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This book examines how contemporary media marketing has become the new myth-making and has reinforced the particular mythology of the gargantuan Star Trek franchise, across its current lifespan of more than 50 years. The author argues that the tools of promotional material and transmedia merchandising shape viewers' experiences of the hit television series, reinforcing its mythology that both recycles the narratives of classical heritage and looks forward to the future. In this way, it reminds consumers of the Star Trek story's ongoing centrality within popular culture, whether in the form of the original 1960's series, the later additions such as Voyager and Discovery or J. J. Abrams' "reboot" films. Chapters examine how oral and literary traditions have influenced the series structure and its commercial image, how the cosmological role of humanity and the Earth are explored in title sequences across various Star Trek media platforms, and the multi-faceted way in which Internet, video game and event spin-offs create rituals to consolidate the space opera's fan base.

Star Trek television programs --- Star Trek films --- Myth in motion pictures. --- History and criticism. --- History and criticism.

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Star Trek films --- Star Trek television programs --- Space biology --- Science fiction --- Star Trek (Films) --- Star Trek (Séries télévisées) --- Biologie spatiale --- Science-fiction --- Science fiction.

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History of civilization --- Film --- United States --- #SBIB:021.AANKOOP --- #SBIB:309H520 --- #SBIB:309H525 --- Audiovisuele communicatie: algemene werken --- Sociologie van de audiovisuele boodschap --- Star Trek films --- Star Trek television programs --- Science fiction television programs --- Science fiction films --- Moral and ethical aspects --- United States of America

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In Speculative Blackness, Andre M. Carrington analyzes the highly racialized genre of speculative fiction-including science fiction, fantasy, and utopian works, along with their fan cultures-to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination. Carrington's argument about authorship, fandom, and race in a genre that has been both marginalized and celebrated offers a black perspective on iconic works of science fiction. He examines the career of actor Nichelle Nichols, who portrayed the character Uhura in the original Star Trek television series and later became a recruiter for NASA, and the spin-off series Star Trek: Deep Space Nine, set on a space station commanded by a black captain. He recovers a pivotal but overlooked moment in 1950s science fiction fandom in which readers and writers of fanzines confronted issues of race by dealing with a fictitious black fan writer and questioning the relevance of race to his ostensible contributions to the 'zines. Carrington mines the productions of Marvel comics and the black-owned comics publisher Milestone Media, particularly the representations of black sexuality in its flagship title, Icon. He also interrogates online fan fiction about black British women in Buffy the Vampire Slayer and the Harry Potter series. Throughout this nuanced analysis, Carrington theorizes the relationship between race and genre in cultural production, revealing new understandings of the significance of blackness in twentieth-century American literature and culture.

American fiction --- Science fiction, American --- Race in literature. --- African Americans in mass media. --- African Americans in popular culture --- African American authors --- History and criticism. --- Race in literature --- African Americans in mass media --- History and criticism --- Science fiction [American ] --- Brandon, Carl Joshua --- Carr, Terry --- Star Trek television programs --- Barnes, Steven --- Icon (comic books) --- American fiction - African American authors - History and criticism --- Science fiction, American - History and criticism