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.There are many reasons for the positive assessment of this episode. For one, the episode adopts a unique and therefore innovative point-of-attack.It doesn’t feature Captain Kirk, and 'The Slaver Weapon' never once visits the mighty starship Enterprise. Instead, our protagonists are three Starfleet officers in deep space, with little by way of support from the powerful Federation. This sense of being alone - and away from help - adds an element of danger and uncertainty that many episodes of many Star Trek incarnations simply do not feature. A related point is that this episode showcases Mr.Obsession Rules Rea Women Open Toe Leather Black Slingback Sandal.
Vintage 1977 OBSESSION Game from Mego VGC Up for auction is a vintage 1977 Obsession Game. John Kenneth Muir's Reflections on Cult Movies. He begins to use Sanchez’s obsession with loyalty to.
Mego released a whole line of very cool Buck.Spock in a difficult command situation, and again, this is something relatively rare in Star Trek history. We saw his “first command” in “The Galileo 7,” but other than that, Spock isn’t often in charge or calling the shots for an entire episode. The great thing about “The Slaver Weapon” is that Spock commands so brilliantly, yet in a fashion that is true to his character, and very different from Kirk’s style.In short, this is a great Spock episode. His advice to Uhura and Sulu about how to contend with Kzinti interrogation is priceless. The story involves the galaxy as it existed a millions of years ago, before human beings even existed. The Slavers are a great mystery from that era, and also an object lesson for Starfleet in the 23rd century. The hideous Slavers plunged the galaxy into war eons ago, and then intelligent life had to evolve “ all over again.” The fear, clearly, is that with rivals like Starfleet and the Kzinti - and the existence of Slaver stasis boxes - the same thing could happen again.
Or as Spock notes, it is “ strange how the past sometimes breaks into the present.' He fears that the Slaver weapon may “ well mean the end of mankind.” Like Joyce Perry's excellent 'The Time Trap,' it is not difficult to detect the Cold-War/detente era social commentary here. In the first shot of Andrew Niccol's impressive Gattaca (1997), what appears to be an over-sized fingernail lands on a hard floor like some heavy-gravity chunk of ice or space rock. This Goliath is followed promptly by a tree-trunk sized strand of human hair, which also impacts with considerable force. These unusual images - extreme close-ups, actually - are captured in rich blue hues, and promptly followed by shots of a naked man (Ethan Hawke) scrubbing his body vigorously, attempting to leave behind the biological evidence of his real identity. This memorable and highly cinematic opening sequence suggests a few important things.
First, it suggests to the viewer that, as human beings, we are all the product of genetic blueprints, and that, given a certain set of circumstances (namely the future world imagined by Gattaca), that very blueprint could subvert or betray us. To wit, the film concerns a man who aspires to reach the stars, but who is held tightly to the terrestrial firmament below by his physical blueprint; by the fact that he does not possess the right genetic 'code' for success.The discovery by Society-at-Large of something so simple as a fingernail or a strand of his hair could shatter this man's dreams of transcendence permanently. So these falling objects - the fingernail, the hair-strand - literally 'loom' over the man as giant threats. The director's choice to present them as colossal juggernauts is a clever, intelligent and unconventional one. Secondly, the blue light (and also the act of scrubbing) suggests sterilization of a sort; of rendering neutral or dead those things or elements that could potentially do harm.
The film's protagonist, Vincent (Hawke) must literally sterilize himself to be accepted in 'valid' society. He's sanding off parts of himself to fit in; to conform.On a more symbolic note, the blue light in this inaugural sequence suggests, at least to me, the sterile, somehow empty nature of Vincent's near-future world. It is a place where all imperfections have been engineered out of the human organism. The result is a world that seems remote, lacking in the warmth, love and color we associate with everything that exists in the species today: in our families, in our national discourse, in the pure diversity of our lives.We may lead messy, chaotic lives of highs and lows, of bickering and compromise, but that's the human equation, isn't it? To clean that up - to refine and rein in that anarchy - is to change the essence of what and who we are as a species. Inspiration, spontaneity, all strong emotions, it seems, have been forsaken as ' imperfections' in this world of Gattaca. The genetically-engineered people who dwell there are intelligent and beautiful, but - somehow - shallow.All their struggles were resolved for them before they were born; on the battlefield of test tubes and splicing.
Now, these men and women of Gattaca are surrounded by inspiring rocket launches every day, and never turn their eyes heavenward; never express excitement about the final frontier.Why strive or struggle when your destiny is written and cemented in your genes? When I consider the great science fiction films of the 1990s, my mind almost always conjures Gattaca first (though I am also quite enamored with The Matrix 1999). The 1997 Niccol film not only artistically imagines a very believable, very distinctive near future, it also explores that future fully, and in the process makes a case against discrimination or racism in all its forms. It also asks a pertinent question: without the struggle - the struggle to be better, stronger, smarter, more resourceful and successful - what's left for human kind?
But, as science fiction, in particular, Gattaca, succeeds so ably because it extrapolates - based on 1997 knowledge - on one possible future direction of our species.In terms of context, the most important thing to understand about Gattaca is that it was crafted and released in the decade of, a ' 13-year project coordinated by the U.S. Department of Energy and the National Institutes of Health' with the goals of ' identifying all the approximately 20,000-25,000 genes in human DNA, determining the sequences of the 3 billion chemical base pairs that make up human DNA, storing this information in databases, and improving tools for data analysis,' among other things. The 1990s also brought us an obsession with forensic science, the use of physical DNA evidence in solving crimes, and even the first successful cloning experiment in 1997, involving a lamb named Dolly. Accordingly, many films of the decade, from Jurassic Park (1993) to The Island of Dr.Moreau (1996) to Alien Resurrection (1997) to Mimic (1998) to Gattaca (1997) gazed at the possibilities and pitfalls of advanced genetic engineering. Not since the age of the Atom Bomb in the 1950s had the genre obsessed so much on the idea of a Pandora's Box being opened,and the potential for science to 'run amok.'
On theatrical release, Gattaca failed to draw an audience, although the critical response was mostly positive. Janet Maslin at The New York Times ' a handsome and fully imagined work of cautionary futuristic fiction.' Walter Addiego at the San Francisco Examiner as ' social criticism' and opined that Gattaca was a ' welcome throwback to the days of good, low-tech sci-fi, stressing character and atmosphere over computer-generated effects and juvenile thrills.It reminds me of the older sort of British science fiction, produced on very modest budgets, but with superior writing and acting, that achieved a thoughtfulness many don't expect from this genre.' Elegant, gorgeous and filled with heart, Gattaca is the amazing story of a man who beats the hand his genes and society have dealt him. Maybe, that's the story of us all. And though there are laws on the books against ' genoism,' these edicts are easily discounted, and talk is rampant of ' the right kind of people,' meaning only the genetically engineered.
Cannily, the crisp, elegant, 1950s-1960s-look and production design of Gattaca suggests, quite dramatically, the pre-Civil Rights era in our own nation. This was a time when it was okay for African-Americans to be waiters and elevator operators, but not astronauts (that didn't happen in America until 1983).I often write here about form echoing content in great films; and that's what Gattaca does so well, too.
It presents a future that has one foot in the inequalities of the past; and the Eisenhower-era styled costumes and cars express that idea beautifully. Even the idea of a nascent space program reflects that era in American history (post-Sputnik).
One step forward; two steps back. Another intriguing facet of the Niccol film involves the class distinctions even amongst the genetically engineered. If the Invalids are the least of the society, some of the elite are also - tellingly- victims of their DNA and their propaganda about DNA. Irene, for instance, possesses a tiny heart defect, and believes that this problem some how renders her lesser than the others around her.In fact, this small thing destroys her sense of self. ' You are the authority on what is not possible, aren't you Irene?,' Vincent asks her. ' They've got you looking for any flaw, that after a while that's all you see. For what it's worth, I'm here to tell you that it is possible.
It is possible.' A bit more subtly, Eugene/Jerome (Jude Law) also, in some way, proves the same thing. He is paralyzed from the waist down, considers himself a failure, and yet commits himself fully to Vincent's cause.
A genetically-engineered person, he is supposed to be perfect in every way, but early on, he lacks Vincent's sense of desire.Late in the film, however, the paralyzed man pulls himself up a staircase (seen in the poster above) shaped deliberately like the DNA helix. Eugene drags himself to the top of this edifice - with his drive and desire to help his 'brother,' Vincent intact - and succeeds beyond all expectations. Again, think of it symbolically: even paralyzed, Eugene's desire is more powerful than genetics (represented by that staircase and his mastery of it.).
Again, look back at the 1990s in America. This was an age when the shape of families was changing in dramatic and non-traditional ways.Because of no-fault divorce, more blended families came into being in this country than in any decade previous.
And also for the first time, beginning in the 1990s, homosexual couples could openly adopt and raise children.What these changes indicate is that 'family' was no longer a static concept tied exclusively to biology. Stepfathers, stepmothers, and step-siblings are family too. The intentional comparison and balance between Vincent/Anton and Vincent/Eugene mirrors this change in American society, and it too is a critique of sorts. Genetic, biological relationships are not the only standard of family, Gattaca suggests, and should not be held up as 'perfect' while other relationships are treated as, well, invalid.
I deeply admire how Gattaca concerns these powerful idea of transcendence.Vincent must transcend society's expectations of him to make his dreams come true; and he must literally leave the Earth to do it. The stars are his destination, and in that idea of the final frontier there is also the kernel of hope. Of finding something better out there; or at least something that gives one a new perspective on life here.
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Thus Gattaca is about the human desire to transcend the unpleasant moment and see over the next hill. But I equally admire how Gattaca gets every detail right, down to the futuristic slang (' de-gene-rates,') and down to terminology (cops are called ' Hoovers' not after J. Edgar but after the hand vacuums they use to collect evidence.) The movie even gets right the ' soft bigotry of low expectations' visited upon the Invalids by even 'nice' people among the elite.These people aren't evil, they just live according their society's rules, and society has told them it is okay to look down their noses at 'God children' or ' faith births.' Finally, I would be remiss if I didn't discuss, at least a little, Gattaca as what author and scholar Paul Meehan terms a ' tech noir,' a futuristic film noir.In particular, the film is structured in the familiar fashion of a 1940s or 1950s noir. Like other film noirs, Gattaca concerns a crime aspect (murder) or police procedural plot-line. It is about a ' social problem' (in this case, prejudice or bigotry) and it is structured as a series of flashbacks introduced through a laconic voice-over narration (Vincent's).
Re-watching the telefilm in 2013 I could see why my young mind was so drawn to this fantasy adventure. It features great visualizations of an “ acid lake” (which an unlucky Snake Man falls into, face first.), involves a sentient (or at least conscious) mystical weapon called “ The Heart Bow,” and showcases a great villainous performance by Marc Alaimo - DS9’s Gul Dukat - as a traitor named Sandros who seems cut from the same diabolical cloth as John Colicos’ Baltar. Eugene oregon marriage license. Genocide is hardly a consideration when personal power is at stake. The current iteration of dramatic narrative television, best exemplified by Game of Thrones, allows for a complex world to be introduced almost literally a kingdom at a time, with the grand action moving only a chess-piece at a time, or a chapter at a time, so that viewers come to understand character motivations, alliances, history, and other important factors. Obsession Rules ShoesBy contrast, the storytelling style of 1981 offers The Archer: Fugitive from the Empire no such safe harbor, and so the narrative and characterizations are, frankly, a bit of a mess. 'Hands down, John Kenneth Muir is one of the finest critics and writers working today.His deep analysis of contemporary American culture is always illuminating and insightful. John's film writing and criticism is outstanding and a great place to start for any budding writer, but one should also examine his work on comic books, TV, and music.
Obsession Rules Fringe BootsHis weighty catalog of books and essays combined with his significant blog production places him at the top of pop culture writers. Johns work is essential in understanding the centrality of culture in modern society.' - Professor Bob Batchelor, cultural historian and Executive Director of the James Pedas Communication Center at Thiel College (2014).' .a genre guru.' (Library Journal, 05/04) '.an accomplished film journalist.' (Comic Buyer's Guide, 4/18/03) 'as a critic, Muir is acute in his analysis, and as a writer, he is easy to read.' (Cinescape, 11/12/02).'
'.a walking film encyclopedia.' (Daily Yomiuri, 9/04) '.a first-rate historian.'
(Gadfly Online, 2002) '.an authority on horror and science fiction cinema.' (RUSA, 2003) '.forever the judicious critic.' (The Tribune 12/06) '.well-grounded in the love and minutiae of sci-fi and fantasy adventure.'
'.he has an encyclopedic knowledge of the horror genre.' 'a genre expert,' who has written 'some excellent books on horror films and television.' ( Scary Monsters Magazine #55, 07/05) '.an aficionado and unapologetically hardcore fanboy.' (John Bowen, Rue Morgue) '.John Kenneth Muir's books for McFarland are distinctive because of their authority and effective research.'
(Classic Images, May 2004) '.he really scrapes beneath the surface of the film and looks for the subtext; every nuance is analysed.' (Within the Woods, 09/04) '.what will keep you reading are his insights.'
(Mercenary Journal, 2004) '.John Kenneth Muir must have had one mis-spent youth.' (Penguin Comics, 06/04) '.clearly the of a true ASS!!!' - (Blog Reader, 2005).familyallworld.
Vintage 1977 OBSESSION Game from Mego VGCUp for auction is a vintage 1977 Obsession Game from the Mego Corp. It is complete and in very good condition. The game it self is better than excellent. The box has had the corners neatly repaired with clear tape. The bottom box is in great condition.Payment is expected with in 3 days at the close of auction.
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