Hum150 | Introduction To Film Assessment Answers

Genre: SciFi

Film Title: Star Trek (2009)

Analyze the film in relation to the conventions of its genre, noting how elements of the film fit/didn’t fit the genre well. In doing this, you should also include some relevant analysis of the story, directing, acting, sound, and/or cinematography. Whenever possible, please use the vocabulary of film that you have learned to describe aspects of the filmmaking.

Answer:

Genre: Sci-Fi

Film Title: Star Trek (2009)

Cast: John Cho, Ben Cross, Bruce Greenwood, Simon Pegg, Chris Pine ,Zachary Quinto ,Winona Ryder, Zoe Saldana, Karl Urban, Anton Yelchin, Eric Bana, Leonard Nimoy

Director: J.J. Abrams

Synopsis: far ahead in the 23rd century, Narada, a Romulan ship that emerged out of the ‘lightning storm’ inspected by the Federation starship, attacks USS Kelvin. Ayel, the officer of Narada demands a truce from Robau who is interrogated about the Ambassador Spock and the stardate. Nero, Narada’s commander kills him and continues to attack Kelvin, imposing severe damage on the ship with their advanced missiles. Wiona, Kirk (the first officer of Kelvin) is ordered by him to evacuate the ship while he flies Kelvin on a crash with Narada and sacrifices his life for his wife’s survival as she begets James Kirk. Seventeen years after the incident, Spock (young) joins the Science Academy on the fictional planet of Vulcan, but shifts to Starfleet after realizing that the Vulcan Academy disdain his ‘human’ mother. He is encouraged by Christopher Pike, who he meets at a bar, to register in the Starfleet Academy where he becomes friends with Dr. Leonard McCoy. Several years later Kirk is accused to have cheated during the Maru exercise but the hearing is interrupted by a distress call from Vulcan. Kirk and McCoy board the Enterprise (Pike’s ship) and Kirk strays from code realizing that the ‘storm’ is a ploy. Enterprise discovers the fleet in ruins and Narada puncturing Vulcan’s core. Kirk is promoted to first officer after Pile surrenders on Narada’s attack. Kirk makes a space jump with Oslon and Sulu to land on the platform (drilling). Oslon dies but Sulu and Kirk incapacitate the drilling. Their efforts go vain as the ‘red matter’ launched by Nero forms a black hole (artificial), destroying Vulcan. After being marooned by Spock for torturing Spike to access Earth’s codes, Kirk meets a Spock from future who reveals how Nero’s family died due to a failed supernova attempt. Both meet Montogomery Scott on Delta Vega who strategizes a plan for Kirk to teleport into Enterprise while it is moving at Warp speed. Kirk and Spock rescues Pike, kill Ayel and terminate the drill. During the collision of ships, Kirk opens fire and Narada is cast into a black hole. Kirk is finally made commander to Enterprise, he encounters his older self who persuades him to follow heart over logic. The film closes with Spock’s famous monologue “where no one has gone before”.

Review: If the motive of science fiction as a genre is to explore the scientific advances and the major environmental and social changes resulting those advance, then hardly any other film made in the 20s fit the genre as suitably as Star Trek. The film’s use of time travel is nothing short of genius. The events of the movie take place partly in the original trek universe, starting all the way from 1966 to 2002, featuring the same Spock all throughout. But through the events in which he travels back in time changes the course of past events, it creates a new timeline (Gregory 2016).

The movie therefore exists both in the world of Star Trek fans while also being a hard reboot of the franchise (Allan and Rhodes 2013). Chris Pine and Zachary Qunito effectively anchor the film by getting the audience invested in their narratives with the intensity and subtlety of their performance (Fielding 2013). The productions deserves equal acclaim for sound: hearing the score stand out amongst the sound mix for the live orchestra gives the audience a newfound appreciation for the hard work in detail that went into the tracks (Summers 2013). Two memorable musical backgrounds are the moments when the audience sees the finished ‘Enterprise’ for the first time and when the Narada is blown to bit while descending into the black hole. The excellent blend of set pictures throught the movie is what justifies it as a science fiction: there is planet wide destruction, gigantic monsters, shootouts, ship-to-ship combats; in short, everything that can be expected from a space opera.

Moreover, science and Star Trek go hand in hand. The film has inspired generations of scientists, engineers and even astronauts to reach beyond their grasp and create better opportunities for humanity. Some of the science fiction concepts used in Star Trek are very close to being Science facts (Hanley 2015). One of the most accomplished forte is the visual style that is defined by sloping angles, remarkable lens flares, bright colors and constantly sinuous camerawork. Despite the terrifying incidents that dominate the plot, Star Trek offers a vision of a future that appeals the young and aged alike (Carrington 2016).

It is interesting how films categorized in the same genre use different storylines and settings to convey similar messages. Beasts of Southern Wild have the theme of desolation and loneliness in common with Star Trek. The space in Star Trek becomes the forlorn wetland in Bathtub, where the inhabitants must stand tall in the face of adversaries to ensure the survival of both themselves and their lands. Both the films are a celebration of human spirit and age-long struggle for survival against the forces of nature or potential oppositions.  Scorsese weaves similar garlands of magic in ‘Hugo’. It makes the double dream of the orphaned protagonist the medium for exploring superhuman possibilities. Like the alternative timeline in Star trek that conjoins generations, Hugo wakes from one dream to the other that brings him closer to revelation of past occurrences. The recurrent themes in both films adheres to the values of filial bonds and the necessity of innovation and willpower in the struggle for survival and ensuing success.

References:

Carrington, A. M. (2016). Speculative Blackness: The Future of Race in Science Fiction. University of Minnesota Press.

Fielding, R. (2013). Techniques of Special Effects of Cinematography. Focal Press.

Gregory, C. (2016). Star Trek: Parallel Narratives. Springer.

Hanley, R. (2015). Is Data human?: the metaphysics of Star Trek.

Rhodes, I. I., & Alan, M. (2017). Alternative Pasts, Presents, and Futures in Star Trek: Historical Engagement and Representation through Popular Culture. Geographical Bulletin, 58(1).

Summers, T. (2013). Star Trek and the musical depiction of the alien other. Music, Sound, and the Moving Image, 7(1), 19-52.