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Relevant bibliographies by topics / Gene Roddenberry

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Academic literature on the topic 'Gene Roddenberry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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Journal articles on the topic "Gene Roddenberry"

1

Nichols, Ken. "Case Study #4: Star Trek by Gene Roddenberry." Public Voices 13, no. 2 (2016): 143. http://dx.doi.org/10.22140/pv.124.

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Star Trek began as a 1960s television series led by a swashbuckling starship Captain, an intellectual off-world first officer, and a multicultural, heart-of-gold crew. In the third of a century since its appearance on our home screens, the series Gene Roddenberry created has become a world-wide phenomenon.Star Trek is also a rich treasure trove of administrative literature: The setting — usually a starship, sometimes a planetary government organization. The characters are clearly delineated, colorful, share common goals, distinguish between their personal and professional roles and concerns, a

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2

Hinds, Elizabeth Jane Wall. "The Wrath of Ahab; or, Herman Melville Meets Gene Roddenberry." Journal of American Culture 20, no. 1 (1997): 43–46. http://dx.doi.org/10.1111/j.1542-734x.1997.00043.x.

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GETMAN, JESSICA L. "A Series on the Edge: Social Tension in Star Trek's Title Cue—ADDENDUM." Journal of the Society for American Music 9, no. 4 (2015): 522. http://dx.doi.org/10.1017/s1752196315000486.

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Permission to use notation for the theme from “Star Trek” was received after the article by Getman in the August 2015 issue of Journal of the Society for American Music was published. The captions for Examples 1, 2, and 4 should carry the following credit:Theme from “Star Trek(R),” words by Gene Roddenberry, music by Alexander Courage. © 1966, 1970 Bruin Music Company. Copyright renewed. This arrangement © 2015 Bruin Music Company. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved.

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4

Andres, Katharina. "Fashion’s Final Frontier": The Correlation of Gender Roles and Fashion in Star Trek." Culture Unbound 5, no. 4 (2013): 639–49. http://dx.doi.org/10.3384/cu.2000.1525.135639.

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Since its creation in 1966, Star Trek has been a dominant part of popular culture and as thus served as the source for many cultural references. Star Trek’s creator Gene Roddenberry wanted to realize his vision of a utopia but at the same time, he used the futuristic setting of the show to comment on the present time, on ac-tual social and political circumstances. This means that each series can be regarded as a mirror image of the time in which it was created. The clothing of the characters in the different series is one part of that image. The uniforms of The Original Series show influences

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KIM KITAI. "Gene Roddenberry’s Utopia: Star Trek and White Hegemony." Jungang Journal of English Language and Literature 56, no. 3 (2014): 21–38. http://dx.doi.org/10.18853/jjell.2014.56.3.002.

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6

Eden, Brad. "Gene Roddenberry's Star Trek : The Original Cast Adventures DouglasBrode and Shea T.Brode, Editors. Lanham, MD: Rowman & Littlefield, 2015." Journal of American Culture 39, no. 4 (2016): 461–62. http://dx.doi.org/10.1111/jacc.12650.

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Totter, Eileen. "Star Trek: Lower Decks and utopian queer intimacy." Queer Studies in Media & Popular Culture 7, no. 1-2 (2022): 55–67. http://dx.doi.org/10.1386/qsmpc_00068_1.

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While the Star Trek franchise is synonymous with diversity, queerness has been unfortunately interpreted more as a tragic plot device rather than presenting fully realized queer characters in series such as Star Trek: The Next Generation and Star Trek: Deep Space Nine. However, the more recent programme Star Trek: Lower Decks appears to embrace Gene Roddenberry’s utopian ethos in that diversity is default in the future through multiple queer and queer-coded women. This article analyses how bisexual protagonist Ensign Beckett Mariner eventually finds support over the course of the series throug

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8

Bould, Mark. "Book Review: Adapting Science Fiction to Television: Small Screen, Expanded Universe, Gene Roddenberry’s Star Trek: The Original Cast Adventures, Science Wars Through the Stargate: Explorations of Science and Society in Stargate SG–1." Critical Studies in Television: The International Journal of Television Studies 12, no. 3 (2017): 315–19. http://dx.doi.org/10.1177/1749602017716539e.

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Rabitsch, Stefan. "Space-age Hornblowers, or why Kirk and co. are not space cowboys: The Enlightenment mariners and transatlanticism of Star Trek." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 5, no. 2 (2012). http://dx.doi.org/10.31165/nk.2012.52.268.

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Many mistakenly perceive Star Trek to be, simply, a “Wagon Train to the stars,” a space western/opera that projects the U.S. American frontier into outer space. However, by introducing his starship captain in archetypal terms as a ‘space-age Captain Horation [sic] Hornblower,’ and by making him a descendant of ‘similar [naval] men in the past,’ Star Trek (1966-1969) creator Gene Roddenberry makes it clear that his starship captain is not based on the quintessential cowboy hero found in the U.S. American national imagination (Roddenberry, 1964: 5). In this article, I seek to (re)map the charact

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10

Kmet, Michael. "Star Trek and Gene Roddenberry’s “Vision of the Future”: The Creation of an Early Television Auteur." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 5, no. 2 (2012). http://dx.doi.org/10.31165/nk.2012.52.269.

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Gene Roddenberry propagated a narrative of himself as a “visionary” writer-producer and the primary author of Star Trek in the 1960s. From the 1970s onwards, Paramount Pictures (and later, CBS) co-opted that narrative to market what would become the Star Trek franchise. This paper will examine to what extent this narrative can be substantiated, and to what extent certain aspects can be contested.

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Dissertations / Theses on the topic "Gene Roddenberry"

1

Karlsson, Torbjörn, and Gustav Ekholm. "Genusframställningen i Star Trek - en utopi eller dystopi?" Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-528.

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<p>Titel: Genusframställningen i Star Trek – en utopi eller dystopi</p><p>Författare: Gustav Ekholm och Torbjörn Karlsson</p><p>Handledare: Malin Nilsson</p><p>Examinator: Veronica Stoehrel</p><p>Typ av arbete: C-uppsats i Medie och Kommunikationsvetenskap, 10p HT-06</p><p>Plats: Högskolan i Halmstad</p><p>Syfte: Uppsatsen syfte är att fastställa huruvida åtta olika avsnitt ur tv-serien Star Trek belyser genusfrågor och utmanar avsnitten i så fall de rådande genusdiskurserna.</p><p>Metod: Den här uppsatsen fokuserar på åtta Star Trek avsnitt som producerades mellan 1960-talet och 2000-tal

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2

Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16646/1/Valerie_Parv_-_Birthright.pdf.

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Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten

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Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16646/.

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Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten

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Books on the topic "Gene Roddenberry"

1

Fern, Yvonne. Gene Roddenberry: The last conversation. University of California Press, 1994.

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2

David, Alexander. Star trek creator: The authorized biography of Gene Roddenberry. Roc, 1994.

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Gene Roddenberry: The myth and the man behind "Star trek". Virgin, 1995.

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4

Gene Roddenberry: The myth and the man behind Star trek. Hyperion, 1994.

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5

A, Altman Mark, ed. Great birds of the galaxy: Gene Roddenberry & the creators of Trek. Boxtree, 1994.

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6

Inside the mind of Gene Roddenberry: The creator of star trek. HarperCollins, 1995.

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7

Gene, Roddenberry, ed. Gene Roddenberry: The last conversation : a dialogue with the creator of Star Trek. Pocket Books, 1996.

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8

Foster, Alan Dean. Star trek: Log four, log five, log six : based on the popular animated series created by Gene Roddenberry. Ballantine Books, 1993.

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9

1944-, Gerrold David, and Sawyer Robert J, eds. Boarding the Enterprise: Transporters, tribbles, and the Vulcan death grip in Gene Roddenberry's Star trek. BenBella Books, 2006.

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10

Parkin, Lance. Gene Roddenberry (EBook). Quarto Publishing Group UK, 2016.

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Book chapters on the topic "Gene Roddenberry"

1

Decker, Kevin S. "Star Trek: The Next Generation as Philosophy: Gene Roddenberry’s Argument for Humanism." In The Palgrave Handbook of Popular Culture as Philosophy. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-97134-6_3-1.

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"The Theology of Gene Roddenberry." In The Gospel According to Star Trek. The Lutterworth Press, 2018. http://dx.doi.org/10.2307/j.ctvj4swr2.8.

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3

Eller, Jonathan R. "Beyond Eden." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0014.

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Chapter 13 opens with commentary on Bradbury’s 1980 Omni magazine article “Beyond Eden,” an essay commissioned to support the projected Space Shuttle program. In this essay, Bradbury defined his Space-Age Trinity—God, humanity, and the machines of interplanetary flight. The chapter goes on to document Bradbury’s April 1980 interviews with friends who had achieved prominence in the new generation of science fiction films: producers Gary Kurtz and Gene Roddenberry, director Irvin Kershner, and special effects artist John Dykstra. Bradbury never completed the article on the future of science fiction films that these interviews were intended to support, but he did articulate a maturing sense of Toynbee’s “challenge and response” as a way to focus the kind of human growth required to reach other worlds.

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Eller, Jonathan R. "Green Shadows, White Whale." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0030.

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In 1991 Bradbury was able to combine his various stories of Ireland with bridges that told the tale of his Irish adventures writing the Moby Dick screenplay for John Huston in 1953-1954 to form the autobiographical novel Green Shadows, White Whale. Chapter 29 describes how Bradbury was able to merge these complex projects by revisiting the rough winter he spent under Huston’s demanding direction. In the process, Bradbury was able to capture the defining spirit of the Ireland he knew with good humor and only a touch of satire. Bradbury loved the beauty of the countryside and the people, but he would never return. The chapter analyzes this ambivalence through Bradbury’s reflective poem “To Ireland,” and concludes with the comments that Bradbury offered at the 1991 memorial service for his friend Gene Roddenberry.

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5

Robinson, Michael G. "These are the Voyages?" In Fighting for the Future. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621761.003.0006.

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The main thing noticeably absent from Star Trek’s half-century anniversary was a network television series. By 2016, the primary output of the Trek franchise was a set of commercially successful feature films that had retconned a substantial portion of the early series history and consequently left later spin-off television series adrift in continuity limbo. One year later, or perhaps one year too late, three programs emerged to take up the mantle of Trek: Star Trek: Discovery (2017-), The Orville (2017-present) and the “U.S.S Callister” episode of Black Mirror (2017). This chapter investigates how these series make a claim to and justify deviations from, a familiar science fiction formula legendary for diverse themes and progressive ideologies with particular attention invocation of Gene Roddenberry’s vision for Star Trek.

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6

Buljan, Katherine, and Carole M. Cusack. "Power Within: The Fan’s Embrace of Profane and Sacred Worlds in Anime." In Anime, Religion and Spirituality: Profane and Sacred Worlds in Contemporary Japan. Equinox Publishing, 2015. http://dx.doi.org/10.1558/equinox.25890.

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Some anime aficionados can rightly be called ‘devotees’ as they manifest a deep, almost religious, devotion to anime in various ways. They seek to make personal connections with events and characters of anime stories through visits to anime conventions, the performance activity cosplay (‘costume play’), and travel to cities, towns and natural sites in Japan that are featured in anime. It is clear that these fan phenomena are not unique to anime or only observable in Japan, as over the last twenty years there has been a small but growing body of scholarship produced that deals with both Western fan behaviours and the possible religio-spiritual motivations and benefits of these individual and communal activities. This chapter will draw upon these studies, particular those focused on the fan community attached to Gene Roddenberry’s cult American television and film series Star Trek (debuted 1965), to establish a framework for interpreting anime fandom, in addition to specific studies of anime aficionados. The purpose of this chapter is to investigate the intense, almost religious, nature of anime aficionados’ close relationship to the object of their devotion, anime.

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