By Heather Jarman, Una McCormack
Inside each federation and each empire, in the back of each hero and each villain, there are the worlds that outline them. within the aftermath of Unity and within the bold culture of Spock's global, the ultimate Reflection, and A sew in Time, the civilizations so much heavily tied to Star Trek: Deep area Nine can now be skilled as by no means before...in stories either sweeping and intimate, reflective and prophetic, eerily accepted and completely alien.
CARDASSIA: The final international ravaged by way of the kingdom conflict can also be the final on which Miles O'Brien ever imagined construction a existence. As he joins within the reconstruction of Cardassia's infrastructure, his spouse Keiko spearheads the planet's tough agricultural renewal. yet Cardassia's fight to remake itself -- from the fledgling democracy sponsored by means of Elim Garak to the people's rediscovery in their personal religious earlier -- isn't really with out competition, because the outdoors efforts to aid rebuild its civilization come less than assault by way of those that reject any alien effect.
ANDOR: at the eve of an exceptional occasion in their historical previous, the weird and mysterious Andorians, a species with 4 sexes, needs to come to a decision simply how a lot they're prepared to sacrifice with a view to be sure their survival. organic necessity clashes with own ethics; cultural legal responsibility vies with love -- and Ensign Thirishar ch'Thane returns domestic to the planet he forswore, to stand not just the results of his offerings, yet a clandestine plan to change the very nature of his sort.
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Extra resources for Cardassia and Andor (Worlds of Star Trek: Deep Space Nine, Book 1)
He tried to do more than just give us faceless unidentified Inuit or Samoans or Irishmen. He pushed film to its filmic specific limit, letting the audience enjoy and identify with a real, albeit exotic, individual. This may be Flaherty’s most important contribution to ethnographic film, and its influence is clear in The Hunters and Dead Birds. It is safe to say that no ethnographic film has suffered from focusing too much on an individual, and many are flawed by not doing so. Flaherty tried to tell a story: not, as in novels or scripted film, a story of human interaction or passion or the search for love or wealth or power, but a story of the individual facing crisis.
Another film called simply Eskimo treats an Inuit love story disrupted by the captain of a trading vessel frozen in the ice near a village. This tradition continues on in the United States with such recent films as the 1974 Inuit story White Dawn and in Canada with the first Inuit-made film, Atanarjuat: The Fast Runner. Other masterpieces of what might be called ethnographic fiction are Satyajit Ray’s Apu Trilogy (Pather Panchali, 1955; The Unvanquished, 1956; and The World of Apu, 1959), which follows Apu and his family from boyhood in a Bengal village to university life in Calcutta (see Wood 1971); and the Algerian-French production Ramparts of Clay (1969), based on Jean Duvignaud’s monograph on a Tunisian village, Change at Shebika (1970).
We will consider this question and its implications in the next chapter. n at iv e fee d b a c k The Flaherty legend relates how Flaherty developed his footage each evening and screened it for his subjects, getting their reactions and advice and thus making them real collaborators in the filmmaking process. This is a fascinating idea. It has the potentially great advantage of making film more truly reflective of the natives’ insight into their own culture. Flaherty may have first showed his footage to his Inuit friends as entertainment.