Trekkies and Trekkers alike gets starry-eyed over this eclectic mixture of essays at the groundbreaking unique famous person Trek sequence. celebrity Trek writers D. C. Fontana and David Gerrold, technology fiction authors equivalent to Howard Weinstein, and diverse teachers proportion behind-the-scenes anecdotes, talk about the show's enduring allure and effect, and view a number of the vintage gains of the exhibit, together with Spock's irrationality, Scotty's pessimism, and the shortcoming of seatbelts at the company. The influence of the cultural phenomenon on next science-fiction tv courses is explored, in addition to how the exhibit laid the basis for the technological know-how fiction style to damage into the tv medium.
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Additional resources for Boarding the Enterprise: Transporters, Tribbles, and the Vulcan Death Grip in Gene Roddenberry's Star Trek (Smart Pop Series)
What follows is a short account of what Le Roi Lear looks like if one takes a deliberately anti-exceptionalist approach to its experiments with location shooting, its long takes, and its depth of field staging—actively seeking the way theatrical effects can be recycled in cinema. Besides yielding a richer sense of a specific film, to read in this way is to expand our sense of the formal properties specific to a given medium— and to reconsider the importance of apparently residual theatrical conventions such as tableau to modern film mise en scène.
Leitch summarizes the interests served by this accommodation in adaptation studies more generally: to defend literary works and literature against the mass popularity of cinema, to valorize authorial agency and originality in a critical climate 35 36 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 KATHERINE ROWE increasingly opposed to either, and to escape from the current orientation of film theory and from theoretical problems in general. (Leitch 2003: 168) We can expand on Leitch’s list by observing the different ways these interests are refracted in the three fields concerned with adaptation.
Rejecting the idea that the success of a performative can be traced to the intentionality of the speaker, Austin distinguishes between “felicitous” and “infelicitous” speech acts on contextual and circumstantial grounds, specifically identifying theatrical performance as an arena in which infelicities proliferate: “a performative utterance will, for example, be in a peculiar way hollow or void if said by an actor on the stage, or if spoken in a poem, or spoken in soliloquy” (Austin 1962: 22, his italics).