UNIVERZA V MARIBORU

FILOZOFSKA FAKULTETA

Oddelek za anglistiko in amerikanistiko

MAGISTRSKO DELO

NIK ARCET

Maribor, 2015

UNIVERZA V MARIBORU

FILOZOFSKA FAKULTETA

Oddelek za anglistiko in amerikanistiko

MAGISTRSKO DELO

BARTHESOVA ANALIZA MITOLOGIJE V STAR TREK FILMIH

MASTER'S THESIS

A BARTHESIAN ANALYSIS OF THE MYTHOLOGY OF STAR TREK

Nik Arcet

Mentor: red. prof. dr. Victor Kennedy

Maribor, 2015

Lektor:

Red. prof. dr. Victor Kennedy

ACKNOWLEDGEMENT

First I would like to thank my mentor prof. dr. Victor Kennedy for supporting and

guiding me with my decision regarding the title and the topic for my thesis. His lectures

and seminars planted the ideas from which this thesis was born. Since my childhood I

always wanted to research something important about my favorite TV series, Star Trek.

I would also like to thank my family (especially my girlfriend) for believing in me

throughout these five years. You were the beacons which guided me safely to shore.

Without you, I would not succeed.

Lastly, I would also like to thank my colleagues who share the same enthusiasm for

science fiction as I do. We have created some precious memories together which will

never fade away.

Thank you all

FILOZOFSKA FAKULTETAKoroška cesta 160

2000 Maribor, Slovenijawww.ff.um.si

IZJAVA

Podpisani Nik Arcet, rojen 26. 12. 1987, študent Filozofske fakultete Univerze v

Mariboru, smer Poučevanje Angleščine in Slovenski jezik in književnost,

izjavljam, da je magistrsko delo z naslovom Barthesova analiza mitologije v

Star Trek filmih pri mentorju red. prof. dr. Victor Kennedy, avtorsko delo.

V magistrskem delu so uporabljeni viri in literatura korektno navedeni; teksti niso

prepisani brez navedbe avtorjev.

Kraj, Maribor

Datum, 13. 1. 15

________________________

(podpis študenta)

POVZETEK

ARCET, N.: Barthesova analiza mitologije v Star Trek filmih. Magisterska

naloga, Univerza v Mariboru, Filozofska fakulteta, oddelek za anglistiko in

amerikanistiko.

Temeljni princip magistrske naloge je identificirati in analizirati različne mite v

Star Trek filmih, s pomočjo literarne teorije. V nalogi so uporabljene primerjalne,

korelacijske in deskriptivne metode raziskovalnega dela. Primarni teoretični vir je

zbirka esejev imenovana Mitologije, avtorja Rolanda Barthesa. Teoretični principi

opisani v esejih, so bili implicirani v vseh dvanajst znanstveno fantastičnih

filmov. Miti so bili analizirani skozi dejanja protagonistov oziroma antagonistov,

skozi izbor objektov in prostorov ter skozi potek filmske zgodbe. Teoretični del

magistrske naloge se osredotoča na splošne informacije v zvezi s Star Trek

franšizo. Podatki vključujejo: glavne karakterje, posamezne izstopajoče epizode

ter napredno tehnologijo prihodnosti. Zraven tega lahko v tem delu preberemo

tudi o različnih teoretičnih pristopih glede izvora mitologije in mitov nasploh.

Empirični del magistrske naloge, pa uspešno združuje teoretične vidike s

posameznim Star Trek filmom. Rezultati analize so prikazani v obliki

argumentacije in obrazložitve določnega mita.

KLJUČNE BESEDE: mit, mitologija, znanstvena fantastika, Star Trek,

nezemeljska bitja, potovanje s svetlobno hitrostjo.

ABSTRACT

ARCET, N.: A Barthesian Analysis of the Mythology of Star Trek. Master’s

thesis, University of Maribor, Faculty of Arts, Department of English and

American studies, 2014.

The fundamental objective of the thesis is to identify and analyze various myths in

the Star Trek movie franchise, with the implementation of different literary

theory, using comparative, correlational and descriptive types of quantitative

research methods. My main theoretical approaches were drawn from Roland

Barthes`s collection of essays Mythologies. These principles of myths were then

applied to all twelve Star Trek movies. The myths were identified in the plot,

through the actions of the main protagonist/antagonist, in different places and

objects. The theoretical framework focuses on providing general information

about the Star Trek universe, including the characters, the episodes and the

technology invented by the creators. In addition, this framework also features

several distinctive theoretical approaches regarding myths and mythology. The

empirical framework successfully combines the implication of the mythological

theory into a specific Star Trek movie, which is then displayed in the form of a

description and explication of a specific myth.

KEYWORDS: mythology, myth, science fiction, Star Trek, alien life forms,

faster than light travel.

TABLE OF CONTENTS1. INTRODUCTION .................................................................................................... 1

2. THEORETICAL FRAMEWORK............................................................................ 2

2.1 Science fiction ......................................................................................................... 2

2.2 The Star Trek universe............................................................................................. 4

2.2.1 Memorable characters ........................................................................................ 6

2.2.2 Memorable episodes ........................................................................................ 12

2.2.3 Future technology ............................................................................................ 14

2.3 Myth and mythology.............................................................................................. 18

2.4 Roland Barthes: Mythologies ................................................................................ 23

3. EMPIRICAL FRAMEWORK................................................................................ 26

3.1 Star Trek film franchise .................................................................................... 26

4. INDIVIDUAL MOVIE ANALYSIS...................................................................... 30

4.1 Star Trek the Motion Picture ................................................................................. 30

4.2 Star Trek II: The Wrath of Khan............................................................................ 32

4.3 Star Trek III: The Search for Spock ....................................................................... 35

4.4 Star Trek IV: The Voyage Home ............................................................................ 37

4.5 Star Trek V: The Final Frontier ............................................................................ 38

4.6 Star Trek VI: The Undiscovered Country .............................................................. 40

4.7 Star Trek: Generations .......................................................................................... 41

4.8 Star Trek: The First Contact.................................................................................. 43

4.9 Star Trek: Insurrection .......................................................................................... 45

4.10 Star Trek Nemesis ................................................................................................ 49

4.11 Star Trek (J. J. Abrams 2009 reboot)................................................................... 52

4.12 Star Trek Into Darkness (2013 sequel) ................................................................ 54

5. Conclusion.............................................................................................................. 57

6. Works Cited ............................................................................................................ 59

1

1. INTRODUCTION

Throughout history people always looked to the stars and wondered how life

would be in the vast frontier called space. Through the genre of science fiction,

writers and film makers, with their ideas and visions, opened a whole new world

which can be visited by anyone of us, whether we are science fiction enthusiasts

or not. Gene Roddenberry was one such artist. He envisioned a version of a

western with elements of Swift`s Gulliver’s Travels, and ultimately the Star Trek

franchise was born, first airing in September 1966 on NBC. From that day on it

started to expand and turned into a brand new franchise which spans movies,

books, comics, computer games and even conventions. The show became so

hugely successful that certain aspects and elements became almost ubiquitous,

some say even to the point of being a cliché (For example: “Beam me up,

Scotty”). Now the question is, that even possible? The writers and directors of the

series (especially the movies) were always inspired by certain myths which

originate from our history and the society in which we live. A clear example is the

mythical status that the spaceship Enterprise1 has attained during these years. It

functions as a vessel to explore new planets and civilizations, but at the same time

it is also a safe haven for the crew.

My aim is to identify and analyze different myths in the Star Trek movies.

Consequently my goal is to apply the literary theory behind modern myths (the

main theoretical aspects will be drawn from Roland Barth’s collection of essays

called Mythologies) to science fiction movies (and some of the TV-series). In

practical terms, this means comparing modern myths surrounding (according to

Barthes): good vs. evil, wine, plastic, detergents and the “super” brain and

identifying them with certain elements from the Star Trek movies. For illustration,

in Star Trek III: The Search for Spock we deal with the myth of resurrection – the

myth of Jesus Christ.

1 The Enterprise was named after a series of United States navy ships, among them was a naval carrier that took part in the Pacific campaign in the Second World War, the same name also refers to a modern nuclear-powered aircraft carrier.

2

2. THEORETICAL FRAMEWORK

2.1 Science fiction

There are many definitions of science fiction. The Oxford Dictionary says that

science fiction is a fictional genre which is based around the future and is

connected with technological advances which can reflect major social or

environmental changes. Science fiction also portrays space travel, alien life forms

and life on other planets. However, this definition is definitely too narrow,

regarding the depths which this genre offers. Let us instead focus on definitions

found in the literature, which provides more insight on the term (Oxford

dictionaries).

Samuel R. Delany (author, professor and critic) has given an interesting definition

of what science fiction is. He said that science fiction is a kind of fiction based on

something that has not happened yet. He categorizes science fiction into three

distinctive types: the extrapolative, the cautionary and the alternate-world. The

first type of science fiction deals with what has not happened, but might happen.

The second type deals with what has not happened yet, and the last one deals with

what might have happened but did not (a typical example is a science fiction story

which deals with a parallel universe in which certain historical or other events did

not happen. A classic scenario is that the Nazis won the Second World War) (Le

Guin 27).

Another writer, Robert Heinlein starts with the thought that science fiction is a

realistic speculation about the future, which is consequently based on an

understanding of nature and science. He also adds that science fiction is a kind of

fantasy, but he clearly differentiates it from fantasy classics like Tolkien’s Lord of

the Rings. The major difference between the terms is how science fiction uses the

background of science as a mechanism to ease the suspension of disbelief that we

usually find in a fantasy work. It helps to predict or to speculate about the future.

Authors Brake and Hook also see science fiction as the literature of change.

Regarding their views it tends to be radical, so that it predicts in which direction

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science might evolve in a certain time span. They also add that science fiction

asks the right questions such as “what if ?” and “if this goes on…” and maybe

someday humanity will be able to overcome all the obstacles and answer these

questions

(Brake and Hook 3).

Nicholls, Langford and Stableford in The Science in Science Fiction argue that

certain predictions from past science fiction became reality during recent decades,

for example, H. G. Well’s tanks, Aldous Huxley`s euphoria drugs, artificial

satellites, and the most spectacular prediction that came true in 1969, the Moon

landing. They add that Jules Verne did not invent the submarine (with the

Nautilus), but he knew of the temporal technological developments, therefore he

could speculate correctly how this technology will develop. The authors also

distinguish three different kinds of science fiction which are most common. The

first kind is best known for its imaginary future technologies (spaceships, cloning,

artificial intelligence, etc.). It is possible that some, if not nearly all of these

developments will take place in the near future. The second kind of science fiction

is called “imaginary science” which often speculates about certain phenomena

that might happen in the future (time travel, faster than light travel and alternate

universes). The last kind of science fiction according to Nicholls, Langford and

Stableford is “controversial science”. It leans more toward the field of science

because it deals with ideas, which were rejected by the majority of the scientific

community, but nevertheless have some basis in the real world and in addition,

are accepted by certain audiences. In this category we deal with parapsychology,

psionics, telepathy, telekinesis, flying saucers (or UFO) and ancient astronauts.

The authors also add that not all science fiction has a scientific background; some

works are cleverly disguised as fantasy or adventure stories set in an exotic

environment. It is also interesting to look back to the early stages of science

fiction development. Where can we find its roots and beginnings? Researchers say

that science fiction is about as old as modern science and dates back to the

industrial revolution. From then on, it evolved through time. First it absorbed the

ideas of nineteenth century science, but these were later abandoned, because of

4

new scientific and technological breakthroughs of the twentieth century. The

works of science fiction were not always as highly regarded as they are nowadays.

If we look back to the 1920s and 1930s, science fiction literature was regarded as

vulgar, immature and aimed at unwary minds, especially in Great Britain. It was

not until the 1950s that science fiction received the respect it has today (Nicholls,

Langford and Stableford 7).

It is also interesting what different readers think about science fiction. According

to Ursula K. Le Guin, a common reader would identify the following elements in

a science fiction story: the future, spaceships, robots, aliens, mutants, other

worlds, mad scientists, etc. She also adds that a science fiction enthusiast who

reads a lot of these stories might add a few more items to the list, such as:

alternative history, parallel worlds, thought experiments and experimental models

of society. Nevertheless, Le Guins anthology strongly focuses on science fiction

stories from the 1960s until the 1990s, and therefore more elements could be

added to the typical items and icons which represent this genre, and are a part of

movies and stories from modern science fiction (Le Guin 22).

2.2 The Star Trek universe

“Space … the Final Frontier. These are the voyages of the starship Enterprise.

Her ongoing mission is to explore strange new worlds, to seek out new life forms

and civilizations, to boldly go where no one has gone before.” (Star Trek: The

Original Series)

The birth of a franchise

Star Trek is an American science fiction franchise which was first incarnated as a

TV series, created in September of 1966 by a former Air Force pilot and police

officer named Gene Roddenberry. According to the website en.memory-alpha.org

his concept was fairly simple. It was about a group of people, who would each

week travel to unknown planets all across the galaxy. The show would be set

“somewhere in the future”, close enough to our time so that the audience could

identify with the main characters, but at the same time far into the future in which

5

space travel is well established. He publicly marketed the new series as a “wagon

train to the stars” (the name refers to a popular western series of the 1960s), but

privately he told his closest friends that the new series would have certain

elements of Johnathan Swift`s Gulliver’s Travels. In each episode, the crew would

go on an adventure, but hidden underneath would be a moral story. Ultimately

Star Trek: The Original Series2 was born; airing the pilot episode titled “The

Cage” on the 14th of October 1968 (with a totally different cast, except for

Leonard Nimoy as Mr. Spock).

For all the movies and series which followed the original one, we could say that

Star Trek is about a gateway into the distant future, where people are eager to

explore “new life forms and new civilizations” beyond our solar system. The

explorations are made possible, with the help of enormous space ships which can

travel faster than the speed of light. There are probably very few people who have

not heard of the famous U.S.S3 Enterprise. Each spaceship featured in the series is

crewed with members of an “interstellar alliance” called the United Federation of

Planets. Together with countless alien species they conduct exploratory, scientific,

diplomatic and defensive operations throughout all four quadrants of our galaxy.

Every spaceship is crewed by a hierarchy of Starfleet (a branch of the Federation)

personnel who fulfill their duties as soldiers do in the army. The personnel of the

ship consists of crew members, ensigns, lieutenants, commanders and captains,

who are the highest members, aboard. Certain captains like James T. Kirk, Jean-

Luc Picard, Kathryn Janeway and Jonathan Archer have attained cult status

outside as well as inside the science fiction universe. The rest of the crew is

divided, depending on his or her special training at the Starfleet Academy.

Positions include engineering, medicine, navigation and tactical. Together they

form an unbreakable bond, which enables them to “boldly go where no one has

gone before.”

2 The Original Series or TOS.3 U.S.S or USS stands for: United Space Ship or United Star Ship.

6

Figure 1: Timeline (real and fictional) of all the Star Trek series and movies.

The Legacy

Gene Roddenberry could hardly have imagined what a cultural impact his series

left on millions of viewers (also known as “trekkies”) across the globe. Interest

has never faded away which is clearly seen by the twelve (the thirteenth is in

production) motion pictures and five additional “spin-off” series (Star Trek: The

Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek:

Enterprise, Star Trek: The Animated Series), comics, novels, computer games and

magazines. Over the years that these shows aired on television almost every night

(one show has approximately twenty episodes per season) they helped to inspire

people of all races and nationalities to think about a future without illnesses, full

of technological wonders (the communicator, the transporter room, the replicator,

the phaser pistol and many more), where money wouldn’t play a significant role,

because all people would reach a higher mental state, allowing them to think and

act for the common good for all the races, alien or human alike in the Federation.

The heroes of Star Trek dared to venture forth into the unknown reaches of space,

because they welcomed it and were not afraid of it (startrek.com).

2.2.1 Memorable characters

The rich universe of Star Trek is populated by numerous characters, portrayed by

almost legendary actors, but we are going to choose and focus only on the ones

which left the biggest impact on the series as well on the audiences in front of the

TV. Characters were selected and described according to the information found on

en.memory-alpha.org and startrek.com.

7

Captain James Tiberius Kirk4

(played by William Shatner and

Chris Pine) was the most famous

and highly decorated starship

captain in the history of Starfleet.

He commanded the famous starship

U.S.S. Enterprise and the U.S.S.

Enterprise-A. He also served the

Federation as an explorer, soldier,

time-traveler and diplomat. Kirk

saved the Earth and other planets on many occasions. In his younger years we

could describe him as a “rebel without a cause”, refusing to enter the Starfleet

Academy, despite having an outstanding score in the entrance examinations. He

became the youngest captain to command his own ship at the age of twenty-five

(Star Trek, 2009). When the Enterprise embarked on a five-year mission into deep

space, his deeds made him a legend in space exploration. A good way to describe

his personality is to say that he had a “strong moral center” which meant that he

was always devoted to the ideals of the Federation. He served and protected these

ideals for most of his life. On several occasions he risked his own life, for the

right cause, including his final act on the planet Veridian III where he fell to his

death, helping Captain Picard stop the madman Dr. Soran (Star Trek VII:

Generations, 1994). Kirk also disobeyed many of his most fundamental orders

including the “prime directive” (no interference with a “pre-warp”, undeveloped

species) in order to save millions of lives. Regarding his relationship with other

people we can say that he was very approachable and made friends not just aboard

the Enterprise, but also all across the galaxy. His closest friends were Mr. Spock

and Dr. Leonard McCoy. They shared a special bond which lasted through many

years (also in real life). More about the bond between Kirk and Spock will be

addressed later, when we will focus solely on the third movie. On the screen, Kirk

also showed his more romantic side, as he was notably very successful in

4 The name Kirk was decided in 1965, prior that 16 names were considered, among them: Drake, Flagg, Hannibal, Boone, Patrick and many more.

Figure 2: Kirk in 2266

8

attracting women, nevertheless he never really “settled down”, but managed to

father a son with Dr. Carol Marcus. His son David was a brilliant scientist, who

never knew his father, and was brutally murdered by the Klingons during the

events of Star Trek III. To sum up the description of this character, let this quote

speak for itself: "I don't believe in the no-win scenario” (Kirk to Saavik, Star Trek

II, 1982).

Spock5 (played by Leonard Nimoy and Zachary

Quinto in the rebooted movies) a half human,

half Vulcan hybrid, became one of the most

recognized and distinguished figures in the

history of the Federation. He was born on

Vulcan, a planet which is inhabited by aliens

who praise logic, stoic culture, are green

blooded, have telepathic abilities and reach a

longer lifespan than humans. They are also

known for causing the “first contact”, because

they were the first alien species which arrived on

earth in the year 2063. In his younger years Spock has undergo a Vulcan ritual

called kolinahr, where he was taught how to repress all emotions, therefore he is

not capable of understanding nor sharing emotions like we do (but as many are

misinformed, he does possess them). After completing the basic and advanced

training, which began in his childhood, Spock applied to the Vulcan Science

Academy and to the Starfleet Academy at the same time, but since the committee

decided that his human side was more of a weakness then strength, they hinted

that he could not be welcomed at the Science Academy. Consequently he chose

the Starfleet, and soon began rising through the ranks, eventually becoming an

5 In Star Trek: Phase II (unrealized sequel to the Original Series) Spock would be replaced by a female Vulcan called Xon.

Figure 3: Spock in 2267

9

instructor in the Kobayashi Maru6 test (Star Trek, 2009). When he finished the

Academy, he started to serve as a first officer aboard the Enterprise under the

command of James T. Kirk. During the five year mission Spock was the most

valuable asset of the Enterprise, providing crucial data to the captain via his

science station. He was also an important member of the “away team” led by

Kirk, which is understandable, since he is the second main protagonist in the

whole series and movies (in addition the public found great interest in the

character during all these years). After the five year mission, Spock started his

diplomatic career. He became an ambassador and proposed an alliance between

the Federation and the Klingon Empire during the Khitomer conference (Star Trek

VI: The Undiscovered Country, 1991). The alliance lasted for about hundred years

and brought peace and prosperity to the alpha quadrant. The most intriguing thing

about Spock`s life is definitely his death. During the final act in Star Trek II,

Spock literally sacrificed his own life, by repairing the damaged warp core, but in

the process he was exposed to a deadly dose of radiation. In the end he managed

to save everybody aboard the Enterprise. Captain Kirk lost a very important

person that day: “Of my friend, I can only say this: Of all the souls I have

encountered in my travels, his was the most... Human” (Kirk on Spock, during the

funeral, Star Trek II). Spock`s body was then in the “old fashioned way” buried

by firing him in an empty torpedo tube to the planet Genesis.7 Right before his

death, Spock managed to “store” his life energy called “katra” (chi, chakra or

soul) inside Dr. McCoy`s mind, therefore he ensured, he would live on. During

the events of Star Trek III, Spock`s remains begin to regenerate due to the

aftereffects of the Genesis device on the eponymous planet. Nevertheless, the

body cannot survive without the mind, so ultimately in the end of the movie, he

becomes whole again, and greets his fellow crewmates, who risked everything to

save him. Jumping to the last part of Spock`s life we found out, that he eventually

saved the planet Romulus from a supernova, but was declared lost in the process,

because his plan involved creating an “artificial black hole”, which would absorb

6 The Kobayashi Maru test was a no-win scenario simulation which is part of the academy’s curriculum. 7 Genesis: a biblical reference, “to create life from lifelessness.” More will be addressed in the myth section of the thesis.

10

the destructive force of the supernova. From here on all the events regarding

Spock`s life happen in a parallel universe (Star Trek, 2009). Suffice to say, that he

lived “long and prospered.”

Captain Jean Luc Picard8 (played by

Sir Patrick Stewart) Starfleet officer,

archeologist, accomplished diplomat

and most notably known as the captain

of the “next generation” starship, the

Enterprise-D. Picard has a rich history

in the Starfleet, because he served 22

years as a first officer on the U.S.S

Stargazer. His brilliant career was

continued aboard the Federation`s flag

ship Enterprise for many decades. In

his role as a captain he witnessed many

major turning points in our galaxy. As any deep space exploration ship, the

Enterprise was also on a five year mission to explore the unknown reaches of our

galaxy, but this time it had the potential to travel even faster (warp factor 9.9).

Picard was always in the interaction with all the major events which his crew

explored or encountered, like for example becoming the main contact point with

the Q Continuum (an alien race which can control space-time), to serving as an

arbiter for the Klingon Empire, and exposing the Romulans for their true atrocious

intentions. His most important contact with the alien race was definitely the

abduction by the Borg (cybernetic pseudo-species from the Delta quadrant) in

2366, which resulted in a historic conflict with the Federation. His experience was

traumatic, but afterwards he became known as a superb expert on the Borg, which

helped to ease many future conflicts with this voracious, technology craving and

conquering species. One of his many famous quotes is definitely this: "Someone

8 Piccard is named after the famous oceanographer Jacques Piccard who explored the Marianas Trench in 1960.

Figure 4: Picard aboard the Enterprise-E

11

once told me that time is a predator that stalks us all our lives, but I rather believe

that time is a companion that goes with us on a journey and reminds us to cherish

every moment... because it will never come again. What we leave behind is not as

important as how we've lived.” (Picard to Commander Riker, after the destruction

of Enterprise-D, Star Trek: Generations, 1994). It definitely summarizes the

essence of this character.

Lieutenant Commander Data (played

by Brent Spiner) was the fifth of six

known androids9 (robots designed to

resemble a human) created by Dr.

Noonien Soong in 2338. He was found

by the Federation on the planet Omicron

Theta and was reactivated after a crystal

entity destroyed the human colony. He

showed his gratitude by joining the

Starfleet academy and completed it

flawlessly. After the academy, he spent

several years as an ensign and twelve as

a lieutenant before he was promoted to lieutenant commander, and joined Picard’s

crew aboard the Enterprise-D. His specialization is science, and he functions as an

operations officer, second in command, after the first officer. The distinctive

feature, which makes Data so fascinating among all the characters, is his craving

to become more human. By doing so, he also agreed to accept an emotion chip

which was found in the positronic brain of his “brother” Lore. The chip caused

Data to experience emotions for the first time; nevertheless he had struggled with

many of them such as: love, hate, humor and fear. Suddenly in an attempt to use

emotions, the chip overloaded and caused damage to his positronic brain,

therefore he decided to destroy it and continue his life without it. He saved the

Enterprise on a few occasions, since he is not an organic life form, he was many

times immune to different threats which the crew encountered during their 9 Data’s “family”: B4 (prototype brother), Lore (brother), Juliana Tainer/Soong (mother, co-creator) Lal (Data`s constructed android).

Figure 5: Data looks puzzled

12

exploration. Data also served on the new Enterprise-E during many crucial

moments, like the battle of Sector 001 (events of the movie Star Trek: The First

Contact), the conflict on the planet Ba`ku (Star Trek: Insurrection), and

ultimately he saved all the crew members by sacrificing himself during the events

of the battle with the Romulans and praetor10 Shinzon (Picard`s evil clone raised

by the Remans). His mentality is best seen here: "I chose to believe that I was a

person, that I had the potential to become more than a collection of circuits and

sub-processors.” That’s why this character is so unique and special.

2.2.2 Memorable episodes

The TV series features over 700 episodes, but there are some which are

considered a classic among trekkies from all over the world. Here are the top three

episodes, which were chosen by different audiences found online at ign.com.

“Mirror, mirror” (TOS, air date 6th of October 1967): In this fantastic episode, a

malfunction of the transporter causes that the away team (Kirk, Scotty, McCoy

and Uhura) to be beamed into a parallel universe, where the Federation is replaced

by an evil “Terran Empire.” This episode is a real “crossover” and a lot of non-

fans recognize its main features. When the concept of a mirror universe was first

introduced to the audience, it was relatively new. Now everyone knows that this

episode is a synonym for a “goatee” Spock and evil Kirk. The episode was

reimagined in several other series including Deep Space Nine, Enterprise, a few

comics and books. The episode was nominated for a Hugo Award in 1968 for the

“best dramatic presentation.”

“The Best of Both Worlds” (TNG, air date 18th of June 1990): In this epic third

season finale of The Next Generation we encounter the Borg as an unstoppable

force and a serious threat to the Federation. The most shocking part of the episode

was definitely the cliffhanger at the end, in which Picard is assimilated by the

Borg collective. The episode established some great dialogues between Picard,

Riker and Commander Shelby, who was more than ready to serve as a new first

officer. We could say that the overall tone of the episode was more dark and 10 Praetor: leader of the Romulan star empire.

13

serious, compared to the previous. The finale was also playing with the idea that

Patrick Stewart could leave the show. While the episode is best known for

Picard’s transformation into Locutus of Borg, it is Riker`s story which is hidden

beneath the surface. He falls into some serious dilemma, should he take the

chance to command his own ship or should he stay on the Enterprise, which was

his home for the last couple of years. Executive producer Michael Piller had just

arrived on TNG for season 3 to “save” the show, and this episode is full of his

“fingerprints.” From here on, the Next Generation became a much more unique

show, and could be clearly distinguished from The Original Series. It was

anchored by some tense storytelling, great characters and some incredible

memorable villains, who in the end were no match for Picard and his crew.

“The City on The Edge of Forever” (TOS, air date 6th of April 1967): We know

that Kirk is portrayed as a womanizer in almost every episode throughout the

Original Series, but in this episode he is doomed to be forever alone. The fan

favorite episode “The City on The Edge of Forever” focuses on the notion of self-

sacrifice in the face of the greater good. The story is about Kirk, Spock and

McCoy traveling through a time portal called “The Guardian of Forever” and they

wind up in New York somewhere in the 1930s (The Great Depression). They

meet with a lovely missionary worker called Edith Keeler (played by Joan

Collins). Spending some time together, Kirk and Edith fall in love and everything

seems so beautiful, but because he has intervened with the time flow in the past,

his actions has caused that the entire future as they knew it, was wiped from

existence. The only solution is the toughest Kirk was ever forced to do. He has got

to let Edith die in a preordained accident (she was hit by a car). The tragic tone of

the story is clearly an indicator, that this episode has taken a course of its own.

The performances are also the best in the series. Kirk is tortured by the decision,

McCoy is shocked to see his friend’s actions, and Spock logically accepts the only

solution, even though it turns out to be so cruel. The moment when Kirk returns

through the portal, restores the time continuum to its normal state and is about to

be beamed from the planet, is truly mesmerizing, moving and unforgettable. This

episode is a timeless classic.

14

2.2.3 Future technology What would a science fiction show be without its major component, technology?

Star Trek in this case is no exception. In almost every episode we can “feast” our

eyes with the technological wonders of the 22nd, 23rd or 24th century. In the sense

of tech we talk about: warp speed, phaser weapons, photon torpedoes, replicators,

communicators, turbo lifts, holodecks, shuttlecrafts, tractor beams, androids, etc.

All this comes alive in a vast and rich world of Star Trek. Now let’s take a closer

look at the most important technology which can be found on a starship bearing

the designation U.S.S.

The database en.memory-alpha.org

states that, the Warp drive technology

allows starships to travel faster than

light. In the world of Star Trek this is

achieved by generating a warp bubble

that encompasses the entire ship,

resulting in distortion of space-time,

consequently pushing the ship to velocities which are beyond the speed of light.

The warp drive was invented at the end of World War III in 2063 by scientist

Zefram Cochrane in Bozeman Montana. He installed the drive abort a heavy

modified missile which he nicknamed Phoenix. He successfully launched into the

orbit and performed the first warp jump in human history, resulting in the

inevitable “first contact.” A Vulcan science ship discovered “warp signatures”

(trails of the ship) which lead them to Earth, to be more specific, directly to

Cochrane’s base. To demonstrate the complexity of this technology let me list

some of the parts which are necessary to build a warp drive (with all the

possibilities of a fictional universe): antimatter containment, antimatter inducer,

antimatter relay… plasma injector, warp coil, plasma conduit, dilithium crystal,

dilithium regulator, etc. The list features 35 parts of the system which can be used

to build 10 different types of warp drives. In the Star Trek: The Next Generation

Technical Manual the writers of the show have created an in depth theory about

the technology and equipment used aboard the Enterprise. Right in this case, we

see the true brilliance of the minds which invented a whole new propulsion

Figure 6: Enterprise at warp speed

15

system for the purpose of the show, but the main question which arises is: did they

have any scientific background? Is this type of technology even possible to

construct? Right at this point, science fiction meets real science.

The science based website liveleak.com stated that in September 2012 physicist

Harold White11 working at NASA shocked the public with sensational news. He

claimed that he had mathematically proven that faster than light travel (or “warp

speed travel”) could be possible. He proposed a design, an ingenious re-

imagination of an Alcubierre Drive which was proposed by Miguel Alcubierre12

back in 1994. The main idea was to construct (with the help of the right equations)

a mechanism which would essentially allow the expansion and the contraction of

space-time, ultimately resulting in hyper-fast travel between different solar

systems in our galaxy. The space behind our “starship” would expand extremely

fast, resulting in pushing us forward. The passengers would perceive it as

movement, but with a complete lack of acceleration. To put is simply, we would

need “around” two weeks to reach our nearest star system, Alpha Centauri instead

of a few centuries. The only setback White was facing at this stage was that in

order to be able to travel that fast we would require an enormous amount of

energy (1.9 × 1027 kilograms or 317 Earth masses). Luckily, he overcame even

this obstacle by recalculating the geometry of the design by Alcubierre. His last

design proposed a spheroid instead of a sphere surrounded by a halo (ring). The

end results showed that the warp drive which would be constructed in this way

could be powered by a mass that is even less than that of the Voyager 1 probe.

NASA confirmed this theory and stated that the current developmental stage is in

the field of speculation reaching into the field of science.

In the end, we have clear evidence which indicates that science fiction actually

inspires or motivates scientists to develop technology which is generally thought

to be non-existent.

11 Harold White: mechanical engineer, aerospace engineer working at NASA.12 Miguel Alcubierre: a Mexican theoretical physicist who proposed the speculative warp drive.

16

The Transporter

The official description found

on startrek.com says that the

transporter is a device which

converts persons, objects or

other matter to energy, sends

that energy to a specific location,

and reconstructs that energy

back into matter. Transporters

cannot beam through the ships shields. Essentially, this tech would allow us to

instantly travel to a specific location within a predetermined range. The

implications of this are almost limitless. The creators of the show came up with

the idea, because without CGI it was too expensive to show a massive starship

landing in almost every episode. Nevertheless, as fascinating as this piece of

technology seems, let’s take a closer look if there is any scientific background for

it

According to livescience.com, Sidney Perkowitz, a physicist at Emory University

in Atlanta, says that the idea of beaming matter is still a little farfetched, but

scientists have successfully beamed quantum information between photons as far

as 10 miles. The major problem when “beaming” a person to a location would be

the process of reassembling, because for the atoms to reassemble to the original

state you would need an impressive way of “communicating” between the first

and the second location. Edward Fahri, director of Massachusetts Institute of

technology's Center for Theoretical Physics says that in order for Kirk to transport

aboard a ship or to a planet you would need two larger pieces of equipment: “An

entanglement generator in point A and an entanglement receiver in point B”,

which simply means that it is impossible to step onto a platform and be in an

instant materialized and then rematerialized on the planet’s surface. Another

Figure 7: The away team beams on the planet.

17

major issue would be that in the process of rematerializing the person wouldn’t be

exactly the same as the person who would “come out on the other side”

(essentially it would be a “clone”) simply because of the amount of “data” (atoms

and molecules) the process would require. The last part of the evidence, which

denotes the fact that this technology is not possible with the present knowledge, is

that you could never make an exact copy of the original, because the human body

consists of trillions of cells and “nabbing a complete snapshot” of them all is

totally impossible. (In quantum mechanics, this is called the Heisenberg

Uncertainty Principle). Nevertheless, the writers of the show found a way to

overcome this obstacle by introducing the Heisenberg compensator into the

transporter system which would compensate the effect.

The Holodeck (as found

online at startrek.com) is a

form of hologram

technology designed by

the Starfleet which can be

found aboard starships

and space stations. The

holodeck room is built

so it can manipulate

photons which are contained within the force field. The technology combines

transporter, replicator and holographic systems. The holodeck can recreate any

vista, scenario or personality (all based on real or fictional parameters) depending

on the user`s input. The main function of this tech is to relieve stress and stimulate

the crew aboard a starship during interstellar travel; nevertheless it can also be

used as a tactical simulation, covert training exercise or a scientific simulation.

This piece of technology has also some scientific roots as it is evidently seen at

the business.financialpost.com. The source indicates that the Canadian chip

developer AMD is currently developing graphics technology which could one day

be used in a holodeck. Many companies speculate that the needed tech for

building such a chamber could be available in the next 10 to 15 years. Lisa Su,

Figure 8: An empty holodeck.

18

senior vice-president and general manager at AMD, stated that at the center of the

holodeck research is something called “heterogeneous system architecture” which

means a huge number of processors working together to recreate a specific image.

In a functional holodeck, technicians would have to come up with the various

audio and video inputs which would enable to the user to interact with the virtual

environment. AMD is not the only one who is working on this technology.

Researchers at the University of Southern California’s School of Cinematic Arts

and Viterbi School of Engineering are also very enthusiastic about the idea, and

are working on a similar project to recreate a space which would stimulate the

consumer with different hardware and peripherals. Back to AMD, its blueprints

for the technology also include “elements of computational photography, context

computing, audio and tactile feedback” to ensure that the user is fully aware of the

virtual world. In the end let’s take a look what actor LeVar Burton who played

Geordi LaForge in Star Trek: The Next Generation has to say about the overall

technology of Star Trek. He says that the transporter technology at this point is a

“down-river” goal, but with all the different technological ideas which the The

Next Generation show introduced almost 25 years ago and at that time seemed

impossible, are now becoming possible with each day.

2.3 Myth and mythology

“One person’s myth is another person’s belief.” (Michael Bell, Professor of English

Literature, University of Warwick)

Coupe argues that myth is a typical traditional sacred story which has an

anonymous author and is often linked to a ritual. It usually tells the deeds of

superhuman beings such as gods, heroes, spirits and ghosts. Myths are set outside

historical time, and deal with comings and goings between our world and the

supernatural world. Myths are primary created by human beings as a “vision” of

the cosmic and social order. In other words, it helps the humans to figure out the

meaning of life. Myths seem irreplaceable, because they help individuals to set

their lives within a much larger context such as society (Cupitt 1982: 29).

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The concept of myth which we adopted from the Greeks distinguishes what is

myth and what not; simply put myth is fiction and is the opposite of something

which is real. It is interesting that in ancient Greece word mythos originally meant

“speech”, but was later replaced by the more superior word logos. The former

signifies fantasy, while the latter a rational argument (Coupe 10).

According to Leeming, humans have used myths to describe stories or things

which were otherwise thought to be impossible. Ancient myths were stories used

to assimilate the knowledge and mysteries of our ancestors, and in this sense myth

is also related to metaphor, in which an object is compared to a dissimilar object

to recognize its origin. In story and in extended metaphors, myth is the key factor

of what we think is literature. Myth is also a form of history, philosophy, theology

or science, because it helped early civilizations to understand natural phenomena

as the changing of seasons or the movement of the sun across the sky. Myths also

function as a basis for certain religious rituals and are present in many religions

even today. Today’s myths can also function as conveyors of information,

something that is intangible or even unreal, but we know that in the end it

possesses a speck of truth. The author also closely inspects the connection

between myths and dreams. Psychologists like to point out, dreams are a symbolic

language by which information about the dreamer is transmitted, and the analysts

draw messages from dreams which the person repressed during his lifetime. In

conclusion, when the dreams of an individual are studied “a personal mythology”

arises. If the dreams of many individuals are compared, “a universal dream

language” or a language of dream symbols, takes shape.

When we talk about mythology we often come across the question of authorship.

Who essentially wrote or told myths in the first place? The immediate answer that

comes to mind must be the people themselves, so the myth, like the fairy tale, has

its origin in the minds of the people. Perhaps the first people, who were concerned

with questions about nature and our world, were the spiritual leaders of a tribe,

who attempted to look behind the mysteries which surrounded them.

Subsequently, these people were “replaced” with other great “mythmakers” such

as Homer, Hesiod, Virgil and Ovid, who were individually inspired or even

20

“possessed” by the thought to achieve self-identity and by breathing new life into

old tales. At the time these great poets became widely known to the public and

myths were no longer part of the folk tale. When describing ancient myths, we

can’t go past Homer`s Odysseus, who is certainly a literary hero, but he has also

all the “mytho-religious” figure proportions. His journey is closely interwoven

with loss, descent and rebirth, which clearly resembles some characters from the

another place and time, like Job from the Old Testament or the Pandava brothers

from the Mahabharata (Sanskrit epic from ancient India). The author also points

out that modern artists are the direct descendants of these ancient mythmakers.

Referring to the Odysseus`s story of loss and rebirth, the same elements can be

seen in Tolstoy’s War and Peace and Picasso`s famous painting Guernica

(Leeming 4-8).

Leeming organizes myths into four distinctive groups, which are: the cosmic

myths, the myths of the gods, hero myths and myths regarding places and objects.

In the following paragraph we will discover more about these groups.

Cosmic myths deal with the cosmos (the Greek called it “order”). Under this

category we can include myths about the Creation, the Fall and the Flood, the

afterlife and myths about the end of the world. Referring to the author, each

culture has its own cosmic mythology, but at the same time all cultures share the

same concern about the limitations of our existence. The cosmic myths help us

understand more about our place in the universe. In creation stories we are given a

larger context, in flood myths we see the idea of a cleansing sacrifice and in

apocalyptic myths we celebrate the immortality of human consciousness

compared to our physical decay. Typical examples of cosmic myths include:

Egyptian: The Beginnings, Hebrew: Genesis, Indian: The Rig Veda, Hesiod’s:

Theogony, Christian: John`s Gospel and The Book of Revelation (Leeming 15).

Myths of the Gods exist in almost every culture; they are always immortal and

are “personified projections” of human dreams of overtaking the inevitable

experience of death and decay. Gods also present the force which fills the world

with life; furthermore the author believes that they are the main “building blocks”

of our society. For example Zeus is the father, Hera the mother and their

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relationship often reflects the family life of a typical “mortal.” Gods are also the

symbols of the ultimate reality, because they provide us with significance to a

universe which is otherwise quite random. This archetype presents a bond

between the cosmos (order) and our inner being. Examples of such myths include:

The Egyptian gods, the Greek gods, the Roman gods, the Norse gods and the

Christian God (Leeming 91).

Hero myths, according to Joseph Campbell, involve a process by which the hero

leaves our ordinary world, encounters the world of supernatural, overcomes those

who would destroy him there, and then returns to the ordinary world, possessed of

powers and new knowledge for his people (Campbell 30). Leeming adds that

some heroes, while journeying to the other realm, resemble shamans of certain

cultures which also take the same journey to heal the sick people of their tribe. We

can see this especially in myths revolving around Dionysus, Orpheus, Isis and

Jesus, because they literary undertake a journey to the underground to retrieve

their relatives or loved ones. Nonetheless, what is important is the journey, which

metaphorically presents our darker side, the realm of unconsciousness which we

explore in our dreams. This world is a world where our nightmares come true, and

where even our most secret desires are fulfilled.

Heroes emerge or are born (from virgins or from the “Great Mother”) in times

when people desperately need them. When they begin their quest they usually are

confronted by a series of trials which represent our inner fears. These “fears” are a

reflection of our dreams and social beliefs, which spring to life with the help of a

particular culture. Heroes are always guided in their quest by a wise figure right

before they are confronted by the ultimate evil (the nemesis). In this mythological

motif, we can see the essence of what we are, because when facing our

predetermined death-defined nature, we emerge and start a new existence, a new

wisdom or wholeness. The myth of the hero lives in us all, from the beginning of

time. Typical hero myths include characters such as Jesus Christ, Buddha,

Quetzalcoatl, Hercules, Theseus, Joan of Arc, King Arthur and Moses (Leeming

215-221).

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Place and object myths

We often find places and objects which have properties of myth. This is logical,

because myths are religious in nature and assume the existence of a higher being,

such as the creator. Places and objects are a material reality which represents a

specific culture, but at the same time they can also transcend place and time and

therefore they receive a whole new meaning. All this objects and places are

symbolic and like any other form of archetypes are useful for a creative artist like

for example a poet, a painter or a musician.

When we talk about the mythical places and objects, we talk about the following

examples: mountains (Mount Sinai, Parnassus, and the Golden Mountain), cities

(Troy, Jerusalem, and Delphi), trees (The Cosmic Tree, Yggdrasil, and the Tree of

Knowledge), caves and labyrinths (315-347).

Beane and Doty in Myths, Rites, Symbols claim that myths are more than “true

stories”; they go beyond that, because they are sacred, exemplary and significant

to our society. In their book, they are focusing on societies in which myth gives

value and meaning to the people. They add that it is almost impossible to have

only one definition of a myth, because it cannot be accepted by all the scholars

and be at the same time clear enough, for non-specialists. For them myth presents

an extremely complex cultural reality, which must be approached from different

points of view, to fully understand it. For the authors a myth tells how through the

deeds of “Supernatural Beings” a reality comes into existence. Essentially, myths

describe various dramatic breakthroughs of the sacred into our world (Beane and

Doty 2-4).

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2.4 Roland Barthes: Mythologies

This collection of essays, written by Barthes during the 1950s, provides the reader

with an interesting point of view regarding myths and mythologies. As critic

Robert Brody from the New Yorker puts it, the book`s subject are messages

(largely political ones) which influence the masses, he even goes a little bit further

and says that a more appropriate title should be “You are Being Brainwashed.”

The agent of this brainwashing is in Brody`s eyes not a person, but the

“bourgeois” class, which Barthes opposed in many ways (newyorker.com).

Let us now focus on the most interesting essays and chapters within Mythologies.

In the first essay Barthes is quite fascinated by wrestling, which he analyzed as a

form of ancient theater regarding the masks, the emotions, the gestures and the

elements of humor which can be found in typical wrestling match. The public can

experience suffering, defeat and justice in the ring and the myth which lies

underneath the surface, is the myth of good vs. evil, with addition of a much more

negative one, the myth of public suffering and humiliation (Barthes 15).

In another essay simply titled “Soap-powders and Detergents”, Barthes

investigates the psychological approach which advertisers use to sell their

products. He comes to a conclusion that they try to persuade the customer that

detergents function as an ultimate power which “kills the dirt” and “forces it out”.

They maintain order “on your clothes.” He is also amazed by foam, which is a

sign of spirituality, because foam is something which is made out of nothing (36).

In other essays he also talks about famous faces (which represent an absolute state

of the flesh), wine (a totemic drink with mythical powers), steaks (they transform

the consumer), jet pilots, plastics, trees, and striptease. All examples are

accompanied with a detailed description, regarding the special status which they

have in our society, and why they all have the characteristics of a myth (39-97).

Now let us concentrate on myths, which are actually important to the thesis, and

which will be of uttermost importance in my empirical part.

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First such example is seen in the essay called “The Nautilus and the Drunken

Boat.” Here Barthes describes the ship (or the submarine to be more exact) as a

symbol of departure and closure at the same time, because a ship always has finite

space, with the additional function to sail across the sea. Furthermore, the

Nautilus is a habitat for the crew, and the captain becomes the owner, the master

and a god at sea, in Barthes`s eyes. Nevertheless, if we eliminate the man, the

only thing that is left is the ship. The ship ultimately becomes what the author

calls “a traveling eye” which starts its own departure and in the end, becomes

aware of itself (Barthes 65).

We immediately can draw a connection with Roddenberry`s Enterprise, because

in an episode of Star Trek: The Next Generation called “Emergence”, the ship

literary becomes self-aware and presents a threat to the crew. We can speculate

that the ship becomes an entity, with a mind of its own, and therefore takes over

the role of the main protagonist or in this case, the main antagonist (Hardy, Kukla

183).

Another essay which is also important to my thesis is simply titled “The Brain of

Einstein.” According to Barthes, Einstein possessed brains which were a mythical

object, a true museum exemplar and a machine which produced mathematical

thoughts. After Einstein’s death, the world immediately recognized him as a

symbol of knowledge. The author magnificently describes Einstein’s potential. He

says that the universe is a safe, and only one person came near to crack the code.

Einstein itself became a myth after his death, because he dreamt the most

contradictory dream, which was man’s infinite power against nature (Barthes 70).

Same “mythical proportions” can be applied to another genius who inhabits

another (fictional) universe, Mr. Spock. He also possesses some extraordinary

abilities which make him a genius. Since this is a science fiction show, Spock

performs multiple roles across the series. He is an extraordinary science officer

and first commander, later in the movies he becomes a captain, and in the end of

the series he devotes himself to the role of an ambassador. Spock is also known as

an A-7 computer expert and as an innovator of time travel methodologies (he

25

invented the “warp drive cold start” and the “slingshot” maneuver, which

propelled a Klingon Bird-of-Prey back in time) (Star Trek IV, 1986).

In the essay “Plastics” we find out that this material symbolizes the myth of

imitation, because it can imitate silk, fur and silver. It is a modern equivalent of

alchemy. The same can be said for the replicator aboard any starship in the Star

Trek universe. A replicator can, “dematerialize quantities of matter and then

rematerialize that matter in another form” as stated online (en.memory-

alpha.com). In the series and movies, that meant that the crew was never thirsty or

hungry, because the main purpose of the replicator was to produce food and

beverages. Nonetheless, in a worst case scenario it could malfunction or run out of

energy, because of the depleted dilithium crystals. The resemblance between these

two objects is fascinating; therefore the myth of imitation can be applied to both

of them (Barthes 98).

The last example which is also crucial in my thesis is the myth of the Jet-man or

the jet pilot. Barthes defined him as a new species of man, easily recognizable by

“the anti-G suit and the shiny helmet”, so that even “his own mother wouldn’t

recognize him.” For the author he is more of a robot than human and ultimately,

the next evolutionary step of the human kind. The Jet-man experiences speed on a

whole new level, he “devours space” and is “intoxicated” by motion. He is not

like the traditional hero (compared to heroes in literature, art and movies) who can

fly, but a celestial race born from the “anthropological compromise” between

humans and aliens (Barthes 71).

For the creators of the Star Trek series, a myth like this seemed quite plausible

for the distant future, because they created the United Federation of Planets, and

with it various races which show all the signs of a “Jet-man” prototype. Humans

for example, have evolved further up in the “evolutionary chain”, because they

thrive towards self-improvement and self-enrichment, consequently abandoning

the needs of money and other materialistic needs. People on Earth in the 23rd

century are no longer obsessed with accumulation of different things; they also

effectively eliminated hunger and the need for possessions. In conclusion, we

26

clearly see that these two examples of “uber-menschen13” are very alike; therefore

they share the same myth.

3. EMPIRICAL FRAMEWORK

3.1 Star Trek film franchise

Paramount Pictures planned to develop the Star Trek franchise further, because of

the successful science fiction movies of that time (Star Wars, Close Encounters of

the Third Kind); therefore they decided to launch Star Trek: Phase II, which

would include a new and reimagined crew of the original Enterprise. But because

of the viewer ratings, which were not adequate in the last season of TOS,

Paramount decided to turn Phase II into a standalone movie. Nevertheless, the job

was not easy, because Paramount had to lobby with Gene Roddenberry and

additionally, reunite all the actors after ten years. In the end, the first film

premiered in 1979, and began an era of Star Trek movies which lasted until today.

Between 1979 and 2013 there were twelve movies, a short description for each

one is given below (the thirteenth movie is still filming, and will premiere next

year, which will mark the 100th anniversary of Star Trek). Interestingly three

major spin-off series were never transformed into motion picture format. Star

Trek: Voyager ended in two episodes called Endgame, which concluded the whole

series. The continuation was therefore explored in novels and fan-fiction. Star

Trek: Deep Space Nine ended with major plot conclusions and the departure of

various main characters. The movie would therefore require a significantly

different cast, which would radically depart from the existing one, consequently

resulting in losing a huge fan base the cast has received during the years. Star

Trek: Enterprise (the “youngest” series) also ended with little or no probability for

future movies, nevertheless cameos of actors across all the four spin-offs appeared

in several Star Trek movies. The most recent and fan favorite was definitely the

13 Uber-mensch: Nietzsche`s philosophical concept of a higher being, seen in his novel Thus Spoke Zarathustra.

27

“old Spock” (Leonard Nimoy) “new Spock” (Zachary Quinto) meeting in Star

Trek from 2009. An interesting fact found at the en.memory-alpha.com database

revealed that all the movies together (not taking inflation into account) grossed

over $ 1,624,963,755. From all the movies, Star Trek IV grossed the most in total

$ 109,713,132, but was latter surpassed, first by Star Trek: First Contact, and

altogether by the two new reboots, Star Trek (2009) and its sequel Star Trek: Into

Darkness (2013).

Star Trek: The Motion Picture (1979). The crew from the Original Series

reunites after a five year mission, aboard a new and refitted Enterprise-A. Kirk

now promoted to admiral, must once again take control of his ship in order to

engage an unknown and powerful entity know as V`Ger, that is heading directly

towards Earth. Old and new crewmembers must work together to overcome the

unknown. The movie received the worst reception altogether. Fans and actors

(especially Nimoy and Shatner) complained about the slow pace and the

exaggerated use of special effects. Nevertheless, some reviews and critiques were

positive in addition to a quite successful box office, so that the movie franchise

could continue.

Star Trek II: The Wrath of Khan14 (1982). Admiral James T. Kirk is

reintroduced to an old enemy from a popular TOS episode called “Space Seed.”

At the end of the universe lies the vengeance of Khan Noonien Singh, who

escaped his exile on the planet Ceti Alpha V and is now determined to hunt Kirk,

all across the galaxy. He comes into possession of a powerful “terraforming”

instrument called the “Genesis device” and turns it into a weapon. The cost of

victory for the Enterprise may prove to be too high.

Star Trek III: The Search for Spock (1984). Kirk and his closest friends find out

that Spock is alive on the Genesis Planet. They hijack the damaged Enterprise and

disobey direct orders, just to retrieve their companion. In the meanwhile, a

Klingon captain decides to unveil the secret behind the “Genesis torpedo” and 14 Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home together form a trilogy.

28

with it endangers Kirk`s mission, the ship, the crew and Spock himself. Kirk has

to sacrifice everything to save Spock.

Star Trek IV: The Voyage Home (1986). While Kirk is prepared to face the

consequences for rescuing Spock and losing the Enterprise, a new threat arises in

our corner of the galaxy. A space-probe of unknown origin transmits a signal,

which drains every ship and space station of its power. Our crew must travel back

in time in an old Klingon Bird-of-Prey, to solve an ancient mystery. An

endangered Earth species holds the answers, which could help save the Federation

in the future from certain doom.

Star Trek V: The Final Frontier (1989). Spock`s older half-brother Sybok, who

is seeking experience and knowledge which is forbidden by Vulcan belief, hijacks

the Enterprise, to undertake a journey to the center of the galaxy in order to find

the source of all creation, God.

Star Trek VI: The Undiscovered Country (1991). An enormous explosion

cripples the Klingon home world and its moon Praxis, leading to peace talks with

the Federation. Conspirators arise on both sides and disturb the process with the

assassination of the Klingon Chancellor. In a rescue attempt Kirk and McCoy end

up as prime suspects. Now the crew of the Enterprise and the Excelsior must join

forces to uncover the truth, before the conspirators push the Federation into a war

with the Klingon Empire.

Star Trek VII: Generations (1994). The cast of The Next Generation is reunited

on the big screen, less than a year after their final episode (“All Good Things…”)

aired. This time Picard and the crew of the Enterprise-D must stop Dr. Tolian

Soran, from committing an act of genocide in order to reach the Nexus, an

anomaly in space-time, which resembles a hedonic realm, where all dreams and

desires come true. The movie also features brief appearances of, now almost

legendary, Trek characters like Kirk, Scotty and Chekov. The most memorable

moment of the film is definitely the heroic and sacrificial death of Captain Kirk

and the destruction of the Enterprise-D. Nevertheless, Kirk`s death was not in

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vain, because he ensured that the “torch was passed” from the old generation to

the new.

Star Trek: The First Contact (1996). Six years after Captain Jean-Luc Picard was

abducted and integrated into the Borg collective as Locutus, this evil alien menace

is back again to assimilate the Federation, into its collective. This time they travel

three hundred years back in time, to the point when Zefram Cochrane is preparing

to launch the first warp capable ship. The Borg are planning to destroy the

remnants of the human civilization after the third World War, and repopulate the

planet with their own “drones”. Picard follows them into the time vortex, and after

an intense fight with the Borg emerges victorious. He ensures that the first

contact, between humans and Vulcans` is a success. The future is safe, once again.

Star Trek: Insurrection (1998). The peaceful Ba`ku live on a planet which

regenerates their cells, providing them with eternal youth. The Son`a and the

Federation, plan to exploit the planet for their own interests. Picard and his crew

must rebel against the Federation, to ensure the safety of this Eden planet.

Star Trek: Nemesis (2002). The final journey of “the next generation” begins,

when the Enterprise investigates the fall of the Romulan government. The

previous leader is “replaced” by Shinzon, a human of unknown origin. Shinzon

first deceives Picard into thinking that the Romulans want peace with the

Federation, but later draws Picard into a personal conflict, which leads into a fight

to save the Earth from a terrible weapon of mass destruction. With the death or

departure of many well-known characters like Riker, Troi, Data and Crusher, this

film marks the end of the TNG cast`s adventures. It also concludes the most

important conflict of the series, the war between the Romulans and the Federation.

Star Trek (J. J. Abrams 2009 reboot). A supernova explosion throws two ships

into a black hole, and they emerge in the 23rd century, altering the course of

history. In this timeline, James T. Kirk becomes a brilliant, but cynical young

adult, who is finally convinced to join the Starfleet by Captain Christopher Pike.

Years later, cadet Kirk, a Vulcan first officer named Spock and the young crew of

the new flagship USS Enterprise, are faced with a threat from the future. A

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Romulan criminal known as Nero is planning to destroy the Federation, to satisfy

his personal vendetta.

Star Trek Into Darkness (2013 sequel). A young and unexperienced crew with its

new captain is tasked to find a terrorist, who comes from within the Starfleet. Kirk

leads a manhunt to the Klingon home world Qo'noS, to capture the fugitive called

John Harrison. Harrison also known as Khan is actually a “relic” from the past

who was in cryogenic slumber for four centuries, and was now awoken by a secret

branch of the Starfleet called “Section 31.” They are planning to arm the

federation against the Klingons using his superior intellect. Khan soon realizes

that the Federation is using his old crew from the past, as leverage, therefore

decides to seek revenge. Kirk and Spock must overcome their differences and join

forces to stop Khan, even though they will have to pay the ultimate price.

4. INDIVIDUAL MOVIE ANALYSIS

In this part, I will focus on combining the theoretical aspects from chapters 2.2,

2.3 and 2.4 with the comparative, correlational and descriptive types of quantitate

research methods. These methods will allow us to compare and describe different

myths across the Star Trek movie franchise. The basic method will be to examine

each movie, identify the primary, secondary and/or tertiary myth and analyze it

with the according theory. The collected data will be displayed in form of an

explication of a specific myth.

4.1 Star Trek the Motion Picture

In the movie conclusion, we observe how the main characters: Kirk, Spock,

McCoy and commander Decker discover the truth behind the unknown entity,

which threatened to destroy the Earth. In the core of the “cloud” is an old Earth

probe called Voyager 6 (because of the smudge, the only letters visible were “V G

E R”), which was launched from NASA in order to gather and transmit data back

to the communication center. Nevertheless, the probe was sucked into a black hole

and once it reemerged, it became caught in the gravity of a large machine entity,

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which thought that Voyager was “one of their own kind.” Therefore, the machine

interpreted the probes mission literary and began a millennia long voyage to

gather information and in the end deliver it to its “maker”. The most important

piece of information, which is provided by Kirk, is that the probe gathered a

tremendous amount of data during its voyage, so that in the end, it developed its

own consciousness. In the movie conclusion, the machine joins with its creator,

commander Decker merges with the probe imitating lieutenant Ilia, and the crew

witnesses the evolution of a new species.

Particularly the scene in the end of the movie, is hinting at the probability of a

myth, which was described in Barthes` essay called “The Nautilus and the

Drunken Boat.” In chapter 2.4 I described the myth of the ship, which in the

author’s perspective means that an object, when observed from certain

perspective, becomes self-aware. We can therefore imply the same principles to

V`Ger. It was its journey and purpose, which made it possible to self-improve and

self-evolve, and in the end become an autonomous new species. The role of

humans in both examples is also of utmost importance. Aboard the Nautilus,

Captain Nemo was the master and the ultimate authority; the same can be said for

the Voyager probe, because it was also constructed by scientists, who gave it its

primary function. From another perspective it was pure coincidence, which led the

probe into a black hole and therefore enabled the machine entity, to influence and

change its primary function. Another interesting factor is the role of V`Ger,

throughout the movie. At the beginning it has the obvious role of the main

antagonist, who harms and disables ever ship, with which it comes into contact.

Its only path is straightforward, with the objective to gather information,

regardless of the consequences. However, once it comes into contact with the

main protagonist, the crew of the Enterprise, its role changes. By the end of the

movie, once the machine has found its true creator, and its mission is complete,

“the antagonist” redeems itself and becomes something entirely different, a new

life form with no harmful intentions, which has achieved the next evolutionary

step of existence.

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Another myth, which could be applied to this movie, but with certain variations, is

the myth of the hero. A hero’s path is according to Campbell defined by his

actions, which are: to leave our world, encounter the supernatural world,

overcome or destroy any obstacles and return back with powers and new

knowledge about that world in order to inspire and help people. In Star Trek the

Motion Picture lieutenant Ilia undergoes a similar transformation, but with certain

deviations. She leaves our world (not voluntarily, but by force) when she is

captured by V`Ger and transformed into a synthetic life form (a sophisticated

android with human memories), to observe and study the “carbon-based units”

(humans aboard the Enterprise). Instead of encountering a supernatural world, she

encounters a world made by an artificial intelligence. The human form of Ilia does

not exist anymore, according to V`Ger, therefore no obstacles can be overcome in

the mythological sense. Nevertheless, Ilia (now V`Ger`s probe), did return back to

the ordinary world with new powers, abilities and knowledge, like for example:

abnormal strength (in one scene she bursts through a closed door), almost infinite

knowledge about our galaxy which V`Ger possessed, and at last the memories of

the original, human Ilia that the probe replaced. Lastly, I would also like to point

out that in theory heroes emerge in desperate times, when people need them. Here,

the “quasi-hero” Ilia emerged in the exact moment, when the captain and the crew

needed some sort of a mediator, who would help them to understand and resolve

the critical situation with was caused by the unknown entity.

4.2 Star Trek II: The Wrath of Khan

"I've done far worse than kill you. I've hurt you. And I wish to go on hurting you. I shall

leave you as you left me. As you left her. Marooned for all eternity at the center of a dead

planet. Buried alive...buried alive.” - Khan, to Kirk.

"KHAAAAAAAAN!!!" - Kirk, in enraged response. (Star Trek II, 1982)

From all the Star Trek movies, this one is considered a classic by many fans. The

ultimate showdown between the Enterprise and the Reliant in the Mutara Nebula

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marks definitely one of the best battle scenes in the whole franchise, because it is

portrayed as a slower, close quarter combat, between two starships of the same

alliance, with two commanders showing off their skills and abilities in order to

win the battle. The main myth of the movie is definitely revolving around these

two persons, and their history in Star Trek. We could say that Captain Kirk

represents good, while Khan15 represents evil in this movie. He is driven by

revenge, directed to Kirk`s actions as he left him on the desolated planet of Ceti

Alpha V, because of his attempt to overthrow him and take command of the

Enterprise (TOS: episode “Space Seed”). The protagonist and antagonist are both

clear examples of an ancient myth of good vs. evil which can be traced back to the

Bible, especially in the verses found in Genesis, Revelations, Matthew`s gospel,

John`s gospel and Isaiah`s gospel. It is also very intriguing that Khan was

essentially good, but humans genetically engineered him to become a “superior

breed, with superior ambitions” (we can again recognize a Biblical reference to

the angel Satan, who was banished from heaven).A similar reference can be seen,

right before Khan is exiled and a female crew member (who later becomes his

wife) joins him. He quotes John Milton’s Paradise Lost: “It is better to Rule in

Hell, than serve in Heaven” (1667).

Another important similarity can also be seen, when comparing Khan, with

Barthes`s myth of the Jet-man. Khan, would be in Barthes`s eyes a perfect

candidate for the “next revolutionary step” in human evolution. He possessed

abnormal physical strength and analytical capacities, which outmatched humans

in every way. He was also “created” from the genes used from a vast variety of

Earth`s ethnic groups, which consequently reflects the mentality of the Star Trek

creators implementing it in the human society of the late 22nd and 23rd century,

described in the last section (chapter 2.4). Nevertheless, we must note, that Khan

was created prior the 1990s, according to his personal file found online. He also

ruled over a vast territory on Earth during that era and controlled more than 40

nations. During his reign, he became a major participant in the Eugenics Wars,

which were fought among other augmented tyrants. As a clear example of a “Jet-

15 The name itself, reminds us of the great conqueror Genghis Khan: founder and emperor of the Mongol empire in central Asia during the 14th century.

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man prototype”, Khan chose the best option for survivor, when the war was not

ending in his favour. He deliberately chose self-exile, for his people, which

enabled them to survive.

During the initial stages of the movie, Khan comes into the possession of a

powerful “terraforming” device called the “Genesis device”, which originated

from the same project, founded by Dr. Carol Marcus. This device bears all the

characteristics of an object myth. It symbolically expresses birth (or rebirth),

which is achieved with the technological advances of the 22nd century.

The device rapidly terraforms an uninhabitable planet, moon or planetoid, which

is then prepared for colonization. The device itself is shaped in the form of a

torpedo, which upon impact causes an enormous explosion, and reduces the entire

area to a subatomic level. After the explosion, the desired configuration starts to

shape the object, creating an atmosphere and habitable environment for humans or

other live forms, within a short period of time. According to Dr. Marcus, the

Genesis Project consisted of three phases. Phase one was conducted in the

laboratory, phase two, was launched inside a dead planetoid (and turned it

habitable), and initially phase three, was to find a suitable lifeless planet, which

could be terraformed. Nonetheless, if any indication of live would be found on the

“test subject”, this form of live would be eradicated and replaced with the one in

the device`s matrix. David Marcus (son of J. T. Kirk and Carol Marcus), was

aware of this threat, and was against the cooperation with Federation. His fears

became reality, during the confrontation with Khan, because he used the device as

a weapon (en.memory-alpha.com).

If we now refocus on the mythical meaning of the Genesis device, we first

uncover the similarity to yet another Biblical reference, the Book of Genesis

(origin, beginning, creation) in which God created the world and mankind in his

image. In The Wrath of Khan this exact piece of information is being referenced

by Dr. McCoy, only with a pinch of sarcasm: “According to myth, the Earth was

created in six days. Now, watch out! Here comes Genesis! We'll do it for you in

six minutes!” (McCoy in a discussion about the Genesis torpedo) (imdb.com).

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No matter how funny or sarcastic this quote may seem it contains an important

clue, which leads us to a challenging moral question: are we allowed to possess

such power and knowledge? Are we ready to step into the shoes of God? Topics

like this were always an important part of the franchise, and they were addressed

from the early episodes on, with the intention to send an important message to the

people with the help of the modern media. In the case of the Genesis device, this

answer was given, when Khan detonated the torpedo, and the surrounding nebula

rapidly transformed into a planet, new live was created and humans finally

achieved a godlike status, but not for long. According to David Marcus, the planet

started to “evolve” too fast, and this caused its core to become extremely unstable,

resulting in a cataclysmic event, which ultimately destroyed the “newly born”

planet Genesis. We can evidently assume that the answer, to the previously set

question was found. Humans are not (yet) ready to take the mythical role of their

creator, because there are some things which are not meant to be tempered with.

In summary, we can say that the creators of this movie symbolically hid a strong

message about our existence, the cosmos and our nature, within a myth which will

definitely transcend through space and time.

4.3 Star Trek III: The Search for Spock

"And Enterprise feels like a house with all the children gone. No, more empty even than

that. The death of Spock is like an open wound.”

- Kirk's personal log (Star Trek III, 1984)

The main quest of our crew in this movie, is to find Spock`s body and reunite it

with his soul or katra which was stored in the mind of Dr. McCoy. Therefore two

myths can be immediately recognized in the movie: the myth of resurrection

(which is according to the theory, actually the myth of the hero) and the myth of

the object, the forbidden planet Genesis. The mythical hero appears on screen

rather late in the movie; nevertheless the whole plot is focused around this “absent

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friend” as the crew refers to Mr. Spock. Let us again review all the steps which a

traditional mythical hero must undertake in order to prove him or herself: first

there is the journey outside our world, second the confrontation with the

supernatural, third the overcoming of it and last the journey back to the physical

world. Now, let us focus on Spock`s journey and his resurrection. His journey to

the outside world began shortly after the Enterprise declared him dead and

launched him in a torpedo tube to the planet Genesis. This planet turned out to be

the supernatural, because it rapidly evolved from the stage of a “volcanic rock” to

a habitable planet with a breathable atmosphere. The only obstacle, which Spock

had to overcome during the time he was on the planet, was accelerated aging,

because Vulcans do not age the same as humans and therefore Spock had to

undergo certain rituals, which would normally take him several decades. One of

them is the mating ritual called “pon far”, which Spock was “forced” to do,

regarding the circumstances, with Lieutenant Saavik, otherwise it would meant

certain death (to be exact, an adolescent Vulcan could die within eight days, if the

ritual is not satiated). Spock`s journey was still not complete; even if his body

reached the exact age he had before his death. The missing link in his “hero

journey” is the final step (returning to the real world, and aiding the people),

because his body still had to join his soul. Ultimately, this was achieved on

Vulcan, when McCoy and Spock`s body underwent the “fal-tor-pan” ceremony,

resulting with his total recovery. Similarities can again be drawn with the Biblical

myth of resurrection. Jesus Christ was resurrected by God, during the events after

his crucifixion, as stated in the New Testament. Today, Christians celebrate the

Easter Sunday holiday, which also marks the time of the spring equinox. The

word itself is mentioned in several gospels from the Bible, including these two

vivid examples:

Jesus said to her, “I am the resurrection and the life. Whoever believes in me, though he

die, yet shall he live” (John 11:25);

If the Spirit of him who raised Jesus from the dead dwells in you, he who raised Christ

Jesus from the dead will also give life to your mortal bodies through his Spirit who dwells

in you” (Romans 8:11).

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When comparing the character of Spock to Jesus Christ, another similarity

immediately comes into play. In the end of Star Trek II, Spock sacrificed his own

life to save the ship and the crew from total annihilation; therefore he is a symbol

of martyrdom, the same as Jesus Christ was punished and died for our sins, during

his crucifixion. A strong correlation is therefore seen in this motif, which can

definitely be distinguished from any other in the movie franchise. In the previous

myth analysis we did not pay any special attention to the planet itself, which

certainly has some mythological features. The meaning of the name Genesis was

analyzed in the previous movie, when we talked about “the device”, but let us

now focus on the planet itself, as a mythological object. The planet has some

extraordinary mythological features, for instance: it was miraculously created by

an experiment, it had the power to resurrect dead life forms, it also enabled simple

organisms (such as germs) to evolve at a rapid pace. Nevertheless, this mythical

“powers” came with a price. As a results of a human mistake, the planet`s core

became unstable. The co-creator of the Genesis project, David Marcus admitted

that his team of scientists used protomatter (a highly dangerous and unstable form

of matter) to solve certain fundamental problems in the early stages of the project.

Therefore, we could say, that in the end it was a human error which caused the

planet to explode. The question which arises is: did the Genesis planet possess all

the characteristics of a mythical object? At some early point it did, but we have to

emphasize that it is not in our nature to play the part of our creator; therefore this

mythical sky object was condemned to be doomed, right from the beginning.

4.4 Star Trek IV: The Voyage Home

"There are other forms of intelligence on Earth, Doctor. Only human arrogance would

assume the message must be meant for man.”

- Spock, on the probe's transmissions (Star Trek IV, 1986)

The Voyage Home marks the first attempt to travel back in time in the movies,

although the same technique (the “slingshot maneuver”) was used in episode

“Tomorrow is Yesterday” (TOS). Unfortunately we cannot directly link this event

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to a specific myth. Instead we will focus on another important message in this

movie, the relationship between humans and nature.

The unknown alien probe emits a signal that only a specific species of whales can

decipher and answer back; consequently our crew must find these animals in the

past, since they became extinct in the 21 century because of overhunting. In

reality, this was an important topic, because in 1986 a moratorium on whale

hunting should supposedly take effect, but Japan, Iceland and Korea continued to

hunt as before, under the loophole of “scientific research” (cgeorgemuller.com).

This is implied in the end of the movie, where the “Bounty” (the Bird-of-Prey)

catches some Norwegian whale hunters just off the coast of San Francisco, and

beams the two humpback whales to the cargo bay.

If we now return to my analysis, we can clearly define the humpback whales from

1986 as Supernatural Beings (according to Beane and Doty), because they possess

all the components of a myth. Firstly, they are an intelligent species like the

dolphins, orcas and other marine animals. Secondly (and most importantly) they

are the only media, which can successfully communicate with the unknown probe

and lastly, they are the true saviors of our species, because, once the Bounty

successfully returns to the future and the whales are released in San Francisco

bay, the probes hostility immediately ends, and it leaves our solar system. The

transmitted message was understood. Finally the “arrogant” human species has to

show gratitude to a “less evolved” one. We could also say that for the probe, the

whales were something sacred, which the probe trusted and believed in. Therefore

their return was for them considered as a passage from the sacred into the real

world.

4.5 Star Trek V: The Final Frontier

"Who is this creature?"

"Who am I? Don't you know? Aren't you God?"

- "God" and Kirk (Star Trek V, 1989)

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The question regarding the existence of a “higher being” or a God was asked a

million times by many individuals originating from all races and religions. In Star

Trek V, the journey will take us straight through the “Great Barrier” and right to

the center of the galaxy or as Spock`s brother calls it “Sha Ka Ree”. Sybok is not

a typical Vulcan; he has abandoned their tradition and decided that emotions were

the key to self-knowledge. He was later banished from Vulcan, because he has

tried to influence others with his worldviews. Nevertheless, this character is the

key in understanding the myth behind the movie. The myth of “God” came into

existence because humans needed some sort of explanation for the unknown, like

for example: thunder or lighting. For ancient primitive cultures, the simplest

explanation was that these were the signs of a higher being, wreaking havoc upon

them. In the movie, they took the idea of looking for God literary; therefore we

could say that the crew tried to uncover the truth behind the myth. Unfortunately

the truth Sybok and the others were seeking was not so pleasant. Once they arrive

at the center of the galaxy, a planet appears on the view screen. For Sybok this is

“Sha Ka Ree”, the Klingon ambassador views it as “Qui`Tu” and the ambassador

from Earth simply calls it “Eden”. They immediately beam to the planet`s surface,

where they meet “God”. Sybok is convinced that this is what he has been

searching for his entire life, but Kirk is not so easily persuaded. The mystical

being presents itself as “God”, but commands them to bring their ship closer to

the surface. Kirk recognizes that something is off; therefore he asks “God” why

does he need a ship? The being becomes enraged and starts to attack them. The

entity then reveals its true intentions. It is actually a “prisoner” of the galactic core

which planned to escape from this planet, back to normal space. Sybok, realizing

his mistake, sacrifices himself so that the others can escape. As we see, the

message of this movie was meant to be simple, but at the same time complex.

Humans are not ready to step up and face God, but when will we be ready?

Maybe the suggestion for this lies further in the future, as the creators of the show

anticipated for the people of the 24 century or as Barthes puts it “when we will

climb to the next revolutionary step of the human evolution.”

On a complete side note and as an interesting fact, the movie received extremely

unsatisfactory critiques. The movie`s US box office was so low, that in some

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countries it wasn’t even distributed in theaters, but only on VHS. According to

en.memory-alpha.com it also “won” the 1990 Razzie award for “Worst Picture”,

“Worst Actor” (Shatner) and “Worst Director.”

4.6 Star Trek VI: The Undiscovered Country

"I've never trusted Klingons and I never will. I can never forgive them for the death of my

boy.”

- Kirk, recording his personal log (Star Trek VI, 1991)

Star Trek VI story is actually a conclusion from the Klingon vs. Human`s arc

episodes which originate from TOS. In this movie we find numerous references

from literature as well as from other media, which we will closely inspect later.

The topic or the main theme of the movie is peace and the battle, which our crew

must win in order to save the future of the Federation. It is difficult to precisely

determine an underlying myth; therefore we will talk about the myth of war and

peace from the characters perspective. For some of them, this was almost

impossible to achieve, therefore Kirk and the rest of the crew tried their best to

“debunk” the myth. The Federation and the Klingon Empire have long craved for

peace and with the Praxis accident that goal seemed at the reach of a hand.

Unfortunately, some individuals were afraid of the future and their plan was to

sabotage the peace treaty right from the beginning. In the middle of this is Kirk

who escorts the Klingon chancellor back to Earth. Also for him, the idea of peace

was initially a myth, because his only son was brutally murdered by a group of

vicious Klingon`s during the Genesis incident. Nevertheless, it is the death of the

chancellor (which was a construct to put Kirk and McCoy into prison) that

changes his mind and he starts to think that someone doesn’t want a future with

the Klingons; even though this seems to be the answer for intergalactic peace.

Therefore we have two sides, one representing peace and the other war. The main

conspirator, General Chang drives the Enterprise into a dangerous game of cat and

mouse, with his ship having the upper hand (because of the cloaking device). His

quotations from Shakespeare’s Hamlet, Julius Caesar, The Merchant of Venice,

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Richard II and King Henry V provide us with an insight of his destructive

behavior. For example during the battle he says: “Cry havoc! And let slip the dogs

of war!" (Julius Caesar) pointing out that he wants revenge for the Empire, and

that he wants to bring chaos to the Federation. On the opposite side, we have

chancellor Gorkon, who was the “founding father” of this idea. During his stay

aboard the Enterprise he proposes a toast quoting Hamlet: “To the undiscovered

country… the future,” which strongly suggests that he and his followers believed

in a future without war. Ultimately the conspirators were reveled, among them

high representatives of the Federation and Romulan government and brought to

justice, leading to the successful conclusion of the peace conference at Camp

Khitomer. All nonbelievers, who couldn’t accept the idea of peace were ultimately

proved wrong by Kirk and Gorkon`s acts which secured a peaceful future.

4.7 Star Trek: Generations

Captain of the Enterprise?"

"That's right.”

"Close to retirement?"

"Not planning on it.”

"Let me tell you something. Don't. Don't let them promote you. Don't let them transfer

you, don't let them do anything that takes you off the bridge of that ship, because while

you're there, you can make a difference.”

- Kirk and Picard (Somewhere in the Nexus, Star Trek: Generations, 1994)

The first movie that features the crew of The Next Generation with appearances of

the classic Trek legends is something special. The most emotional part of the

movie, which definitely shocked many fans when they first saw it, is the

sacrificial death of Captain J. T. Kirk. The developers all agreed on the idea and

they kept it, until the end of the production cycle. My analysis will focus on the

main theme of the movie, the Nexus. According to Guinan (a character played by

Whoopi Goldberg) the Nexus is an energy ribbon in which time has no meaning.

She describes the experience as “being inside joy” and as if “joy was something

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tangible and you could wrap yourself up in it like a blanket.” She also introduces

us to the main antagonist of the movie; Dr. Tolian Soran who presents a

dangerous threat, because of his obsession with the Nexus. Since the energy

ribbon appears only once every 39.1 years, Soran uses extreme measures, like

destroying the Amargosa star to achieve gravitational changes which

consequently alter the course of the ribbon. Soran is determined to enter paradise

at any cost. Here we can immediately identify the central myth of the movie, the

myth of the afterlife, which is as old as humanity itself. According to the theory

the myth can be categorized as a cosmic myth.

The Nexus bears all the characteristic of a typical afterlife, like for example

heaven. This concept of a transcendent place exists in various faiths and religions.

The Egyptians called it Aaru, the Islam calls it Jannah, the Buddhists Samsara

etc. This myth helps humans to overcome their mortality, and prepares them for

the inevitable death. Heaven is populated by gods, angels, saints and other divine

beings, and is considered as the highest place in the Christian hierarchy. It can be

exceptionally accessed by believers, with the help of various religious standards

like divinity, goodness, faith or simply by the will of God. It is interesting that in

Star Trek, this was achieved by a human. They say that in heaven all our wishes

and desires will come true; the same goes for the Nexus, but with a slight

difference. Inside it, one can reshape reality to visit any place at any time. For

example Picard`s version of Nexus was of a family he never had. He celebrated

Christmas with his wife, two sons and three daughters. With them was also his

nephew Rene, who tragically died in reality, during the beginning of the movie.

Kirk`s version, on the other hand, was that he was reunited with his dog Butler

and he had a chance to propose to Antonia, a lost sympathy from the days before

he joined Starfleet. Later he was instantly transported into his uncle`s farm in

Idaho, where he went horseback riding. Unfortunately we never found out how

the other crew members and Dr. Soran experienced the Nexus, because we see

them just before the energy ribbon hits the planet. Every sensation eventually

ends, and the Nexus is no exception. In the movie`s conclusion, Picard convinces

Kirk to help him stop Soran and to save millions of innocent lives from the planet

Veridan IV. Once he agrees, they travel back through the Nexus to the point

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where Soran is about to enter it, and prevent him from altering the course of the

energy ribbon to the planet. At this point we realize the major difference between

the myth of heaven and the Nexus. The Nexus is a fictional yet natural

phenomenon in a science fiction universe, but it is ultimately controlled and

influenced by a human, while heaven is a place which cannot be defined nor

controlled in any way. Yet again the question remains, is there a heaven in the

first place? The answer would most probably differentiate from believers and non-

believers. Nevertheless, who am I to judge what to believe in and what not.

4.8 Star Trek: The First Contact

“Resistance is futile.”

- The Borg

The First Contact is a title which is familiar even to non-Trek fans who

considered it as an action movie with great character chemistry. During its release

it received a lot of positive critiques and in addition, the box office number was

also the second highest in the history of all Star Trek movie franchise. This is the

second movie which adopts the idea of time travel. It is more successfully

developed than in Star Trek IV, because it deals with a crucial time period

(humans first warp flight) which signifies the birth of the Federation.

Nevertheless, the main aspect of the movie is the ultimate evil which hunts Picard,

the Borg. He was the first person who successfully returned and rehabilitated from

their assimilation into the collective. His experience and knowledge about this

cyborg race of conquerors was a unique asset in the battle of Sector 01. His

involvement in the battle was a regulation of several Starfleet orders, but

ultimately he helped to save the entire human race. From here on we shall take a

closer look at the core concept of the Borg, as the main myth of evil in this Star

Trek movie.

We know that the Borg originated from the Delta Quadrant of our galaxy and that

they are linked into a single “hive mind” called the “Collective”. They are

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controlled by the Borg Queen and that concept reminds us of the beehive

hierarchy. This quotation brilliantly summarizes the philosophy of the Borg:

"We are the Borg. Lower your shields and surrender your ships. We will add your

biological and technological distinctiveness to our own. Your culture will adapt to service

us. Resistance is futile.”

Here we see that this race has only one goal, to assimilate every less superior

species into their own collective, so that it becomes stronger and more numerous.

With their advanced technology, they are striving towards perfection. Since the

Borg assimilate countless examples of species, they refer to each other in numbers

(probably the most famous Borg drone was “Seven of Nine” from Star Trek:

Voyager). Once a species becomes assimilated, the superb nanotechnology16 starts

to change the host in various ways. The most common is with the growth or

surgical integration of different mechanical implants into the body, depending on

the drones function inside of the collective. A Borg drone is almost invulnerable

to a standard Starfleet phaser weapon, since it possesses the unique ability to

shield itself and adapt the shield frequency to match it with the phaser`s. It is also

interesting that they ignore species and cultures which are not a threat, or are not

worthy to be assimilated. Rarely the collective chooses a single drone to represent

them. This happened to Jean-Luc Picard, when he was transformed into Locutus

in an attempt to lower the Federation`s resistance to assimilation. The Borg also

possessed a near obsession with assimilating the “Omega Particle” (a highly

unstable form of molecule, believed to be the most powerful substance in

existence) which was considered to express perfection. The Collective praised and

worshipped it as a form of religion. The only known nemesis to the collective was

the Species 8472 which originated from a dimension called “fluidic space” (Star

Trek: Voyager, episode “The Scorpion”).

If the Federation with its ideals presents the good, then the Borg with their plan of

total domination present pure evil. The only ambition for them is to evolve

further, but with the cost of entire star systems crashing beneath them. They

16 Nanotechnology is the study and application of extremely small things across different science fields like: chemistry, biology, physics, etc.

45

present the ultimate adversary against Picard and the Federation, even though the

Federation is less technologically advanced as the Borg. In the movie, they try to

assimilate a less populated Earth during the aftermath of World War III and when

they fail, because of Picard`s involvement, they want to prevent the First Contact

by destroying the Phoenix during its first warp jump. In both cases, they realized

that Federation is not as weak as at seems, because either way, their targets were

“sitting ducks” in comparison to the starship fleet of the 24th century. Their only

motivation is self-improvement, self-preservation and the notion of being the most

superior race in the entire galaxy. Nevertheless, it is also almost ironic how

similar and yet so distant are the concepts of the Federation in comparison with

the Borg. The Federation also “assimilates” new members into their “collective”,

but by peaceful resorts such as diplomacy and free will choices among new

perspective alien candidates. The Borg accomplish this by force, because they do

not “ask politely” if a new alien race wants to join them, but instead they

assimilate them without any remorse. We could say that they present two sides of

the same medal and that the Borg function as a constant adversary in the world of

Star Trek. Like in many ancient myths about good and evil, in the end the good

always triumphs. In The First Contact`s supreme finale Picard and Data overcome

the vicious and cunning Borg Queen and secure the normal flow of the future.

4.9 Star Trek: Insurrection

The conquest of the earth, which mostly means the taking it away from those who have a

different complexion or slightly flatter noses than our-selves, is not a pretty thing when

you look into it too much. What redeems it is the idea only. An idea at the back of it; not

a sentimental pretence but an idea; and an unselfish belief in the idea – something you

can set up, and bow down before, and offer a sacrifice to.

(Joseph Conrad: Heart of Darkness, 1899)

Insurrection deals with topics which are addressed in many different literature

works throughout the history. In my analysis I will first concentrate on the myth

of heaven (which was already described in Star Trek: Generations) and later

continue with the most important aspect of the movie, the Federation`s and the

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Son`a`s attitude towards the Ba`ku (an alien race from a region of space known as

The Briar Patch). In this section of the analysis, I will rely on the studies about the

“Islamic Near East” as described in Edward E. Said`s book Orientalism.

The peaceful Ba`ku have during many decades evolved to the next level of their

alien evolution. They decided to abandon the technological achievements of space

exploration in order to live a simple live on a planet, which is surrounded with

rings that hold an enormous concentration of metaphysical radiation, which

continuously regenerates their cells, providing them with almost eternal youth

(they simply don’t age, but are not immortal). Therefore, this planet has all the

characteristics of a mythological place, similar to heavens which were already

mentioned above. It is not a surprise, that the Federation and Son`a (outcasts,

which decided to continue space exploration, but are deprived of eternal youth)

are planning a malevolent plot which involves the forceful migration of the Ba`ku.

Picard and the crew of the Enterprise get involved, because this is a clear violation

of the prime directive, which the irresponsible admiral Dougherty justifies by

saying that they are “just” migrating six hundred aliens. We literary witnesses the

“battle for paradise”, with Picard and company setting their own ambitions aside

in order to unconditionally help the aliens in need. In the end they win and restore

peace, but the most important message of the movie can be interpreted as a more

complex and culturally issue, reaching in the relationship of some Earth`s cultures

and races in the past. More about this will be addressed in the following

paragraph.

The quotation at the beginning of this chapter by Joseph Conrad from the

modernist novel The Heart of Darkness vividly captures the essence of this

message, but in this case we will have to compare and imply all this to a science

fiction world, race and culture. As Conrad mentions, a conquest or even an

invasion into foreign soil is not something which we should take lightly. The same

can be said for the Federation`s and Son’a`s plan to forcefully relocate inhabitants

of a planet because they possess a “fountain of youth” which is (in Federation

terms) fit for research. If we now, for a better understanding, return to Earth and

focus on Said`s study about the relationship between the East and the West, we

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find out that in the past, there was always a tendency for delimitation of these two

concepts. Especially in cases surrounding the power, the accomplishments and the

geographical characteristics of the East compared to the West. The same can be

said for the Son‘a’s negative (almost racist) attitude towards their own “brothers”

and sister” just for the sake of the rejuvenation process, which the Ba`ku

possessed (Said 253).

Said also argues that the Orient is a representation of a system, which is defined

by different institutions (governmental, economical, geographical, etc.),

traditional knowledge (philology, the Bible and classic literature works) and in

addition with the specific genres of oriental literature like descriptions of the

exotic, travelogues, works about exploration and fantastic literature. When we

again compare this thought with the planet Ba`ku, we see that the inhabitants there

possess far more worth than just eternal life. They have their own, specific way of

agriculture, art and science, trades businesses etc. which present the essence of

their culture, but the Son`a are not interested in any of this. Said also points out

the fact that the East was always more visited by the Western people (including

trade federations, armies and scientific expeditions) than vice versa. He adds that

the number of Islamic travelers to Europe was relatively small, when compared to

the passengers who traveled in the opposite way. The same can be said for the

once united people on the planet Ba`ku. The Son`a decided to leave the “simple

live” behind and continue to explore space, but there were almost no cases of

them returning to the surface. There were also no cases of other Ba`ku, who

wanted to join the Son`a, clearly because of the cultural differences between them.

Nevertheless, it is fascinating how a single race can be divided, and then changed

not just physically (the Son`a always used surgery to maintain the toxicity levels

of their bloodstream), but also mentally during a certain period (256).

Another view from the past regarding the Occidentalism vs. Orientalism is the

prototype of Kipling`s “White Person”. Said takes the poem by Rudyard Kipling

named “A Song of The White Men” as a template to explain the politics of the

colonialism in the Middle East. For a better illustration, let’s take a look at some

excerpts from the poem:

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Now, this is the road that the White Men tread

When they go to clean a land -

Iron underfoot and the vine overhead

And the deep on either hand.

We have trod that road – and a wet and windy road –

Our chosen star for guide.

Oh, well for the world when the White Men thread

Their highway side by side! (1899)

For Kipling “White Men” were as a prototype of the British lifestyle during the

colonization. The color significantly distinguished them from the Africans or

Indians and also brought certain knowledge about the White Men`s status into the

new world. In the poem the white people are in charge for the “cleansing” of the

land, which serves as an allusion to the European competition regarding the

colonization of that time. When this prototype fails with politics, he is willing to

go to war for the new explored country. Behind the “White Man`s mask” is an

impulsive readiness to wage war, to kill and if everything fails, to be killed in

order to achieve the goal. Of course not all people are the same. Definitely some

of them questioned these actions and asked themselves for the reason why they

are fighting and waging wars, but for Kipling and for all who believed in this, just

being white was an act of self-affirmation, which meant only one thing, to

uncompromisingly follow the higher cause. Nonetheless, we must note that this is

a thing of past, and that the present attitudes towards racial diversity have change

for good. In conclusion, this point of view will be of great importance in my

comparison, which follows below (282).

It is ironic and metaphoric, how the skin color (as well as the texture and the

shape) plays an important role in the relationship between the Ba`ku and the

Son`a. The native inhabitants have perfect non-aging skin, which stays the same

regarding of your age (we have to mind that some residents are relatively young,

while others lived in space for a certain period of time, and then returned to the

49

surface). The Son`a on the other hand, lived without the regenerative effects of the

radiation and had to genetically manipulate and surgically modify their skin to

stay alive, because of the accumulated toxins in their bodies. But skin was not the

only thing, which made them resemble the prototype of a “white man” during the

colonization of the Middle East. The Son`a became a nomadic, narcissistic and

materialistic species which separated from the Ba`ku in order to follow the way of

the off landers. They decided to wage war against the Ba`ku, because they

despised their ability to live in peace and harmony. They even raided other

habitable, yet undeveloped planets for rare minerals, jewels and allegedly slave

labor. In a way they represent a “parallel universe scenario” of the Middle East

turning against Europe and declaring war for all the atrocities which the “white

men” caused. Interestingly in both cases, the underlying message is clear. The

East and the West as well as the Ba`ku and the Son`a are both part of the same

species, which had to find a way to overcome all the differences, in order to strive

towards a common goal. Fortunately, in both cases the differences have been put

aside. In the end of the movie, when the antagonist Ru`afo is defeated, the rest of

the Son`a reunite with the Ba`ku and the history of bloodshed is now just a pale

memory.

4.10 Star Trek Nemesis

"What am I while you exist? A shadow? An echo?"

- Shinzon, to Picard (Star Trek: Nemesis, 2002)

The last movie to feature the crew of the Next Generation deals with an

interesting psychological topic, which I will use as a basis for my myth analysis.

The main aspect of the movie focuses on the two cast members, Picard and Data

as they discover their “mirror images.” However, this idea is not new since it was

first introduced in TOS and was later adopted in almost every spinoff series. We

are talking about the “mirror universe” which is according to the lore, an informal

name of the parallel universe which coexists with the “prime universe”, but on

another dimensional plane. The name itself implies that the “mirror world” is

inhabited by different people and places which seemed to be the exact opposites

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of the originals, hence good characters become evil and vice versa. In this case,

we are still dealing with the events in the prime universe, but many similarities

can be drawn between these two worlds. To further explain the key elements of

the story, which will be of grave importance later, let us now quickly recap the

highlights of Star Trek: Nemesis. While en route to Romulus, Data uncovers a

weak android signal coming from a desert planet. On the planet, the away team

reassembles all parts of a Soong prototype which is an exact copy of Data, except

for the positronic brain, which is underdeveloped, compared to Data`s. When

arriving at Romulus, Picard is invited to meet the new Praetor Shinzon, who turns

out to be Picard`s perfect clone. Shocked by seeing the image of his younger self,

he retreats back to the Enterprise. As Beverly Crusher later explains, Shinzon was

created as a clone that would eventually infiltrate Starfleet and gather intel for the

Romulans. The same conceived task was intended for the android B-4. Therefore,

Picard speculated that they were “designed and created” around the same time.

Their infiltration was scheduled for a brief period of time, when Picard and Data

were not present aboard the Enterprise, because they accepted an important

diplomatic mission. Fortunately, that never happened because B-4 couldn’t fulfill

the task and Shinzon started to show signs of genetic degeneration, because of the

temporal RNA sequence, which would allow him to “catch up” with the actual

age of the original. Nevertheless, Shinzon had his whole live to prepare for the

ultimate act of vengeance against the Federation in the name of the Reman

freedom; therefore he decided to eradicate Earth and show that he is far more

superior then Picard. As the final battle unfolds, Data makes his last sacrifice and

saves the ship from the Scimitar and the detonation of the “thalaron radiation” (a

deadly radiation, which consumes organic matter at the subatomic level).

In my analysis, I will focus on the myth of the “man in the mirror”, which

presents these two pairs: Data vs. B-4, and Picard vs. Shinzon. The theoretical

aspects which will allow us to further explore the aspects of the mirror image will

be drawn from Freud`s essay “The Uncanny”. Freud, in the initial stages of his

thesis, quotes Schelling who argues that uncanny presents a secret which

remained hidden, but has come into the open and is therefore eerie and frightening

(Schelling 2.2, 649). The same can be said for Shinzon`s appearance aboard his

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ship, as he confronts Picard. The atmosphere was tense almost suffocating and the

room was dark and unpleasant, because of the Remans, who lived on the dark side

of their planet, and his entrance was silent and almost frightening. We could say

with much certainty that Picard and the away team experienced Freud`s

description of the uncanny. Another similarity, which can be applied from the

theory, is the example of the “double” (or the doppelgänger) from Hoffman`s

novel The Elixirs of the Devil, in which the uncanny manifests through a person’s

unsureness of his own identity after he has encountered his double. This double

becomes an image of terror, because of our primitive mental development which

ejects it from our ego and recognizes it as something alienated and not familiar

(Freud 141).

The same can be applied to both characters in the movie. Picard felt this way,

when he was tested in combat by his clone and doubted that he was able to

overcome him, because in the end he presented himself, when he was at the peak

of his intellectual performance, but Picard`s advantage which ultimately secured

him the victory, were the many years of experience in the captain`s chair. In

Data`s case, his double was not as uncanny as one would suspect, but on the

contrary, he was more of a vessel for his “soul”, because right before Data died,

he decided to upload all his knowledge, memories and experiences to B-4`s brain.

As O. Rank puts it, a double can also function as an “insurance against the

extinction of the self” or as “an energetic denial of the power of death.” Therefore

we can suspect that Data has taken care of his legacy by ensuring that his sacrifice

was not in vain (142).

In the novelization called Star Trek: Countdown (which is the official prequel to

the 2009 Star Trek movie), Data`s neural nets were successfully imprinted inside

B-4`s brain, which meant that he was fully functional once again. He even

assumed command of the Enterprise-E during the events which follow in the

novel.

In summary, we see that the term uncanny has many meanings which could be

successfully combined with the events of Star Trek: Nemesis. The myth of the

mirror image, finally presented characters who were in conflict with themselves,

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and this consequently meant, that they had to overcome their greatest challenges.

The double can also present a “safe mechanism” or a soul which will continue to

exist somewhere, long after we will turn to ashes.

4.11 Star Trek (J. J. Abrams 2009 reboot)

"I chose a life of honest labor, to provide for myself and the wife who was expecting my

child. I was off-planet, doing my job while your Federation did nothing, and allowed my

people to burn while their planet broke in half. And Spock, he didn't help us.

He betrayed us!"

- Nero to captain Pike (Star Trek, 2009)

After eight years, Paramount studios decided to revive the Star Trek franchise.

They invited J. J. Abrams, who previously worked on Mission Impossible III for

the same studio. The results were quite satisfactory, because the movie received

numerous positive critiques (the website Rotten Tomatoes gave the movie a rating

of 95%) and grossed in its opening weekend $ 75.2 million. This time the creators

decided to show several origin stories about Kirk, Spock and company, when they

enlisted into the Starfleet Academy. The movie also featured great action

sequences, humor, a strong overall story and brilliant visuals (although many fans

complained about Abrams`s overuse of the now famous “lens flares”).

In my analysis I will focus on the main antagonist and the events which led to the

“alternate timeline”. His motivations and actions will lead us to the myth of

revenge.

In the 24th century Nero (played by Eric Bana) was a simple Romulan miner, who

lost his family and his home planet to a disastrous supernova explosion. He

decided to seek the ones responsible for this event. Eventually he met with Spock,

who tried to prevent the supernova blast reaching Romulus, by creating an

“artificial black hole” using a substance called “red matter”, but Nero

misunderstood his rescue attempt and decided to hunt him. In the process, both

ships (the Narada and Spock`s Jellyfish) were sucked into the singularity and

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emerged in another universe and timeline, the 23rd century. This event enabled the

screenwriters to deliberately change the existing timeline and add a brand new

story, which was so appealing. The events that followed enabled the future

members of the new Enterprise to form that special bond that made this crew and

their journey so legendary. Now if we focus back to the main myth of the movie,

we must first understand Nero and his quest for vengeance, with the addition to

the transformation into the villain. Nero`s journey began by leaving “our world”

and venturing forth into the unknown while being led by revenge. When he

emerged in the alternate timeline, he had to wait for almost twenty-five years for

Spock. He has continued to punish him, by deserting him on a lifeless moon, so

that he could watch the destruction of Vulcan, the same as he has watched the

destruction of Romulus. His journey did not just metaphorically present his darker

side, but also physically changed him as he became more and more obsessed with

the death of his wife and child, so that eventually he was only driven by rage and

anger. At a crucial point in the movie his revenge extended to new highs, because

he did not only hurt Spock Prime (named after the “prime universe”), but also the

young Spock, who witnessed and helplessly stood by as his planet was destroyed.

Nevertheless, Nero did not stop there, since he also blamed the Federation for the

involvement in the Romulus disaster, therefore he captured the former captain of

the Enterprise to receive the Starfleet defense codes. His vengeance and acts of

evil were also his downfall, because in the movie conclusion he is invited to

surrender, but he declines and his ship is destroyed by an enormous explosion of

the red matter. In a way, the viewers can identify with his early motivations and

actions, when he seeks revenge for the death of his family, but ultimately he turns

into a villain the moment he commits genocide on Vulcan and the viewers`

instantly realize that he has gone too far.

Another interesting aspect of the movie is that it functions as a tribute to TOS,

which during all those years received almost a mythical status. Nevertheless, this

story is trying to tell that the crew didn’t become as coherent, as they were in the

show, overnight. It took time that they became familiar with each other. The

chemistry between young Kirk and Spock (both Quinto and Pine did an

outstanding performance) is especially unique, which we see for the first time. As

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it turns out Spock was Kirk`s bitter rival, throughout the years at the Academy,

and they coincidently joined aboard the new flagship. During the events of the

attack on Vulcan, Spock temporarily assumed command, but was later relieved

from duty by Kirk (and with the help of Spock Prime) for being “emotionally

compromised.” From that moment on, they became the inseparable duo, which the

audiences love and admire. The rest of the crew including: Dr. McCoy, Zulu,

Chekov, Scotty and Uhura also fall into the play and contribute to the whole

performance. In the end we must point out a few differences, which add a certain

note of individualism to the new movie. First off, we have the romance between

Spock and Uhura, which never happened in the “prime universe”, secondly we see

that Scotty was actually serving some sort of punishment on the same moon, as

Spock Prime was stranded, despite him being a brilliant engineer, and lastly

during the entire movie we visit just a few locations (Vulcan, its moon and Earth),

which is quite uncommon for a typical Star Trek movie. In the end, the most

important message is that the reboot was a total success, which thrilled many old

and new Trekkies from all around the world.

4.12 Star Trek Into Darkness (2013 sequel)

"Your crew requires oxygen to survive, mine does not. I will target your life support

systems located behind the aft nacelle and after every single person aboard your ship

suffocates, I will walk over your cold corpses to recover my people. Now... shall we

begin?"

- Khan, delivering the Enterprise his ultimatum (Star Trek Into Darkness, 2013)

The plot for the sequel of the successful movie from 2009 was a well hidden

secret by Abrams and his team. There were a lot of speculations about the new

characters especially, about the main antagonist. Eventually, when the movie hit

cinemas worldwide, we witnessed an interesting reboot of Star Trek II: The Wrath

of Khan. However, the director managed to provide us with a slightly different

plot than the original had, but with the same strong and memorable quotes from

the original. The concept of the “alternate timeline” enabled him to insert different

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plot elements, although resulting in the same and predicable ending. These

different elements will however, form the basis of my last analysis. As we closely

inspect the plot of the movie, we found out that the main issue which is the reason

for most of the conflicts is betrayal. Therefore we will focus on the myth of

betrayal, which has its roots already in the Bible. In order to do so, let us take look

at certain key elements of the story in Star Trek Into Darkness.

After Admiral Marcus reviewed Khan from the cryogenic slumber, he “abused”

his superior intellect to arm the Federation (Section 31) for what he called, an

inevitable war, against the Klingons. He used Khan`s crew of augments for

leverage, therefore Khan had to do his bidding. In a key plot moment, when Khan

is imprisoned and later released by the crew of the Enterprise, he uses the

opportunity to fight back for being betrayed by, what he thought was a

representative of a peaceful and humanitarian organization, Admiral Marcus. As I

have mentioned above, the myth originates from the Bible. Specifically in Luke`s

gospel, we see the main motif of betrayal, when he speaks about Judas:

“Then Satan entered into Judas called Iscariot, who was of the number of the twelve. He

went away and conferred with the chief priests and officers how he might betray him to

them. And they were glad, and agreed to give him money. So he consented and sought an

opportunity to betray him to them in the absence of a crowd” (Luke 22:3-6).

The same can be seen in Matthews’s gospel, speaking again about the traitor:

“Then one of the twelve, whose name was Judas Iscariot, went to the chief priests and

said, “What will you give me if I deliver him over to you?” And they paid him thirty

pieces of silver. And from that moment he sought an opportunity to betray him” (Mathew

26:14-16).

Both apostles speak about the exactly same event, which clearly indicates the

origin of this myth.

Khan is not the only character in the movie who symbolizes this myth. The

admiral also decided to betray all the principles of the Federation, the moment

when he developed the warship U.S.S Vengeance and used its superior firepower

to stop Kirk, from delivering Khan to a fair trial back to Earth. His betrayal

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involved all the people who served under his command. The only justification is

that he was secretly working for an organization, which officially does not exist in

the eyes of the Federation. His fanaticism and vengeance against the Klingons is

best seen here: "A war with the Klingons is inevitable, Mr. Kirk. If you ask me,

it's already begun. Since we first learned of their existence, the Klingon Empire

has conquered and occupied two planets that we know of, fired on our ships half a

dozen times. They are coming our way.” (Kirk and Marcus, talking about the

tension between Earth and Klingon). Ultimately, he decided to rather destroy

(“cripple”) the Enterprise, just to conceive his true intention, which was to wage

an all-out war with the Klingons, and right that is my second myth, which again

involves the same two characters. If we go back to Khan, who survived many

dangerous, live threatening encounters and brutally killed Admiral Marcus (he

eventually got what he deserved), his true plan is revealed, as he terminates the

temporal alliance with Kirk and Spock and escapes with the Vengeance to take

out the Starfleet command center in downtown San Francisco, because he blames

them for murdering his crew. With this ship, he could form a “one man army” and

attack the Federation starships, which were all technologically obsolete.

Fortunately, Spock stops him in the nick of time, and prevents the disaster. In

addition to the myth of war and the myth of betrayal, we can add a third one, the

myth of the superhuman, which was already described in the Star Trek II analysis,

since Khan possessed the same abilities as the original character from the episode

“Space Seed”, super strength, superior intellect and in addition some sort of

“super blood”, with regenerative capabilities. This blood helped Dr. McCoy to

synthesize a serum which helped to save Kirk in the movie finale. In conclusion,

the movie itself functions as a tribute to Star Trek II: The Wrath of Khan, by

reminiscing the key moments of the original, that made it so successful, and by

adding new elements to the story, which certainly helped to gain new audiences.

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5. Conclusion

The creators of the Star Trek franchise decided to implement myths deep within

the movies and series, which can be traced back into history. Myths are old

interpretations of mysteries, which the early civilizations found to be

unexplainable; therefore people had to come up with a story about its origin. It is

interesting how different patterns of myths get repeated and reused through time.

For example, the myth of the hero can be observed from numerous perspectives,

even in the form of an alien that tries to find its place in the universe (Star Trek:

The Motion Picture). The theoretical foundation, which was used in this thesis,

provided us with several different viewpoints about myths and mythology. The

one of a kind interpretation of modern day myths by Roland Barthes enables us a

fascinating correlation, with some distinctive attributes of the Star Trek franchise.

The most compelling case is the myth of “The Nautilus and the Drunken Boat”,

which turns the concept of the ship upside down, so that it becomes a “living”

entity of its own. Barthes had this idea, long before Roddenberry decided to create

his “space opera”, which demonstrates that myths can be reused and reinterpreted

without any restraints. The same goes for all the myths that originate from the

Bible. Myths including resurrection, the genesis, and holy places and objects,

were in Star Trek interpreted with a touch of science, because all the events did

not occur as a result of a miracle, or as an intervention of a higher being, but as a

result of human technological advances in the 23rd century. Spock for instance,

was not resurrected by God, but by the side effects of a man made experiment.

Nevertheless, these types of myths raise the inevitable question about human

sympathy for the unknown. Myths in Star Trek are not always connected with

religion, which was clearly presented in Insurrection and Nemesis. In these two

cases, the myths were dealing with the human nature. In the first movie, I used

Said`s work about Orientalism, which served as a tool for a better understanding

of the relationship between the East and the West. With the implementation to a

Star Trek scenario, I immediately found remarkable similarities, but on another

level (humans vs. aliens). In Nemesis I focused on the human psyche, with the

help of Sigmund Freud. I discovered that the ultimate menace which sometimes

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haunts us is coming deeply from within our souls. Freud`s results and

explanations about the uncanny were again applied to a science fiction scenario,

bearing almost the same results.

My main objective was to combine the world of Star Trek movies with a literary

theoretical analysis of myths, which were collected and presented from a variety

of scientific sources. All the movies, offered enough “mythological material” to

establish an analysis. The myths analyzed are definitely an interpretation of our

society regarding the unknown and unexplained phenomena. Perhaps with the

emergence of the constantly evolving scientific and technological progress, these

myths will become superfluous in the near future. Nonetheless, there will always

be the human imagination which will drive us to explore and question the

unknown, using myths to satisfy our curiosity.

59

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