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Star Trek V: The Search for God

Pilkington, Ace. Literature/Film Quarterly 24.2 (1996): 169-176.

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Abstract
The Motion Picture a machine finds a soul; in Star Trek II Spock dies that his shipmates (and he himself) might live; in Star Trek III Spock's soul is discovered and reunited with his body; and in Star Trek IV the resurrected Spock comes to terms with himself and the human and Vulcan (mortal and divine) halves of his nature, and the crew of the "late Starship Enterprise" saves Earth before the ship itself is reborn. J.M. Dillard, who wrote her novelization of the film from the shooting script and who as a Star Trek fan and an author of Star Trek novels is in full command of the intertextual background, says of a conversation with Harve Bennett, "He went over each scene with me in great detail.... there were some scenes in which I painted Sybok as a harsher character, when the movie showed him in a more sympathetic light."

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If Star Trek V had been subtitled "The Search for God" instead of "The Final Frontier," the change would have been more than a statement of the movie's central theme; it would also have been a recognition of the theological preoccupations of the earlier films in the series and, behind that, of the episodes in the television series itself.1 In Star Trek I (Star Trek : The Motion Picture) a machine finds a soul; in Star Trek II Spock dies that his shipmates (and he himself) might live; in Star Trek III Spock's soul is discovered and reunited with his body; and in Star Trek IV the resurrected Spock comes to terms with himself and the human and Vulcan (mortal and divine) halves of his nature, and the crew of the "late Starship Enterprise" saves Earth before the ship itself is reborn. Where else can the Enterprise go in the fifth film but in quest of God? Star Trek V: The Final Frontier is an exploration of issues first raised in the original television series. These include the nature of God(s), of frontiers, of paradises (especially Edens or beginning places), and-of necessity-the intertextual (almost scriptural) nature of Star Trek itself. Vivian Sobchack, for example, asserts that "The Star Trek firms constitute a particularly poignant and intertextually grounded pseudo-history of their own" (276). Almost from the beginning Star Trek had a purpose and consistency unusual in series television, in part due to Gene Roddenberry and in part due to the dedication of the actors to their characters. Director Vincent McEveety complains, for instance, that by the third season

"There was a growing domination of the scripts by the actors" (Gross 91). The process continued in the films, where both Leonard Nimoy and William Shatner provided stories and directed.2 But there is another powerful force at work in shaping the Star Trek universe-the audience.3 For the fans, the true spirit of Star Trek had to be protected, if necessary, even from the filmmakers themselves.4 Star Trek II was threatened with a boycott when news leaked out that Spock was to be killed (Cohen 97), and similar threats were made against Star Trek III because of the Enterprise's destruction (Cohen 99). As Allan Asherman describes "orthodoxy" in Star Trek II: "Would there be any concern about keeping within the existing parameters of the 'Star Trek' universe? Many fans of Trek' reached the conclusion that since Mr. Spock was rumored to die in the film, efforts to remain faithful . . . had been abandoned. They were wrong: fidelity to the original was a vital concern of the new team" (158). Jay A. Brown's positive review of Star Trek II is typical: 'This time, the affecting story superbly captures the spirit of the original series" (429). Even Captain Kirk is subject to such audience expectations or expectational texts.5 William Shatner assured an interviewer shortly before Star Trek Vs release that the film was "like the best of the old TV series. . . . this movie epitomizes what Gene Roddenberry had in mind from the beginning. My feeling is that Star Trek V may be a big budget motion picture but its heart and soul is still a one hour TV show" (Shapiro 43). It is thus as a text among other texts that Star Trek V must be "read." The characters in the film have long histories and enduring attitudes. The series itself has a recognizable philosophy and an enthusiastic audience willing to expound, endorse, and ensure the survival of that philosophy. Many of the signs and signals in Star Trek V will be misread or simply missed without the intertextual, almost interscriptural background from which they are built.6 Roger Ebert, for example, a critic who is generally favorable to the Star Trek films but disliked Star Trek V, said, "As the Enterprise approached the Barrier . . . [the] movie seemed to be remembering what was best about the fictional world of Star Trek: Those moments when man and his ideas are challenged by the limitless possibilities of creation" (706-07). Ebert, of course, finds the end of the film an anticlimax because he has misread the signs which could have told him what was coming and, more importantly, what was not. Star Trek V not only has the "heart and soul" of one of the television episodes, it also very nearly has the plot of one of them, and it is paralleled by a number of others. The closest of the series episodes to Star Trek V is "The Way to Eden," which, as its title suggests, also features a search for the beginning place, and the searchers in this episode, like those in Star Trek V, hijack the Enterprise and continue their search in the face of seemingly insuperable dangers. (The Romulans and not the Klingons pose a threat, though the Romulans do not appear.) "The Way to Eden" also features a brilliant scientist, Dr. Sevrin, who has abandoned his training and his civilization in order to search for a supposedly mythical place. Sevrin, too, attempts to win the Enterprise crew to his cause, though with far less success than Sybok enjoys.

The end of the episode is as tragic as the end of the film: Eden is found, but it is a surface beauty over poison. The plants are acid, and one of the seekers (Adam) dies, while others are badly burned. Dr. Sevrin, in willful madness, commits suicide. And there are still other connections between the episode and the film. One Enterprise crewmember (Chekov this time) has a previous relationship with one of the rebels (Irini Galliulin), one of the rebels is (like Sybok) the son of an ambassador, and, finally, Spock, though his loyalty to his captain and ship is unshakable, is sympathetic with the rebels' quest, actually helping them to find the planet they seek. Nor is "The Way to Eden" the only encounter that the Starship Enterprise had with a "paradise" during the three years of its television patrol. In "The Apple," Kirk and company discover a humanoid society that does not have murder, death, or sex. The people of the planet are the servants of a computer intelligence called Vaal. Vaal, whose access point is shaped like a giant snake's head, gives its people food, controlled weather, and eternal life in return for the high energy rocks they gather as fuel. Kirk introduces violence and sex, destroying what he considers an inhuman society when he destroys the powerful machine which makes it possible. "The Apple" presents a moral dilemma within the Star Trek universe. Starfleet personnel are forbidden to change the course of an alien society or to interfere with its development in any way, and yet Kirk repeatedly breaks this "prime directive." The usual justification within the series is an appeal to a higher value, to the very essence of sentient life, usually couched in terms of progress. "We put those people back on a normal course of social evolution; I see nothing wrong in that," Dr. McCoy says in the middle of an argument where Spock is suggesting that "in a manner of speaking, we have given the people of Vaal the apple, the knowledge of good and evil, if you will; as a result of which, they too, have been driven out of paradise." Though Spock denies casting his captain in the role of Satan, that is precisely what his argument does.7 Kirk has already said in defense of his intervention, "Well, that's a good object lesson, Mr. Spock, an example of what can happen when the machine becomes too efficient, does too much work for you." The juxtaposition of Eden and Machine is here made explicit; their complicity in turning the human into the nonhuman or preventing normal social evolution into the human is obvious. Hence, Kirk is able to turn the "Satan" accusation against Mr. Spock, his machine-like first officer, whose perfection sometimes approaches the inhuman. Indeed either the word paradise or the word Eden serves as a danger signal in the television episodes of Star Trek. Such places are, as Kirk warily observes in "Shore Leave," "Almost too good to be true."8 Star Trek V is replete with similar danger signs. The place where Sybok begins his terrorist activities is Nimbus III, "the Planet of Galactic Peace." It is the site of a failed Utopian experiment conducted jointly by the Federation, the Klingons, and the Romulans. As the Terran ambassador, St. John Talbot, puts it, "Our new age died a quick death, and the settlers we conned into coming here, they were the dregs of the galaxy." It is from this unpromising material in and around Paradise City that Sybok recruits and brainwashes his

otherwise noticeably unwashed army. 9 Sybok himself is reminiscent not only of Dr. Sevrin but also of the other practitioners of thought control in the series. With the exception of Spock, whose Vulcan disciplines and philosophies forbid the use of mental power to dominate others, practitioners of mind control in any of its many forms have been condemned in the series. This includes Utopian onenesses such as those in "This Side of Paradise" and 'The Return of the Archons," thought policing like that practiced in "For the World is Hollow and I Have Touched the Sky" and "The Menagerie," sheer mental bullying on the order of that found in "Charlie X" and "Plato's Stepchildren" and the creation of mental delusions such as those in "And the Children Shall Lead" and "The Day of the Dove." Sybok, as his predecessors did in the television series, must place himself in direct opposition to Captain Kirk, since their goals are widely divergent. This is true not only because Sybok wants the Enterprise and Kirk does not wish to give it up, but also because their ultimate goals and essential visions of the universe are antithetical. In spite of Sybok's preaching about exploration and his seeming desire to extend human boundaries by breaking the "Great Barrier" to the galaxy's center, his quest is a means to the ending of human discoveries, not their extension. As Gene Roddenberry says in the novelization of Star Trek: The Motion Picture, "By its very nature, a Creator has and is every answer to everything" (247). While such answers from human creators may help to vitalize and transform a machine which lacks real purpose, to give answers to human beings from a certifiably divine source would have the opposite effect-or at least so the Star Trek films have consistently argued. Sybok's psychological "therapy" becomes a mirror of his theology. He takes away pain, guilt, and fear in order to make converts to his quest, a spatial externalization of his own psyche. Again, however, there are warning signs. Star Trek V is subtitled "The Final Frontier," yet from the first voice-over on the first episode of the series, the message of those words has been that "Space, the Final Frontier," is never-ending. Star Trek: The Motion Picture concludes with the words "The Human Adventure is Just Beginning." Nevertheless, Sybok seems to promise a beginning place that is also an end, an instant understanding given from outside, a final, simultaneous exploration of exterior and interior universes. As Sybok gives effortless peace to his followers, God grants unearned knowledge. There was a parallel situation in the second Star Trek pilot, "Where No Man Has Gone Before." Star Trek V contains what well may be a reminder of this. In the part of the ship where Kirk, McCoy, and Spock have their main confrontation with Sybok and from which they watch the passage through the Great Barrier, there is an old ship's wheel with the engraved words "TO BOLDLY GO WHERE NO MAN HAS GONE BEFORE." Both the episode and the movie deal with the extension of boundaries and the crossing of barriers, but "Where No Man Has Gone Before" sent the Enterprise through the outer edge of the galaxy instead of into its center. As a result of passing through the barrier, two crewmembers with ESP abilities (Gary Mitchell and Elizabeth Dehner) acquire godlike powers. Dehner says to Kirk, "Before long we'll be where it would have taken mankind millions of years of learning to reach." Kirk's

response is prototypical, "What will Mitchell learn in getting there? Will he know what to do with his power? Will he acquire wisdom?" There are no easy answers, no easy ways out or up or even back. In the episode "Who Mourns for Adonais?"10 the Enterprise encounters the Greek god Apollo, not a projection or an illusion but the actual entity who had been Apollo all those long years ago on Earth. Apollo offers an easy, pastoral existence in the care of an authentic god, a being capable of bestowing immortality, who asks no more than pleasurable worship in return for his gifts. He says, "I would have cherished you, cared for you; I would have loved you as a father loves his child. Did I ask so much?" Of course, Captain Kirk refuses, "We've outgrown you. You asked for something we can no longer give." Apollo, his power source damaged, is driven to a kind of suicide. As the title indicates, though, Kirk regrets the course of action he has had to pursue. He speaks the last words in the episode: "They gave us so much.... Would it have hurt us, I wonder, just to have gathered a few laurel leaves?"11 The answer, of course, is yes; only by giving up their own identities could the Enterprise crew have been what Apollo wanted. Thus, Kirk, who sometimes hungers for a simpler place and fewer responsibilities, gets his wish in "The Paradise Syndrome" when he becomes Kirok, a medicine man in a transplanted Indian tribe. But he must give up who he is and, in the end, the computer-human interface sustaining the idyll fails, and Kirok's wife and unborn child are killed.12 In Star Trek V Kirk's crew is taken from him and from themselves by Sybok's manipulations, in what is potentially the most deadly assault on the Enterprise in the whole of its history, not excepting the destruction of a previous incarnation of the ship. Throughout the television episodes and the film series, the Enterprise has served as a counterweight to Kirk's enemies, a real counter-world to set in the balance against the illusory Edens and paradises. At the conclusion of "A Private Little War," Kirk says, "We're very tired, Mr. Spock. Beam us up home." And at the end of Star Trek IV his words, as he looks at the gleaming new Enterprise, are, "My friends, we've come home." But now Sybok has succeeded in converting almost all of the crewmembers, and the ship is under his command. Worse still, Sybok's vision, if in fact it is given to him by God as he claims, will challenge Kirk's history, personality, and ultimate purpose. Sybok, in turn, sees Kirk's identity and his bond with Spock and McCoy as one more barrier to break. He says, "The bond between these three is strong, difficult to penetrate-this will be quite a challenge." Allen Asherman argues that "Together these three formed one mind, with Kirk furnishing the impulse, Spock the logic, and McCoy the modulation" (160). Certainly all three have shown a similarly realistic vision of the universe in the course of Star Trek V, with McCoy's concern for the fragile, perishable nature of human life, Kirk's struggle to master the rocks that rise in his path, and Speck's insistence that "Life is not a dream," whatever the lyrics of "Row, Row, Row Your Boat" may say. Sybok's first victory against them comes because McCoy has not been able to embrace pain with Jim Kirk's wholehearted gusto. The doctor has released his father from unbearable pain at his father's request, and that is the weakness on which Sybok seizes. McCoy has taken the easy way out, even though he did it out of deep empathy, and

the end result has not been easy at all. McCoy's father slips away from pain but also from life and a cure. McCoy has surrendered a part of himself in ceasing to struggle. What Sybok offers is, as Kirk indicates, more of the same: "Damn it, Bones, you're a doctor. You know that pain and guilt can't be taken away with a wave of a magic wand." McCoy is saved by his two friends and their firm refusal to give up their selves to Sybok's vision. Spock, after subjecting himself to his half-brother's psychodrama, says, "I belong here. . . . I have found myself and my place. I know who I am, and I cannot go with you."13 Kirk's rejection of Sybok is even stronger. He asserts that pain and guilt are "the things we carry with us, the things that make us who we are. If we lose them, we lose ourselves. I don't want my pain taken away. I need my pain." Captain Kirk is, as David Ansen calls him, "a cranky humanist determined to hold on to the Judeo/Christian legacy of guilt" (64). He is determined to keep that flawed, costly soul he has struggled to win, but the victory is never permanent, and this time the adversary is, seemingly, God himself. For Sybok's madness is partially endorsed by the universe: the Enterprise successfully breaches the Great Barrier, and finds a planet plus a unique energy source. In spite of the negative signals and the long history which promises Sybok's defeat, the film is surprisingly sympathetic to the messianic Vulcan. J.M. Dillard, who wrote her novelization of the film from the shooting script and who as a Star Trek fan and an author of Star Trek novels is in full command of the intertextual background, says of a conversation with Harve Bennett, "He went over each scene with me in great detail.... there were some scenes in which I painted Sybok as a harsher character, when the movie showed him in a more sympathetic light." This sympathy (apparently added between script and screen) comes not because Sybok is right but because he is so tragically wrong. The "God" he is willing to kill to find is, if it is a god at all, an old tribal deity of fierce faith and unreasoning force which strikes down doubters and raises up doubts. Like Apollo, it has been long outgrown. It becomes a horrible mirror image of Sybok himself, a Sybok writ across the face of the universe in which, paradoxically and hellishly, he loses himself. The easy answer is the hardest one of all; the simultaneous solution to all external and internal puzzles becomes a mind-meld with a monster, essentially inhuman and the more horribly so because it wears Sybok's own distorted face. It is especially terrible because its irresponsible use of power, its desire for instant possession of the starship, reflect Sybok's own soul, and by this point in the film, he knows it. He says, "This is my arrogance, my vanity .. ." Some critics have objected to the alternative Star Trek V presents to Sybok's vision. As Richard Schickel rephrases the film, "Maybe we will never find God, Kirk suggests at the end, but, by golly, male bonding is a swell substitute" (89). In fact, McCoy asks, "Is God really out there?" And Kirk's answer is, "Maybe he's not out there, Bones; maybe he's right here-the human heart." Coming from a man who believes that his pain creates his identity and from a series of films that have consistently argued for personal responsibility, that is not an easy answer. In Star Trek the human heart is a battleground, a learning place, a site for joy and

punishment, and, often, a synonym for the human soul. Footnote Notes 1 Vincent McEveety, who directed six episodes of Star Trek spanning all three seasons, says, "I enjoyed Star Trek a lot, and found it to be the quintessential morality play" (Gross 90). 2 Walter Koenig (Chekov) provided a script ("How Sharper Than a Serpent's Tooth") for an episode of the animated series. 3 The Starship Enterprise in the television series is supposedly carrying on a proud name borne by earlier vessels. However, between the end of the series in 1969 and Star Trek: The Motion Picture in 1979, a bit of cause and effect reversal took place, a time paradox worthy of the most extravagant science fiction story: one of the vessels for which the Starship Enterprise was supposedly named was the first space shuttle, but, of course, the space shuttle, as a result of some 400,000 letters written to then-President Gerald Ford, was named after the fictional Starship. Both Paramount and the fans of the series took this public recognition as an endorsement of and reification for Star Trek and its message. The space shuttle Enterprise was "unveiled at ceremonies attended by the cast of the original... television series" (Asherman 151) and, eventually, Paramount launched a movie starship to, as a publicity release put it, join "the space shuttle Enterprise in its space travels" (Asherman 151). Brad Ferguson's 1991 Star Trek novel, A Flag Full of Stars, briefly places Admiral Kirk in command of a refurbished space shuttle Enterprise. 4 There is a generally recognized hierarchy of authority (or sanctity) for these texts, with the original series episodes in first place (though many fans have their own private apocryphas, lists of episodes which do not measure up to the true spirit), then the movies, next the animated series episodes, and finally the many Star Trek novels. In a letter to me dated 19 May 1990, J.M. Dillard, author of the novelization of Star Trek V, provides an excellent example of this hierarchy in operation: "I did my best to stick to the dialogue 'as was,' with one notable exception: where Spock refers to Sybok's mother as a 'Vulcan princess.' I changed that term to 'priestess,' as it made more sense to me as a STAR TREK fan. . . . There had been previous references to Vulcan priestesses, both in the movies and in the STAR TREK books, but never any mention of Vulcan royalty." 5 For a detailed discussion of the impact of expectational texts on audience and critics see my Screening Shakespeare from Richard II to Henry V (U of Delaware P, 1991). 6 Not all critics are happy with this complex background or willing to make the intellectual effort necessary to get an accurate reading. Tom Cunneff, for instance, writes about Star Trek IV, "True Trekkies will devour every Spockism and Kirk command, but others will feel as entertained as they would if someone told a joke in a foreign language" (12). And Ralph Novak warns concerning Star Trek V, "Anyone who doesn't come to the film with at least a working knowledge of the Star Trek characters might wonder what all the fuss is about, but those who can tell the difference between Chekov and SuIu should go home entertained" (15). Georgia Brown, for example, has clearly not made the effort. Commenting on the scene

of Spock's birth in Star Trek V, she writes, "seems odd to me that Vulcan women scream during childbirth" (8). Spock's mother is, of course, human. 7 Star Trek draws more heavily than much filmed science fiction on the print variety, often offering extremely close parallels. For instance, Jack Williamson wrote in "With Folded Hands," his 1948 novella about a robot threat to humanness: "The Prime Directive was the new commandment. He blasphemed it bitterly, and then fell to wondering if there could be another Lucifer" (Williamson 17). The series also used film texts behind its video texts. For instance, "Balance of Terror" was based on Run Silent, Run Deep and The Enemy Below; "The Cloudminders" draws inspiration from Metropolis', and "Requiem for Methuselah" includes elements from Forbidden Planet and behind that from Forbidden Planet's source, Shakespeare's The Tempest. 8 At the beginning of "The Apple," Dr. McCoy says that the planet Gamma Trianguli VI is "like the Garden of Eden." Almost immediately a crewman is killed by spores fired from one of the local plants, and Kirk angrily exclaims, "What did somebody say, that Paradise must have looked like this?" In "I, Mudd," Harry Mudd describes the android-inhabited planet he has discovered as "absolute paradise," just before he expresses a fervent desire to escape. During the opening scene of "A Private Little War," Spock questions Kirk, "You say it's a Garden of Eden?" The war of the title begins immediately thereafter. In "The Return of the Archons," Sulu, who has been brainwashed and deprived of all personality, intones, "Paradise-paradise." The warning signal in "This Side of Paradise," another episode where personality is submerged in a quasi-religious oneness, is the title itself. 9 Here is another similarity with "The Way to Eden." Dr. Sevrin and his followers have sometimes been described by less reverent Trekkies as "space hippies." 10 The episode describes Apollo's mother, Leto, as "a mortal." Is this an error or one more of Star Trek's emphases on the human/divine? At the end of the short story which James Blish wrote from the episode, Carolyn Palamas, an Enterprise crewmember, is pregnant with Apollo's child, and McCoy is wondering whether he will deliver "a human child-or a god" (27). This was also the ending of the episode's first-draft script (Asherman 73). 11 The animated episode "How Sharper Than a Serpent's Tooth" goes through a similar sequence of events with the astronaut-god Kulkukan. 12 Spock and McCoy have similar plunges into paradise with its accompanying identity lossSpock in "This Side of Paradise" and McCoy in "For the World is Hollow and I Have Touched the Sky." 13 Spock's sense of self is particularly important (and satisfying) because as Harvey R. Greenberg points out, "His noble, flawed figure recapitulates in outer space many a Terran youngster's search for a viable identity" (54). References Works Cited "And the Children Shall Lead." Edward J. Lasko. Star Trek. Dir. Marvin Chomsky. 1968-69 Season.

Ansen, David. "The Enterprise Flies Once More: Who Cares If It Ain't Art?" Newsweek 19 June 1989: 63-64. "The Apple." Max Ehrlich and Gene L. Coon. Star Trek. Dir. Joseph Pevney. 1967-68 Season. Asherman, Allan. The Star Trek Compendium. Rev. ed. New York: Pocket Books-Simon &Schuster, 1989. "Balance of Terror." Paul Schneider. Star Trek. Dir. Vincent McEveety. 1966-67 Season. Blish, James. "Who Mourns for Adonais?" (from an original television script by Gilbert A. Ralston and Gene L. Coon). Star Trek 7. New York: Bantam Books, 1972. 1-27. Brown, Georgia. "Keep on Trekkin'." Voice 20 (June 1989): 8. Brown, Jay A., and the Editors of Consumer Guide. Rating the Movies. Lincolnwood, Illinois: Publications International, 1989. "Charlie X." D.C. Fontana. Star Trek. Dir. Lawrence Dobkin. 1966-67 Season. "The Cloudminders." Margaret Armen. Star Trek. Dir. Jud Taylor. 1968-69 Season. Cohen, Daniel. Strange and Amazing Facts about Star Trek. New York: Archway PaperbackSimon &Schuster, 1986. Cunneff.Tom. "Star Trek IV: The Voyage Home." People 15 (December 1986): 12. "The Day of the Dove." Jerome Bixby. Star Trek. Dir. Marvin Chomsky. 1968-69 Season. Dillard, J.M. Letter to the author. 19 May 1990. _____ . Star Trek V: The Final Frontier. New York: Pocket Books-Simon &Schuster, 1989. Ebert, Roger. Roger Eben's Movie Home Companion. New York: Andrews and McMeel, 1989. Ferguson, Brad. A Flag Full of Stars. New York: Pocket Books-Simon and Schuster, 1991. "For the World Is Hollow and I Have Touched the Sky." Rick Vollaerts. Star Trek. Dir. Tony Leader. 1968-69 Season. Greenberg, Harvey R. "In Search of Spock: A Psycholoanalytic Inquiry." Journal of Popular Film and Television 12.2 (Spring 1984): 53-65. Gross, Edward. "The McEveety Glory." Starlog July 1989: 89-92. "How Sharper Than a Serpent's Tooth." Russell Bates and David Wise. Star Trek (Animated). 1974-75 Season. "I, Mudd." Stephen Kandel and David Gerrold. Star Trek. Dir. Marc Daniels. 1967-68 Season. "The Menagerie." Writ. Gene Roddenberry. Star Trek. Dir. Marc Daniels. 1966-67 Season. Novak, Ralph. "Star Trek V: The Final Frontier." People 26 (June 1989): 15. "The Paradise Syndrome." Margaret Armen. Star Trek. Dir. Jud Taylor. 1968-69. "Plato's Stepchildren." Meyer Dolinsky. Star Trek. Dir. David Alexander. 1968-69 Season. "A Private Little War." Gene Roddenberry. Star Trek. Dir. Marc Daniels. 1967-68 Season. "Requiem for Methuselah." Writ. Jerome Bixby. Star Trek. Dir. Murray Golden. 1968-69 Season. "The Return of the Archons." Boris Sobelman. Star Trek. Dir. Joseph Pevney. 1966-67 Season.

Roddenberry, Gene. Star Trek: The Motion Picture; A Novel. New York: Pocket Books-Simon &Schuster, 1979. Schickel, Richard. 'Time for the Ants to Revolt?: Two Big, Dull Sequels Hint at a Drizzly Summer." Time 26 June 1989: 89. Shapiro, Marc. "William Shatner: Shakedown Cruise." Starlog July 1989: 38-43, 72. "Shore Leave." Writ. Theodore Sturgeon. Star Trek. Dir. Robert Sparr. 1966-67 Season. Sobchack, Vivian. Screening Space: The American Science Fiction Film. 2nd ed. New York: Ungar, 1987. Star Trek: The Motion Picture. Da. Robert Wise. Paramount. 1979. Star Trek II: The Wrath of Khan. Dir. Nicholas Meyer. Paramount. 1982. Star Trek III: The Search for Spock. Dir. Leonard Nimoy. Paramount. 1984. Star Trek IV: The Voyage Home. Dir. Leonard Nimoy. Paramount. 1986. Star Trek V: The Final Frontier. Dir. William Shatner. Paramount. 1989. "This Side of Paradise." Writ. D.C. Fontana. Star Trek. Dir. Ralph Senensky. 1966-67 Season. "The Way to Eden." Writ. Arthur Heinemann. Star Trek. Dir. David Alexander. 1968-69 Season. "Where No Man Has Gone Before." Writ. Samuel A. Peeples. Star Trek. Dir. James Goldstone. 1966-67 Season. "Who Mourns for Adonais?" Writ. Gilbert A. Ralston and Gene L. Coon. Star Trek. Dir, Marc Daniels. 1967-68 Season. Williamson, Jack. "With Folded Hands." The Humanoids. Garden City, New York: Nelson Doubleday, 1980. AuthorAffiliation Ace G. Pilkington Dixie College

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Subject Title Author Publication title Volume Issue Pages Number of pages Publication year Publication date Year Motion pictures Star Trek V: The Search for God Pilkington, Ace G Literature/Film Quarterly 24 2 169-176 8 1996 1996 1996

Publisher Publisher Place of publication Country of publication Journal subject ISSN Source type Language of publication Document type Document feature Subfile ProQuest document ID Document URL Copyright Last updated Database

Salisbury Salisbury University Salisbury United States Literature, Motion Pictures, Humanities: Comprehensive Works 00904260 Scholarly Journals English Commentary Photographs;References Motion pictures 226979930 http://search.proquest.com/docview/226979930?accountid=9645 Copyright Salisbury University 1996 2010-06-10 ProQuest Central << Link to document in ProQuest

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