ysical presence of the Enterprise, for the slow moving camera along with the music brings the power and size of this ship to the fore. The imposing size of the Enterprise is one of its militaristic features--such a huge machine must be capable of great destructive power as well.
The Enterprise also has strong iconographic importance for the fans of the show, and that importance is emphasized by the way the film first develops the plot and then introduces the ship at length in a series of glimpses through scaffolding:
These fragments of the Enterprise are sensualized by both the gentle rhythm of the musical score and the warm, almost glowing facial expressions of Kirk. Many of the shots are also from the captain's point of view, thereby allowing the spectator to experience the spectacle of a perfectly white and subtly rounded starship through his eyes (Bernardi 71).
The whiteness of the Enterprise places it on the side of right and justice in the usual iconography, and the rounded contours also deliberately contrast with the jagged shapes of the enemy vessels.
A central ideology governing the way the story unfolds is ancillary to the militarism but at the same time somewhat different form it, and this relates to the broad idea of family, seen in the core crew which comes together in this film after years of service together on the old television series. Each of these characters is introduced in way th
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