Television shows
Star Trek the original series - NBC
(1966-1969)
Star Trek follows the crew of the starship Enterprise as they travel through space. For this reason, many scenes are set in space, either on the ship, or on other planets, with the crew encountering the unknown, such as hostile aliens.
However, the series portrayed the future as a sort of "utopia", expressing ideologies such as "tolerance, peace, and faith in mankind", a diverse cast, and futuristic technologies, such as teleportation (Hemmingson, 2009).
These ideas are all tropes of the science fiction genre, which can also be defined by:
"character types, situations, clothing, lighting, tools or weaponry, settings – all those elements that have often been described as the “language” of the genre, and much of which has been long established in the popular consciousness"
(Telotte, 2004:17).
For example, the first episode begins in space, among the stars, with the starship Enterprise speeding past the camera to break up the vastness and give the audience something to focus on (see fig. 1). This later became popular in other science fiction texts, such as Space: 1999 and Star Wars (see below).
Fig. 1 Netflix: Star Trek (1968)
This confined space of the ship sets up character types which are typical to the genre, especially the commander or captain. This figure is known for having agency as a leader, always able to solve any problems the crew encounter (Hemmingson, 2009:11-12).
Due to his importance in this way, the commander is established for the audience as the point of identification - much like the host of a game show - though follow shots, point of view shots, extreme close-ups of his expressions, and shots which mirror his psychological disposition in that moment.
Fig. 2 Netflix: Star Trek (1968)
Fig. 3 Netflix: Star Trek (1968)
Fig. 4 Netflix: Star Trek (1968)
For example, when Captain Pike is captured by the aliens, he wakes up somewhere unknown, both to him and the audience. Therefore, the audience are placed in his mind since as he wakes up the shot pulls out to reveal the location to viewers at the same time as it is discovered by the captain (see fig. 2, 3 & 4).
This gives the audience someone they can relate to, as a human among the unknown monsters and aliens. This is one of the biggest issues with the science fiction genre - creating otherworldly characters who can be relatable to humans - and because of this uncertainty network executives for Star Trek even at first dismissed how Spock looked, concerned it could upset the audience (Hemmingson, 2009:26).
Fig. 5 Netflix: Star Trek (1968)
Fig. 6 Netflix: Star Trek (1968)
Fig. 7 Netflix: Star Trek (1968)
Yet, this could also be because the science fiction genre is known for being voyeuristic, even becoming a recurring motif within the original Star Trek series (Hemmingson, 2009:31). This can be seen in the pilot when it is revealed that the aliens are watching the captain and his crew when they land on their planet (see fig. 5, 6 & 7).
This makes the series reflexive, since by using devices such as screens, and surveilling the characters in this way, it makes the viewers aware of the programme's constructed nature (Telotte, 2004:20). Thus, it can also be argued that the aliens are made relatable due to this. Viewers are in the same position as them, as they are also watching the characters.
However, the use of a low angle shot on the aliens makes them seem in power, and also threatening, as if they are superior to the characters who they are watching (Dise, 2017).
Fig. 8 Netflix: Star Trek (1968)
Nonetheless, the aliens are also brought to the audience's attention by their lighting and the colour scheme of their surroundings (see fig. 8). Their surroundings are mainly purple and blue - cold, harsh colours - and their lighting is a mixture of green and red which creates harsh shadows.
These colours are opposite, creating tension, since one is warm and the other much colder, but this colour scheme also differs from that established at the beginning of the episode on the starship Enterprise - mainly greys and reds (see fig. 10) - creating "discordant colors", which redirects the audience's attention away from the characters and their norms, by disrupting this (Risk, 2019).
Fig. 9 Netflix: Star Trek (1968)
Fig. 10 Netflix: Star Trek (1968)
In science fiction, the spaceship is often seen as home, being the constant setting which the characters can always return to. Typically, these science fiction spaceships are shiny and metallic, able to quickly move away from trouble, creating a sense of both thrill at their speed and comfort at their familiarity (Holloway, 2008). This is emphasised in Star Trek by the Enterprise being the central hub for the crew, the main base where all the obstacles met can be solved (see fig. 9).
Fig. 11 Netflix: Star Trek (1968)
Fig. 12 Netflix: Star Trek (1968)
Fig. 13 Netflix: Star Trek (1968)
This is even more evident at the end of the episode when the spaceship is able to transport the crew away from the planet where they encountered the aliens. Thus, the starship Enterprise can also be seen as a driving force within the story, since in this way it creates a circular narrative, with a push in on the planet when the ship first lands, and then this pull out at the end when the ship takes off (see fig. 11, 12 & 13).
However, this again prompts the audience to focus on the Captain, who guides the ship, and is therefore the central aspect of the story - someone who the audience can connect with even in the vastness of space.
Space: 1999 - ITV
(1975-1977)
Space: 1999 follows the crew of Moon Base Alpha as they deal with a nuclear explosion which rocks the base. The crew are led by Commander Koenig, thus, as with Captain Pike in Star Trek, he is promoted as the point of audience identification through follow shots, POV shots, and shots which emphasise his emotions.
Fig. 14 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Fig. 15 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
For example, even when Commander Koenig is having a conversation with another crew member, when there is a revelation towards the end of the scene, the camera comes in from a wide shot (see fig. 14), to a MCU of only Commander Koenig, so the other crew member is completely out of frame (see fig. 15). Thus, it can be seen that the Commander is the most important, and that the other crew members are almost insignificant.
This is done to position the commander as the point of audience identification. This is needed as the audience need someone they can relate to so that they are able to understand the narrative, even more essential in this case since the show is set in space, and is thus unfamiliar to the audience (Bignell, 2004:97).
However, this move is done to reveal his expression to the audience, following the show's kinetic camera style.
Fig. 16 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Fig. 17 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Fig. 18 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
The character's psychological states are revealed by this, since they are shown as not separated from the screens - no cut allows them to be in the same shot to the viewer as the screens are, thus, they seem to be linked to them within the space, showing how they are linked to them psychologically since they are worried about the information they see on the screens.
Fig. 19 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Fig. 20 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
However, emotion is also portrayed through the use of close-up shots to emphasise details and heighten their importance to the narrative. An example of this is when a pane of glass is broken, and there is a risk of oxygen escaping from the base (see fig. 19 & 20). Thus, it can be seen that these close-ups typically portray danger. This is done by taking the focus away from the characters, thus raising the stakes by showing how vital to the narrative this danger is.
This is also emphasised by how long these close-up shots are held for - similar to those showing the emotions of the Commander, which are somewhat reminiscent of soap opera - since these place a focus on the character's emotions (Bignell, 2004:90). It can therefore be argued that this emphasis on emotions also works to help the audience further identify with the characters.
Fig. 21 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Fig. 22 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Fig. 23 YouTube: Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018)
Similar to the shot of the Enterprise entering the frame at the beginning of Star Trek, the end shot of Space:1999 forms a circular narrative by tilting up into space (see fig. 21, 22 & 23) with the one used at the beginning which tilts down to the base.
This takes viewer out of the episode, implying a conclusion has been reached. However, this also takes viewers away from the familiarity of the base and characters by leaving them with just the vastness of space, which, because of the identification, makes it seem as if the audience are leaving the base, and therefore the characters.
Overall, the directing style of Space:1999 promotes Commander Koenig as the point of identification, creating familiarity in the unfamiliar setting of space, allowing the audience to be brought in and out of the story, as well as be alerted to danger by close-up shots which do not involve the characters.
Film
Star Wars - The Original Trilogy
(1977-1983)
However, with regards to the opening text just before the crawl, "the only thing its vague wording directly tells the viewer is where and when the film does not take place, that is, on earth in the year 1977" (Wright, 2018:128).
Fig. 24 YouTube: Star Wars - Opening Scene (1977) [1080p HD] (2015)
Fig. 25 YouTube: Star Wars - Opening Scene (1977) [1080p HD] (2015)
Fig. 26 YouTube: Star Wars - Opening Scene (1977) [1080p HD] (2015)
Nonetheless, the opening shot is similar to that of Star Trek and Space:1999 since the audience are left in the vastness of space, which is then broken only by some planets and a ship, still unfamiliar, but offering something to focus on - (see fig. 24, 25 & 26).
Fig. 27 YouTube: Star Wars IV: a new hope - Binary Sunset (Force Theme) (2012)
Fig. 28 YouTube: Star Wars IV: a new hope - Binary Sunset (Force Theme) (2012)
However, vastness is a common theme within Star Wars, often used to promote isolation. Yet, it can still be seen that characters are present for the audience to relate to - through point of view shots for example (see fig. 27 & 28) - and that these characters often have families. For example, although Luke lives in an isolated desert, he still has his aunt and uncle (Richau, 2017).Thus, this identification is achieved through using universal themes. Universal themes are archetypes such as father, mother, life, death, and family, which are familiar to everyone since they are part of the experience of being human; due to this, they are able to affect viewers since they can definitely connect to their own experiences (Myers, 2012).
Fig. 29 IMDb: Star Wars: Episode IV - A New Hope (1977)
This identification is furthered through the themes of friendship and belonging, present within scenes on the Millennium Falcon (see fig. 29), which acts as a base for the team of characters, as well as enabling them to travel around the galaxy.
Yet, since the galaxy is so vast, and it is not stated exactly where or when the films are set, it has been argued that Star Wars allows the audience to construct their own narratives and understanding of the world, depending on their own experience and how they relate to the characters and the universal themes (Geraghty, 2005).
Thus, overall, Star Wars aims to make space familiar by using universal themes and not specifying the time and exact place of the narrative, so that the audience can form their own understanding of, and relation to, the characters and the world of the series.
Tropes
- High-key lighting
- Focus on the commander/captain - putting the audience in his place so they have someone to identify and journey through the story with - a human face in unfamiliar worlds
- This identification with the commander/captain is done through follow shots, POV shots, and push in/pull outs to highlight their emotions and thoughts
- Creates a kinetic camera style, which can be used to hold information from the audience, and/or reveal more information about the story
- Spaceship as the main hub, which allows the crew to travel through space - The Millennium Falcon and Starship Enterprise, as well as Moon Base Alpha (also stationary base set in one fixed location)
- Opening shot showing the vastness of space and then bringing this hub into focus - introduces main location of show, or gives the audience something to focus on in the vastness - helping propel viewers into the narrative and leading to an introduction of the characters
Influence on our game show
Since our game show Mission Control is set in space, we used tropes from the science fiction genre to help make the narrative more believable. For example, our show used a spaceship, The Gamma 11, as the main location, in a similar way to how Star Trek and Star Wars use the Starship Enterprise and The Millennium Falcon as bases.
Thus I also used shots to focus on the commander, who was our presenter, similar to how this is done in Space:1999 and Star Trek. As the presenter this was useful since he guides the contestants and audience through the show, most emphasised by his pieces to camera at the start and end of the show.
Making our presenter a character - Commander Steve - helped make the world of the show more believable, as did calling the contestants cadets, as this fit the narrative of being on a spaceship in outer space, furthered by actions such as the Commander saluting as he wraps up the show.
Nonetheless, my directing was most inspired by these science fiction films and TV shows in that they use a kinetic camera style to hide or reveal information to the viewers. Our games required movement between them, thus having a camera follow the presenter and contestants as they moved between missions helped make this movement clear to the audience and provide a smooth transition.
However, using camera movement also helped during some of the games. For example, during game 1, the audience first see the pipes only in the background of a wide shot. Cutting to a close-up shot which tilted down the wall of pipes helped to show these better, but also helped convey the aim of the game as the presenter explained this, thus revealing information to the audience as they needed it.
Yet, these close-up shots were also able to emphasise danger as they do in Space:1999. This was necessary to show the urgency of game 3 when the hole comes through the wall, since this helped reveal the information to the audience, and also focus on the danger, emphasised by the red lighting provided by the lighting team.
However, the lighting was mainly high-key, and flat, which is used in science fiction to accommodate the kinetic camera style. In our game show, this allowed the contestants to move anywhere on the set without changes in light.
This also helped show the details of the spaceship, similar to that of The Starship Enterprise with the buttons and control boards, but also to the Millennium Falcon, as pipes can be seen along the corners, giving a more industrial look. Overall, this helped create a world which made the narrative set in outer space more believable, helping raise the stakes when, for example, the hole came through the wall, which could be emphasised through choices of shots and lighting.
List of illustrations
Figure 1 to 13. Star Trek (1968) [Netflix webpage] At: https://www.netflix.com/browse?jbv=70136140&jbp=0&jbr=3 (Accessed on 21 February 2019).
Figure 14 to 23. Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018) [YouTube webpage] At: https://www.youtube.com/watch?v=Y6BXaGEuqxo&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=7&t=11s (Accessed on 27 March 2019).
Figure 24 to 26. Star Wars - Opening Scene (1977) [1080p HD] (2015) [YouTube webpage] At: https://www.youtube.com/watch?v=yHfLyMAHrQE&t=140s (Accessed on 27 March 2019).
Figure 27 & 28. Star Wars IV: a new hope - Binary Sunset (Force Theme) (2012) [YouTube webpage] At: https://www.youtube.com/watch?v=1gpXMGit4P8&t=0s&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=22 (Accessed on 27 March 2019).
Figure 29. Star Wars: Episode IV - A New Hope (1977) [IMDb webpage] At: https://www.imdb.com/title/tt0076759/mediaviewer/rm2032570112 (Accessed on 27 March 2019).
Figure 14 to 23. Space: 1999: Season 1 Episode 1 - Breakaway (Full Episode) (2018) [YouTube webpage] At: https://www.youtube.com/watch?v=Y6BXaGEuqxo&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=7&t=11s (Accessed on 27 March 2019).
Figure 24 to 26. Star Wars - Opening Scene (1977) [1080p HD] (2015) [YouTube webpage] At: https://www.youtube.com/watch?v=yHfLyMAHrQE&t=140s (Accessed on 27 March 2019).
Figure 27 & 28. Star Wars IV: a new hope - Binary Sunset (Force Theme) (2012) [YouTube webpage] At: https://www.youtube.com/watch?v=1gpXMGit4P8&t=0s&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=22 (Accessed on 27 March 2019).
Figure 29. Star Wars: Episode IV - A New Hope (1977) [IMDb webpage] At: https://www.imdb.com/title/tt0076759/mediaviewer/rm2032570112 (Accessed on 27 March 2019).
References
Bignell, J. (2004) An Introduction to Television Studies. London: Routledge.
Dise, J. (2017) 'Filmmaking 101: Camera Shot Types.' In: B&H Explora [online] At: https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types (Accessed on 21 February 2019).
Geraghty, L. (2005) 'Creating and Comparing Myth in Twentieth-Century Science Fiction: Star Trek and Star Wars' In: Literature/Film Quarterly. [online] At: https://search-proquest-com.ucreative.idm.oclc.org/docview/226984252/fulltext/A1C0831A9F8A4FD2PQ/1?accountid=14178 (Accessed on 27 March 2019).
Dise, J. (2017) 'Filmmaking 101: Camera Shot Types.' In: B&H Explora [online] At: https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types (Accessed on 21 February 2019).
Geraghty, L. (2005) 'Creating and Comparing Myth in Twentieth-Century Science Fiction: Star Trek and Star Wars' In: Literature/Film Quarterly. [online] At: https://search-proquest-com.ucreative.idm.oclc.org/docview/226984252/fulltext/A1C0831A9F8A4FD2PQ/1?accountid=14178 (Accessed on 27 March 2019).
Hemmingson, M. (2009) Star Trek: A Post-structural Critique of the Original Series. United States: Wildside Press LLC.
Holloway, S. (2008) 'Space Vehicles and Traveling companions: Rockets and Living Ships' In: Telotte, J. (ed.) The Essential Science Fiction Television Reader. Kentucky: The University Press of Kentucky.
Keating, P. (2019) The Dynamic Frame: Camera Movement in Classical Hollywood. Chichester: Columbia University Press.
Myers, S. '"Universal Themes" in Pixar Movies' In: Go Into The Story. [online] At: https://gointothestory.blcklst.com/universal-themes-in-pixar-movies-49115090d9c2 (Accessed on 27 March 2019).
Richau, A. (2017) 'How Rey's Introduction in The Force Awakens Tells Its Own Story' In: starwars.com [online] At: https://www.starwars.com/news/how-reys-introduction-in-the-force-awakens-tells-its-own-story (Accessed on 27 March 2019).
Keating, P. (2019) The Dynamic Frame: Camera Movement in Classical Hollywood. Chichester: Columbia University Press.
Myers, S. '"Universal Themes" in Pixar Movies' In: Go Into The Story. [online] At: https://gointothestory.blcklst.com/universal-themes-in-pixar-movies-49115090d9c2 (Accessed on 27 March 2019).
Richau, A. (2017) 'How Rey's Introduction in The Force Awakens Tells Its Own Story' In: starwars.com [online] At: https://www.starwars.com/news/how-reys-introduction-in-the-force-awakens-tells-its-own-story (Accessed on 27 March 2019).
Risk, M. (2019) 'How to Use Color in Film: 50+ Examples of Movie Color Palettes.' In: Studio Binder [online] At: https://www.studiobinder.com/blog/how-to-use-color-in-film-50-examples-of-movie-color-palettes/ (Accessed on 27 March 2019).
Telotte, J. (2004) Science Fiction Film. Cambridge: Cambridge University Press.
Wright, J. (2018) 'The Fantasy of Star Wars: Reconsidering Genre in Hollywood's Biggest Space Movie' In: Film Matters 9 (1) pp. 125-131.
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