce competitive films. This helped to weed out the less-competitive independent studios. Secondly, the Crash of 1929 and the subsequent Depression had a negative effect on weekly film attendance, making it more difficult for less widely-distributed or financially weaker films to survive. As a result, the studios were able to consolidate their movie-making and -distribution strategies, and to increase their bargaining power with their stars.
"There were monumental battles between the stars and their studio heads--but only where the stars felt that they could withhold their services and do real damage to their bosses."
