STAR TREK - FIRST CONTACT (1996) Movie Poster, Australian One Sheet
Size AU One Sheet (27" x 40")
STAR TREK - FIRST CONTACT (1996) Movie Poster, Australian One Sheet, Sir Patrick Stewart, Jonathan Frakes, Brent Spiner, Directed by Jonathan Frakes, is in Very Fine+ Condition. Movie Poster and...
STAR TREK - FIRST CONTACT (1996) Movie Poster, Australian One Sheet, Sir Patrick Stewart, Jonathan Frakes, Brent Spiner, Directed by Jonathan Frakes, is in Very Fine+ Condition.
Movie Poster and Condition.
Condition: This Australian One Sheet Movie Poster is in Very Fine+ Condition, Rolled as issued, Minor edge wear. Soft handling creases. This original Australian One Sheet movie poster is a highly collectable piece of 1990s science-fiction cinema memorabilia from the hugely popular Star Trek franchise. Featuring imagery associated with the feature-film adventure starring the crew of Star Trek: The Next Generation, this poster is an excellent addition for collectors of original movie posters, Star Trek memorabilia and science-fiction cinema.
Movie Synopsis
Star Trek: First Contact (1996) is the eighth feature film in the long-running Star Trek franchise and the second movie to feature the crew from Star Trek: The Next Generation. Directed by Jonathan Frakes, who also reprises his role as Commander William Riker, the film is widely regarded as one of the strongest and most successful Star Trek films. Combining spectacular science-fiction action, time travel and the terrifying return of the Borg, First Contact delivers a cinematic adventure that appeals to both dedicated Star Trek fans and audiences new to the franchise.
The film stars Patrick Stewart as Captain Jean-Luc Picard, commander of the USS Enterprise-E. The supporting cast includes Jonathan Frakes as Commander Riker, Brent Spiner as the android Data, LeVar Burton as Geordi La Forge, Michael Dorn as Worf, Gates McFadden as Dr Beverly Crusher and Marina Sirtis as Counsellor Deanna Troi. The film also introduces an unforgettable antagonist in the form of the Borg Queen, portrayed by Alice Krige.
The story begins when the Enterprise-E is drawn into a major confrontation with the Borg, a cybernetic collective that has become one of Star Trek's most feared enemies. During the battle, the Borg launch a desperate plan to alter human history by travelling back in time. Their destination is the twenty-first century, shortly after humanity has survived a devastating global conflict.
Captain Picard and the Enterprise crew follow the Borg through time and discover that the collective intends to prevent one of the most important events in human history: humanity's first contact with an extraterrestrial civilisation. The success of this historic event will eventually lead humanity towards a more hopeful future and the creation of the United Federation of Planets. If the Borg can change history, the future known by Picard and his crew may cease to exist.
The crew's mission brings them into contact with Zefram Cochrane, played by James Cromwell, the brilliant but reluctant scientist destined to develop humanity's first warp-capable spacecraft. Cochrane's historic warp flight will attract the attention of the Vulcans and create the first contact that becomes a defining moment in the history of Star Trek.
While part of the crew works on Earth to ensure that Cochrane successfully completes his historic mission, Captain Picard remains aboard the Enterprise-E to confront the Borg, who have infiltrated and begun assimilating the ship. The conflict becomes deeply personal for Picard because of his previous experience being captured and assimilated by the Borg. This history gives Star Trek: First Contact a darker and more intense tone than many earlier entries in the franchise.
The screenplay was written by Brannon Braga and Ronald D. Moore, both of whom had significant experience working within the Star Trek universe. The production successfully combined practical effects, visual effects and ambitious science-fiction production design to create the Borg, the futuristic Enterprise-E and the contrasting world of twenty-first-century Earth.
One of the film's most interesting elements is its connection to the wider mythology of Star Trek. The story explores the origins of the future seen throughout the franchise while also providing a thrilling time-travel adventure. James Cromwell's portrayal of Zefram Cochrane became particularly memorable, presenting the future hero of humanity as an imperfect and reluctant individual rather than a traditional larger-than-life figure.
Released in 1996, Star Trek: First Contact was both a commercial and critical success and remains one of the most popular films featuring the Star Trek: The Next Generation cast. Its combination of Patrick Stewart's powerful performance, the menace of the Borg and the optimism at the centre of Star Trek helped create a memorable and enduring science-fiction adventure.
Today, Star Trek: First Contact (1996) remains an essential title for fans of the franchise and collectors of original Star Trek movie posters. This original Australian One Sheet represents a fantastic piece of 1990s science-fiction cinema history and is an excellent display item for fans of Captain Picard, the Borg and the enduring world of Star Trek.
To find out more about Star Trek: First Contact (1996) click here to go to IMDB.com.
Special Notes.
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.