INTRODUCTION
The
twentieth century gave birth to a vast array of technologies that changed the
world. From automobiles to air travel,
the international community was brought closer as people were afforded the
ability to cover great distances in record time. Man walked on the moon, spit the atom, fought
two world wars, and invented the computer and the internet. These advances fueled economic expansion,
spread ideas at an incredible pace, and reshaped the cultures of nearly every
nation on earth.
Perhaps no invention has
had a more profound effect on culture (especially in the West) than that of the
motion picture. Michael J. Sleasman
observes:
As a medium by which culture is conveyed, film can be
“read” on a variety of levels (passively enjoyed or actively interpreted). Film communicates culture in the images that
are portrayed through the camera lens or the director’s eye . . . The film, then, is an act of communication by
which the director as “author” conveys a specific vision or perspective,
perhaps even a worldview.[1]
Evolving out of the early silent films and
“talkies” the 1920’s, advances in technology have served to create a
multi-billion dollar, international industry that has become both a reflection
of, and shaper of, culture. Through the
medium of film and television, artists pose questions about life, explore
alternate realities, and introduce their viewers to cultures and perspectives
otherwise unavailable. It has inspired
music, books, and other cultural phenomena, and become one of the most popular
topics of water-cooler talk in America today.
Among the myriad of
television shows, movies, and the like, there are a few that stand out as being
iconic. The 1942 film, Casablanca, gave rise to many idioms
that are still heard regularly, seventy years later, often by people ignorant
of their origin. Titles such as The Godfather, Ben Hur, and E.T. conjure up more than mere recollections;
they exude feelings and ideas that go far beyond the texts themselves.
One of the most
ubiquitous examples of film in modern culture may be found in the highly
successful Star Trek franchise. Since its inception in 1966 as a low-budget,
seemingly ill-fated pilot episode, it has gone on to become more than a
television series. Its success has
spawned six television series, twelve movies, and a fan base that has redefined
the very idea of fandom. Though volume
alone is not the sole indicator of cultural relevance, the realization that
watching the entirety of the Star Trek
corpus, uninterrupted, with no commercial or bathroom breaks, would consume
about twenty-four days, is significant.
This study will look at a
particularly interesting installment of the franchise, specifically, the 2009
film, Star Trek, directed by J.J.
Abrams. Designed to “re-boot” the
franchise and make it relevant to new audiences, the film represented a new
direction for the franchise. It revived
the stories of the original characters, casting them with new actors (a risky
move in the eyes of many of the franchise’s most loyal followers), and ended up
being the most successful Star Trek
movie to date. Total, worldwide,
box-office gross sales for the film totaled $385 billion, eclipsing the next
most successful, adjusted for inflation, was the original 1979 Star Trek: The Motion Picture, coming in
at $139 billion. [2] As this study will show,
the film speaks to many cultural values, including self-reliance,
self-actualization, and relationship to authority, which are important to
post-modern society. We will look at the
worlds behind, of, and in front of, the text, and draw out one of its main
themes, that of self-actualization. Then
we will turn to the Bible and compare the movie’s attitudes with scriptural
idea of what it means to be fully human.
The position of this paper is that Star Trek XI presents a worldview of what it
means to be human that is at once in keeping with the Star Trek genre and updated to reflect twenty-first century
attitudes of self-reliance and trans-humanistic tendencies.[3]
WHY STUDY A WESTERN TEXT
Intercultural
studies are of immense interest to theologians and missionaries alike. Understanding the texts that reflect a
culture’s values is an invaluable part of contextualizing one’s theology in
order to ensure that it is relevant to their audience. One may ask, then, why a student would choose
to study a text from within a culture to which they belong. I have chosen to analyze a Western text for
three reasons. First, understanding that
one is a missionary in his neighborhood first even if he never crosses the
globe with the gospel, having a deeper understanding of such an impactful
phenomenon as Star Trek will assist
greatly in domestic evangelism. Second,
I have been a fan of the franchise since I was very young, and have experienced
much of the subculture of Star Trek
fandom. This puts me in a unique
position to speak to a largely under-evangelized subculture. Finally, there are few images in pop-culture
so internationally recognizable as those of Star
Trek, so observations drawn from these texts have resonance far beyond the
borders of the Western Church.
SHIPS, SCRIPTS, AND SELF-ACTUALIZATION
Where no director has gone before: The world behind
the text
Star Trek may be said to be a subset of the larger genre of science
fiction. One writer has observed that
science fiction may be characterized by “its ‘central myth’ of progress ‘which
helps people live in or into the future.’”[4] Within science fiction, there are two basic
perspectives: the apocalyptic, which views the progression of mankind as
leading toward an undesirable future, and the utopian, which portrays man’s
advancement as having effects that lead to the betterment of the race. Star
Trek falls squarely within the latter category. The world created for Star Trek’s audiences portrays man’s scientific acumen as having
put an end to war, famine, and even the use of money. Perhaps a unique twist on the utopian
sub-genre is the fact that man did not come to this place on our own, but was
“recognized” as sufficiently technological as to warrant “first contact” by the
highly logical and (mostly) benevolent Vulcan race.[5]
While the Star Trek franchise has been very
successful, its popularity rested almost entirely with its base of fans, or
“trekkies.” J.J. Abrams viewed his task
as a director from outside the genre as being twofold. First, it was important to “remake” Star Trek in a way that would appeal to
a larger audience. Second, though not
being a trekkie himself, he knew he must work to avoid alienating the existing
fan base as well.[6] The general consensus is that he met this
task well. Reviewer Sherryl Vint writes:
The reboot of a media franchise is a tricky endeavor made
all the more precarious when the original has a fan base characterized by
longevity and tenacity. Add to this mix
a director better known as the ‘creator’ of flashy, gimmicky products such as Alias . . . and Cloverfield . . . worse, one who has no history with the franchise
and is not even particularly a fan – and there are many reasons why J.J.
Abram’s [sic] Star Trek was both an
ambitious and foolhardy venture. That
the film was not only successful but also won the approval of much of the
Trekker community is nothing short of astonishing.[7]
In addition to being a balancing act between placating fans and wooing new audiences, the film is used to contemporize many facets of the genre that are no longer palatable or relevant to twenty-first century viewers. For example, the rebalancing of the universe that occurs through the movie’s alternate timeline sets the stage for a future that less resembles the cold war-style standoff that classic Trek portrayed between the Federation and its enemies. Additionally, sex-roles are reimagined as Captain Kirk is no longer rewarded for his womanizing, swashbuckling ways (Spock gets the girl this time), and the character of Uhura is much more formidable and intelligent than her 1960s counterpart.
The world of the text
There are many themes that
can be identified in ST XI. Ironically, the plot simply provides a
compelling vehicle for conveying the film’s messages and constructing an
alternate universe into which Abrams may insert future installments of the
franchise. Clearly the central one,
however, is the development of the franchise’s most iconic characters, James
Tiberius Kirk and the less ostentatiously named Spock. In keeping with this character development as
the central theme, the first 25 minutes of the film (nearly a quarter) is
devoted to events leading up to Kirk and Spock joining Starfleet.[8] It could even be argued that Kirk’s
development is the predominant thread in the film, supported by the fact that
his story dominates 75% of these opening sequences. These include a birth narrative, during which
Kirk’s father is killed saving his family during a space battle and a preteen
Kirk joyriding his step-father’s car off a cliff, barely escaping with his
life.
Two critical scenes set
the characters in motion, and represent the crises events leading to each man’s
decision to enlist in Starfleet. The
first of these, involving Spock, presents to the viewers a pre-adolescent,
half-human half-vulcan boy being consoled by his hyper-logical father, Sarek,
after being tormented by his peers. As
Spock seeks counsel on whether to favor his Vulcan or human side, Sarek says,
“Spock, you are fully capable of deciding your own destiny. The question you face is, which path will you
choose?”[9]
as music underscores the significance of the moment. Minutes later, a grown Spock opts to enter
Starfleet rather than the prestigious Vulcan Science Academy, much to the
chagrin of his elders.
In the next scene, a
grown Kirk, an intellectual genius, given to womanizing, and irresponsible
recklessness, is bested in a bar fight after trying unsuccessfully to woo
Starfleet cadet Uhura. Kirk is recruited
into Starfleet by Captain Christopher Pike, who knew his father and is clearly
disappointed at the shambles of a life Kirk is creating for himself. This would-be father-figure dares Kirk to
achieve his potential saying, “So your dad dies. You can settle for a less-than-ordinary life. Or do you feel like you were meant for
something better?” Rebuffed by a beaten,
half-drunk Kirk, Pike continues, “Now, your father was captain of a starship
for 12 minutes. He saved 800 lives,
including your mother’s. And yours [sic]. I dare you to do better.” In clear contrast to Spock’s bucking of
Vulcan authority, Kirk submits to Pike’s and enlists in Starfleet.
J.J. Abrams painstakingly
constructs mirror storylines involving his central characters, and sets them on
a collision course of personal growth and relationship with each other that
will be shaped throughout the rest of the film. As the film progresses, the two characters
learn to work together. Their initially
hostile stance toward one another, with Spock chastising Kirk’s
protocol-ignoring ways, and Kirk becoming infuriated with Spock’s emotionless
dedication to logic, climaxes as the two argue over whether or not to attempt a
rescue of their captured captain.
Tempers run high in the impetuous Kirk while Spock, ever logical, has
him arrested and marooned on the planet below.
The relationship, and the personalities of the characters themselves,
moves toward equilibrium as events unfold.
This equilibrium reveals itself clearly in one of the film’s final
scenes as the two are faced with the dilemma of whether to rescue their enemy
or allow him to be destroyed with his ship.
In this instance Kirk, citing logic, offers assistance while Spock,
quite out typical character, confides in his newfound friend that he would
rather let the foe perish.
The world in front of the text
ST XI represents a new level of both cinematic achievement and
storytelling for the Star Trek franchise. Within this installment, many of the typical Star Trek messages may be found. Ever present is the trans-humanistic paradigm
that dominates utopian science fiction – that advances in technology will
advance the race morally, ethically, and socio-economically. There are clear realignments of the show’s
stances on sexuality. Themes of justice
and revenge are explored through the main plot-line.
The most consistent
message, however, is one of self-actualization.
Throughout the film, the characters of Kirk and Spock move toward the
father-figure admonishments they received in the opening sequences. Spock learns to move beyond hyper-rationalism
and embrace his humanity, and Kirk grows up, shedding some of his haphazardness
in favor of responsibility. The director
promotes the idea of achieving one’s full potential through mastery of the
passions and balancing the Kirk and Spock in each of us.
SCRIPTURAL ANALYSIS
Having
identified this theme of self-actualization through self-mastery, we must now
consider what the Bible has to say on such issues. Do the scriptures portray man in such a light
that this self-mastery is possible? Can
man, individually or collectively, realize a better state through technological
development or temperament management, as the film suggests? If something else is required, what is it?
The
entirety of human history as recounted in the Old Testament testifies to man’s
efforts to better himself. In Genesis
11, man, confident in his own abilities, seeks to display his cultural and
technological prowess for all to see.
“Come, let us build for ourselves a city, and a tower whose top will
reach into Heaven, and let us make for ourselves a name,“ they said.[10] Their plans, however did not prove
fruitful. Time after time, throughout
the scriptures, the people of God and their enemies take great pride in their
accomplishments. Though culture thrived,
technology advanced, and man honed his intellect, there was something missing.
The
apostle Paul represented the pinnacle of religious and social advancement in
the first century. Regarding religious
practice, he wrote of himself, “I was circumcised when I was eight days old. I
am a pure-blooded citizen of Israel and a member of the tribe of Benjamin--a
real Hebrew if there ever was one! I was a member of the Pharisees, who demand
the strictest obedience to the Jewish law.”[11] Not only this, but he was a Roman citizen,
part of the cultural elite.[12] Even with all this, a pedigree and education
far beyond any Kirk or Spock could have hoped to possess, Paul considers them
all garbage without Christ.[13]
The
worldview presented in the Bible differs greatly from the one espoused by ST XI.
The film comes part way to the truth, but stops short. It is correct in the idea that it is noble to
strive toward one’s full potential. To
discipline the body (and temperament) is a practice exemplified in
scripture. Paul wrote to the church at
Corinth saying, “I discipline my body and make it my slave, so that, after I
have preached to others, I myself will not be disqualified.”[14] Two primary differences may be
identified. First, the locus of power
over one’s appetites is, from the perspective of the movie, to be found within
oneself. The Bible makes it clear that
such mastery, if it is to be achieved at all, must be through the indwelling of
the Holy Spirit. Second, the prize for
Spock is resolution to his inner conflict over being half-Vulcan/half-human. For Kirk, his prize is the captaincy of the
starship and recognition by his superiors.
Paul, however, points out that those enlightened to the economy of
Heaven do not strive for such perishable rewards, but for “an eternal prize.”[15]
In
sum, the attitude expressed in ST XI,
as well as other utopian science-fiction, in one of humanity, both individually
and corporately, achieving peace and self-actualization by way of intellectual,
emotional, and technological advancement.
While mastery of self is to be commended, and human ingenuity is
definitely a gift from our creator, there is more to the story. The Bible presents a worldview that is indeed
optimistic about humanity, but only with divine assistance. Humanity left to its own devices, according
to the scriptures, does not possess the self-redemptive qualities that Star Trek supposes, either as a genre or
in the J.J. Abrams installments.
CONCLUSION
The
Star Trek television and film
franchise has spent nearly half a century wooing the American people with a
bright vision of the future in which man, having conquered such terrestrial
problems as war and economic hardship, takes to the stars. These trans-galactic explorations present a
humanity that still struggles with many modern passions including pride, lust,
recognition of authority, and control of one’s emotions. Through it all, man is seen to triumph
through intellect, technological prowess, and advances in science. The reboot of the movie franchise, directed
by J.J. Abrams, is no exception. It
delivers a message of hope and humanistic triumph that resonates both with the
series’ rabid embedded fan base and new devotees.
While ST XI’s optimism is entertaining, it
fails to capture an essential truth of the biblical worldview: that man is lost
without connection to his divine Creator.
Biblical testimony asserts that for all of man’s advancements, for all
of his refinement, no amount of culture or invention is sufficient to repair
what was lost in the fall. Though man
may someday explore the stars, he will not find his answer there. Should he achieve inter-galactic supremacy
and master physiology, psychology, and even be able to beam himself from
here-to-there, he will still be lost without the redemptive grace offered at
the cross of Christ.
The
challenge, then, that is presented by the humanistic utopianism of ST XI, is man’s over-assessment of his
own ability. As John Piper recounts his
father telling him, “the big problem
[in evangelism] is not getting people saved but getting them lost.”[16] It is incumbent upon Christians to preach Christ crucified, and
the ministry of reconciliation, as the Holy Spirit lays upon the hearts of men
their own inadequacy. To be fully-human
is to be redeemed. The new creation in
Christ is the final evolution of man.
Only then, with God as our captain, may we board the ship of faith and
embark on a truly life-changing adventure.
Heaven . . . the final frontier.
These are the voyages of the faith-ship Christianity. It’s eternal mission: to explore the depths
of God; to seek out new mission fields and new contextualizations; to boldly go where the saints have gone
before.
BIBLIOGRAPHY
Abrams, J. J., dir. 2009. Star Trek. Paramount Pictures. Blue-Ray,
Paramount Pictures, 2013.
______., Star Trek: iTunes Extras. Paramount Pictures, 2012.
Bruce, F.F. Paul, Apostle of the Heart
Set Free. Pbk. ed. Carlisle, Cumbria, UK: Wm. B. Eerdmans Publishing
Company, 2000.
Goldsmith, Marlene Herbert. 1983.
"Video values education : Star Trek as modern myth." Religious
Education 78, no. 3: 421-422. ATLA Religion Database with ATLASerials,
EBSCOhost (accessed September 24, 2013).
Healea, Christopher Daryl. 2003. "In
unexpected places: religion in popular culture." Religious Studies
Review 29, no. 2: 143-149. ATLA Religion Database with ATLASerials,
EBSCOhost (accessed September 24, 2013).
Jindra, Michael. 1994. "Star Trek
Fandom as a Religious Phenomenon." Sociology Of Religion 55, no. 1:
27-51. ATLA Religion Database with ATLASerials, EBSCOhost
(accessed September 24, 2013).
Shatner, William with Chris Kreski. Star
Trek Memories. New York, NY: Harper Collins, 1993.
Vanhoozer, Kevin J., Charles A. Anderson,
and Michael J. Sleasman, eds. Everyday Theology: How to Read Cultural Texts
and Interpret Trends. Grand Rapids, Mich.: Baker Academic, 2007.
Vint, Sherryl. 2010 "Star
Trek." Science Fiction Film and
Television 3.1: 164. http://go.galegroup.com.ezproxy.liberty.edu (accessed September 24, 2013).
Willey, Robin D. 2010. "Becoming
Data: Star Trek wisdom and the unforeseen effects of fieldwork on the
fieldworker." Journal Of Religion And Popular Culture 22, no. 3: ATLA
Religion Database with ATLASerials, EBSCOhost (accessed September
24, 2013).
[1]
Vanhoozer, Kevin J., Charles A. Anderson, and Michael J. Sleasman, eds. Everyday
Theology: How to Read Cultural Texts and Interpret Trends. Grand Rapids,
Mich.: Baker Academic, 2007.
[2]
http://en.wikipedia.org/wiki/Star_Trek_(film_series) (accessed October 8,
2013). Cross-verified on other
box-office reporting sites.
[3]
To avoid confusion, from this point forward, the term ST XI will be used to refer to the J.J. Abrams movie, while Star Trek will be used to refer to the
genre itself.
[4]
Jindra, Michael. 1994. "Star Trek Fandom as a Religious Phenomenon." Sociology
Of Religion 55, no. 1: 27-51. ATLA Religion Database with ATLASerials,
EBSCOhost (accessed September 24, 2013).
[5]
The events surrounding these developments are chronicled in the franchise’s
eighth film, First Contact (1996).
[6]
Abrams, J.J., Star Trek: iTunes Extras.
Paramount Pictures, 2012.
[7]
Vint, Sherryl. 2010 "Star Trek." Science
Fiction Film and Television 3.1: 164. http://go.galegroup.com.ezproxy.liberty.edu (accessed September 24, 2013).
[8]
Starfleet is future Earth’s military/galactic exploration agency, which blends
the ideas of a modern military with scientific exploration.
[9]
Abrams, J. J., dir. 2009. Star Trek.
Paramount Pictures. Blue-Ray, Paramount Pictures, 2013. Quotes taken from closed captioning.
[10]
Genesis 11:4 NASB.
[11]
Philippians 3:5 NLT.
[12]
For an extended discussion, see F.F. Bruce, Paul, Apostle of the Heart Set
Free, Pbk. ed. (Carlisle, Cumbria, UK: Wm. B. Eerdmans Publishing Company,
2000), 37-40.
[13]
Philippians 3:8.
[14]
1 Corinthians 9:27 NASB.
[15]
1 Corinthians 9:25 NLT.
[16]
John Piper, Real Guilt is Rare, 1983,
http://www.desiringgod.org/resource-library/taste-see-articles/real-guilt-is-rare
(accessed October 13, 2013).
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