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Doctor Who, SE 322, 19-01-2012
Transcript of Doctor Who, SE 322, 19-01-2012
genre: science-fiction drama
produced and broadcasted by the BBC old: 1963-1989 (26 seasons)
new: 2005- (6 seasons) 31 seasons and
about 800 episodes = What is it about? - The Doctor.
- Doctor Who?
- Just the Doctor. humanoid alien = Time Lord
travelling through time and space
spaceship = TARDIS Time
Space “Science fiction is in essence a time travel genre. Events either open in the altered past, the transformed present or the possible future, transporting the reader or viewer to another age, place, dimension or world."
/Sean Redmond/ ultimate sci-fi Behind the scenes "It had to be a children's programme and still attract both teenagers and adults. Also, as a children's programme, I was intent upon it containing basic factual information that could be described as educational, or, at least, mind opening for them. […] [T]he stories were to be based on scientific or historical facts as we knew them at the time."
/Sydney Newman, in an interview/ 1963, November 26
"An Unearthly Child" Sydney Newman
Head of Drama at the BBC “Who originally see-sawed between British
science-fiction […] and BBC period drama”
/Kim Newman/ Turned out to be one of the most
successful SF series of our time. Fun fact!
longest-running sci-fi series Newman's WHO-formula =
historical events +
"proper" science Characters The Doctor 1963-2011 > 11 actors The Companions = archenemies EXTERMINATE! “The Daleks were instantly
popular with children”
/Kim Newman/ Thank you! POST-2005 SERIES
Pick up immediately from the 1989 plotline
BUT! has to been seen as separate from the "1st wave" series
"plays by different rules" Head writer & executive producer
Russel T. Davies (2005 - 2010)
Steven Moffat (2010 - ?) Davies' WHO-formula =
focus on emotional resonance +
self-mockery Doctor who took in a great variety of modes:
“blood-and-thunder gothicism of Hammer horror,
panto humour, conspiracy thriller, studio-bound fantasia,
social-satire comment, design-led futurism,
deliberate and unintentional camp, even ambitious philosophising”
/Kim Newman/ Numerous spin-offs evolved around characters
Whoniverse = refers to the fictional world
of DW and its spin-offs
'cossovers' & cossreferencing Series = cult status
Characters = iconic Overview About - introducing DW
Behind the scenes
Britishness on screen
Conclusion significant parts of
British popular culture FORMAT
45 min stand-alone stories
soap-like continuing threads and arcs across a season
plot-threads > maintain a continuous feel and
to keep the partly separate episodes together -> refers back to itself <- Constructing Britishness on screen Conclusion DALEKS 11 out of 11 doctors recommend time travel not truly palpable,
but has palpable materializations Imagined National Identity cutural artefact
constructed through history
affected by political and ideological constellations
i.e. it is a historical construct
/Benedict Anderson/ part of culture >
"redistributed in a cultural matrix"
/Tim Edenson/ "National identities are always
a narrative of the nation becoming;
as much about ‘routes’ as they are about ‘roots’”
/John Storey/ "National identities are made from a complex mix of
rituals, symbols and stories. Every country has its
dominant or official narratives of its distinctive nationhood.
The stories a nation tells about itself are fundamental
aspects of its official identity."
/John Storey/ BBC tells the "stories" assimilated into our private sphere part of our everyday lives organization of polity, society, and culture "at least as much a shaper as a reflector of national culture” /John Corner/
"Britain has many such stories: the home of fair play, the stiff upper lip in times of danger, the Battle of Britain, the Blitz, doing the decent thing, an island people […] and island of poets and playwrights. It is these shared meanings, embedded forms of signification, that construct and maintain a sense of Britishness."
Daleks > Nazis EXTERMINATE! References Implicit
= allegories Explicit "Stories"
= World War II Historical persons
= Winston Churchill Beliefs Shared knowledge
Doctor Who re-presents national narratives
that construct national identity
Time travel motif > ideological function
provides the necessary distancing effect needed for
metaphorically addressing issues and themes
in the present
/Sean Redmond/ Hajnalka Berényi-Kiss
Science Fiction: The Classics
19-01-2012 "He saves planets, rescues civilisations, defeats terrible creatures...
and runs a lot. Seriously, there is an outrageous amount
of running involved."
Donna, on the Doctror, "The Doctors Daughter" http://www.foundation3d.com/ http://images.wikia.com/swfanon/images/1/1e/Dalek_063.jpg wallsave.com/wallpapers Still black-and-white at the time the watch-from-behind-the-sofa effect The Doctor: old, crotchety, not too nice... onceuponageek.com wordpress.com 2.bp.blogspo.com Introduction "This is my timey-wimey detector. It goes ding when there's stuff. Also, it can boil an egg at 30 paces, whether you want it to or not, actually, so I've learned to stay away from hens. It's not pretty when they blow."
Tenth Doctor, "Blink" K-9 Captai Jack Harkness Rose Tyler Susan,
the granddaughter Barbara Ian Donna Noble Martha Jones Sarah Jane Smith originally Newman wanted
no "bug-eyed monsters" (attractive) women
occasionally men So what about the British? Secondary LiteratureAnderson, Benedict. Imagined Communities. Reflections on the Origin and Spread of Nationalism. Revised Ed. London: Verso, 2006. Arnold, Dana. Cultural Identities and the Aesthetics of Britishness. MUP: Manchester, 2004. “Battle of Britain, The.” BBC History. 15 Jan. 2012. <http://www.bbc.co.uk/history/battle_of_britain>“Battle of Britain” Wikipedia, the Free Encyclopedia. 15 Jan. 2012. <http://en.wikipedia.org/wiki/Battle_of_britain>Bould, Mark. “Film and Television.” The Cambridge Companion to Science Fiction. Eds. Edward James and Farah Mendelsohn. CUP: Cambridge, 2003.Charles, Alec. “The flight from history: from H G Wells to Doctor Who – and back again.” Colloquy Text Theory Critique 17, 2009: 16-30. 03 Nov. 2011 <www.colloquy.monsh.edu.au/issue17/charles.pdf>Churchill, Winston. “This Was Their Finest Hour.” Speech, 18 June 1940. BBC Learningzone. Audio. 15 Jan. 2012. <http://www.bbc.co.uk/learningzone/clips/6981.flv>---- . "Blood, Toil, Tears and Sweat." Speech, 13 May 1940. Modern History Sourcebook. Fordham University: 2001. 27 Jan. 2012. <http://www.fordham.edu/halsall/mod/churchill-blood.asp>Cook, John R. “Adapting telefantasy: The Doctor Who and the Daleks film.” British Science Fiction Cinema. Ed. I. Q. Hunter. Routledge: London, 1999. Corner, John. “.Television and Culture: Duties and Pleasures.” British Cultural Studies. Geography, Nationality and Identity. Ed. David Morley and Kevin Robins. OUP: Oxford, 2001.Cull, Nicholas J. “Tardis at the OK Corall: Doctor Who and the USA.” British Science Fiction Television: A Hitchhiker’s Guide. Ed. John R. Cook and Retre Wright. I.B. Tauris: London, 2006.Dermody, Nick. “Third series for Dr Who and Rose.” BBC Wales news website 30 March 2006, 25 Dec. 2011. <news.bbc.co.uk/2/hi/uk_news/wales/4858010.stm>De Vries, Kim. “The Scholarship of Doctor Who. Or, How Cult TV Gained Street Cred in the Academy.” Sequential Tart (1 June 2007) 18 Jan. 2012 <http://www.sequentialtart.com/article.php?id=527>Dipaolo, Marc Edward. “Political Satire and British-American Relations in Five Decades of Doctor Who.” The Journal of Popular Culture 43.5, 2010: 964-987.“Doctor Who.” Wikipedia, the Free Encyclopaedia. 25 Okt. 2011 < http://en.wikipedia.org/wiki/Doctor_Who>“Dr Who 'longest-running sci-fi'.” BBC News Website. 28 Sept. 200625 Dec. 2011 <http://news.bbc.co.uk/2/hi/entertainment/5390372.stm>Duncan1963. “The Britishness of Doctor Who.” SyFy Forums. Online posting, 17 June 2008. 29 Dec. 2011. <http://forums.syfy.com/index.php?showtopic=2310142>“Eccleston quits Doctor Who role.” BBC News Website. 31 March 200525 Dec. 2011 <http://news.bbc.co.uk/2/hi/entertainment/4395849.stm>Edensor, Tim. National Identity, Popular Culture and Everyday Life. Berg: Oxford, 2002.frakazoid_5. “The Britishness of Doctor Who.” SyFy Forums. Online posting, 17 June 2008. 29 Dec. 2011. <http://forums.syfy.com/index.php?showtopic=2310142>Geraghty, Lincoln. “Television Since 1980.” Routledge Companion to Science Fiction. Ed. Bould Mark et al. Routledge: London, 2009. Hills, Matt. Fan Cultures. Routledge: London, 2002. ---- . “The dispersible television text: theorising moments of the new Doctor Who.” Science Fiction Film and Television 1.1 (spring 2008): 25-44. 03 Nov. 2011. <http://muse.jhu.edu/journals/sff/summary/v001/1.1.hills.html>Hulse, Stephen R. and Laurence Marcus. “The Origin of Doctor Who.” 2009. The Television History Site. 26 Dec. 2011 <http://www.teletronic.co.uk/who1.htm>Jarman, Colin M. and Catherine A. Davies (Eds.). The Quotable Doctor Who: Volume One. Blue Eyed Books: 2010. 25 Jan. 2012. <http://www.blue-eyed-books.co.uk/doctor-who-quotes-book>Johnson, Richard. “Master of the universe” Sunday Telegraph, 11 Mar. 200725 Jan. 2012. <http://www.telegraph.co.uk/culture/3663738/Master-of-the-universe.html>Kellner, Peter. “What Britishness means to the British.” Britishness. Perspectives on the Britishness Question. Ed. Andrew Gamble & Tony Wright. Wiley-Blackwell: 2009. Kumar, Karishan. “’Englishness’ and English National Identity”. In: David Morley & Kevin Robins. British Cultural Studies. Geography, Nationality and Identity. Ed. David Morley and Kevin Robins. OUP: Oxford, 2001. Martin, Dan. “Doctor Who: Let's Kill Hitler - series 32, episode 8.”TV & Radio Blog. 27 Aug. 2011. 21 Jan. 2012 <http://www.guardian.co.uk/tv-and-radio/tvandradioblog/2011/aug/27/doctor-who-television>McCrone, David. “Scotland and the Union: Changing Identities in the British State British Cultural Studies. Geography, Nationality and Identity. Ed. David Morley and Kevin Robins. OUP: Oxford, 2001.Miller, Liz Shannon. “'Doctor Who' honored by Guinness Sci-fi series considered most successful of all-time.” Variety TV News. 26 Jul. 2009. <http://www.variety.com/article/VR1118006512?refCatId=14>Morley, David and Kevin Robins. “The National Culture in its New Global Context.” British Cultural Studies. Geography, Nationality and Identity. Ed. David Morley and Kevin Robins. OUP: Oxford, 2001. Newman, Kim. Doctor Who. A critical reading of the series. BFI Publishing: London, 2005. Phillips, Mark and Frank Garcia. Science Fiction Television Series. Episode guides, Histories and Casts and Credits for 62 Prime Time Shows 1959 through 1989. Jefferson: McFarland & Company, 1996. Osgerby, Bill. “Theories of Identity and the Subject.” Advanced Cultural Studies, Critical Theory and the Analysis of Popular Culture. University of Vienna: 2010. Unpublished presentation slides. [PPP file].Poon, Phoebe. “Crossing the Time Vortex: Retrospective on Doctor Who (new series; 2005-2010).” Philament 16, Aug. 2010. 23 Dec. 2011. <sydney.edu.au/arts/publications/philament/issue16_pdfs/POON.pdf>Redmond, Sean. “Introduction to Part Four. The origin of the species: time travel and the primal scene.” Liquid Metal. The Science Fiction Reader. Ed. Sean Redmond. Wallflower Press: London, 2004.Storey, John. “Becoming British.” The Cambridge Companion to Modern British Culture. Ed. Michael Higgins, Clarissa Smith and John Storey. CUP: Cambridge, 2010. Wright, Peter. “British Television Science Fiction.” A Companion to Science Fiction. Ed. David Seed. Blackwell: Oxford, 2005.