The Original Series (hereafter TOS) of Star Trek, created by Gene Roddenberry, has been around for a whopping 43 years now. Despite a lack of initial success, TOS had four other series following it as well as now eleven feature films. TOS was the corner stone of the Star Trek universe. The interest behind this paper is the political and ideological subtext of Star Trek in 2009, as well as the commercial grounds behind it. Wasn’t Star Trek dead after Kirk died and fewer and fewer people watched the adventures of Capt. Picard’s crew on the big screen3? What makes this American utopian science fiction so appealing to audiences throughout the world? Why is it necessary to adapt and reinvent a brand from the sixties? How did they do it and what changed the original vision and concept from Gene Roddenberry over time? Star Trek has always incorporated traditional American key conceptual values and myths. How does that translate into the 21st century? How can audiences, new to the concept of Star Trek, relate to it while at the same time getting the entire exposition needed to emotionally partake in this universe?
To answer at least some of these questions, I will give a short summary on the history of the franchise and narrative, as well as the mythological and genre implications. Later the plot of Star Trek will be laid out briefly as I analyze, in a more detailed manner, several aspects and narrative devices of the film in regard to its 1960s predecessor. Unfortunately the analysis of the new Star Trek movie will have to be without the original script written by Robert Orci and Alex Kurtzman, which is still not available, neither online nor elsewhere. Apart from that, it can be stated that the film was crafted very much after the final script version since the WGA went on strike right after the script was finished in early November 2007 and director J.J. Abrams, as a member of the WGA, was not allowed to alter anything in the script during filming. However, I hope that through analyzing and comparing the “old” and “new” Star Trek universe, I can offer considerable insight into what is behind the legendary narrative of Star Trek, aside from Hollywood’s lust for dollars and action-packed blockbusters.
Table of Contents
1. The Original Series - Rise of the Franchise
2. Politics in Space
2.1 The external conflict
2.2 The internal conflict
3. The New Frontier is the final one
4. Star Trek for the 21th century
5. Captain James T. Kirk 2.0
6. I am Spock
7. New faces for a new audience?
8. Scientific correctness for science fiction purists
9. An optimistic future for everyone
Objectives and Topics
The research paper aims to analyze the political, ideological, and commercial underpinnings of the Star Trek franchise, specifically investigating how the narrative of the 2009 film translates the original 1960s vision into a 21st-century context while maintaining its appeal to both new audiences and long-time fans.
- The transition of Star Trek’s thematic focus from Cold War-era geopolitics to contemporary concerns like terrorism and globalization.
- The evolution of the "Frontier" concept as a central American myth within the Star Trek universe.
- The character construction and narrative function of protagonists James T. Kirk and Spock in the alternate reality of the 2009 reboot.
- The balance between scientific plausibility and Hollywood action-driven storytelling for modern audiences.
- The role of nostalgic references and stylistic choices in unifying a diverse, multi-generational audience.
Excerpt from the Book
The external conflict
The external conflict suggests the United Federation of the Planets (UFP, officially introduced in the second season of TOS) as the equivalent of what was conceived to be the “Free World” during the Cold War. We see two massive, ideologically opposed superpowers (the UFP and the Klingon Empire), which basically mirror the situation starting out in the fifties of the 20th century between the Western alliance under leadership of the US, and the communist bloc under leadership of the Soviet Union. The Klingon Empire, in this case, is portrayed as evil, violent, and imperialistic, using whatever means necessary to accomplish their goals (Soviet Union). The Federation with its army Star Fleet (equivalent to NATO) is depicted as a peacekeeping force that defends the freedom of the UFP (USA) against the aggressor. As Rick Worland extensively analyzes, the Enterprise follows the rules of containment throughout the conflicts with the enemy race – an institutionalized US way of handling the assumed plans of the communist opponent since 1950 through NSC-68. Incorporating contemporary conflicts into the series became a habit of Star Trek, and later in the several sequel series, although the writers and directors became more and more interested in the internal conflicts of the crews, and analogies to real life became harder to draw.
Summary of Chapters
The Original Series - Rise of the Franchise: This chapter defines the genre roots of Star Trek, exploring the balance between purist scientific plausibility and universalist humanistic storytelling that established its legacy.
Politics in Space: This section examines how TOS mirrored the Cold War and civil rights struggles of the 1960s, using the spaceship as a microcosm for both global politics and internal societal structures.
The external conflict: This chapter analyzes the portrayal of the United Federation of the Planets and the Klingon Empire as ideological proxies for the Western and Communist blocs.
The internal conflict: This chapter discusses how the USS Enterprise crew represents a diverse, multicultural society, while noting the underlying American-centric leadership structure.
The New Frontier is the final one: This chapter connects Gene Roddenberry’s vision to American frontier mythology and the influence of the Western genre on Star Trek’s narrative identity.
Star Trek for the 21th century: This chapter explores how the 2009 film utilizes a temporal causality to create an alternate reality, allowing for a reboot that honors the past while breaking free of historical continuity.
Captain James T. Kirk 2.0: This chapter traces the transformation of Kirk from an unborn hero to a rebel, and ultimately to the leader of a crew in the alternate 2009 narrative.
I am Spock: This chapter analyzes Spock’s development as a second protagonist and the exploration of his internal conflict between his human and Vulcan heritage.
New faces for a new audience?: This chapter investigates the strategies used to engage new viewers while maintaining the interest of hardcore fans through narrative techniques and internal references.
Scientific correctness for science fiction purists: This chapter details the technical and aesthetic efforts to achieve realism in the 2009 film to appeal to scientifically-minded viewers.
An optimistic future for everyone: This final chapter discusses the enduring humanistic optimism of the franchise and how it is updated through modern cinematic devices in the 2009 movie.
Keywords
Star Trek, Gene Roddenberry, James T. Kirk, Spock, USS Enterprise, Cold War, Science Fiction, Mythology, Frontier, Alternate Reality, Globalization, Terrorism, Humanism, Film Analysis, Pop Culture.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines how the Star Trek franchise, particularly the 2009 film, adapts its original narrative and ideological subtext to reflect modern 21st-century values and political landscapes.
What are the central themes explored in the text?
Central themes include the evolution of American utopian myths, the influence of the Western genre, the impact of the Cold War on science fiction, and the adaptation of classic characters for a contemporary audience.
What is the overarching research question?
The paper asks how the Star Trek brand reinvents its narrative and ideological foundations to bridge the gap between 1960s television history and 21st-century cinema expectations.
Which scientific or analytical method is employed?
The author uses a comparative analysis between the original series (TOS) and the 2009 feature film, focusing on narrative devices, character development, and political analogies.
What does the main body of the paper cover?
It covers the historical origins of Star Trek, its geopolitical parallels, the re-imagining of the protagonists, and the balance between blockbuster entertainment and franchise legacy.
Which keywords define this work?
The work is defined by concepts such as Star Trek, Frontier mythology, Cold War symbolism, alternate reality, and the humanistic vision of Gene Roddenberry.
How does the 2009 film reconcile the original series with its new narrative?
The film utilizes the concept of an alternate reality triggered by time travel, allowing the filmmakers to create a new timeline that respects the history of the TOS while introducing fresh character arcs.
What role does "The Frontier" play in the author's argument?
The author argues that "The Frontier" is a crucial American key concept that informs the entire narrative structure of Star Trek, transitioning from the "New Frontier" of the 1960s to the cinematic "Final Frontier."
How is the portrayal of the "external conflict" changed in the 2009 film?
While TOS mirrored the Cold War between the US and the Soviet Union, the author suggests the 2009 film shifts its focus toward contemporary fears related to globalized threats, terrorism, and instability.
- Citation du texte
- Andreas Schwarz (Auteur), 2009, The Next Generation - Translating "Star Trek" into 21st Century Language, Munich, GRIN Verlag, https://www.grin.com/document/187086
