Daleks Contratually Obligated to Appear
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Doctor Who 4 Ep.18.GOLD.SCW
DOCTOR WHO 4.18 by Russell T Davies Shooting Script GOLDENROD ??th April 2009 Prep: 23rd February Shoot: 30th March Tale Writer's The Doctor Who 4 Episode 18 SHOOTING SCRIPT 20/03/09 page 1. 1 OMITTED 1 2 FX SHOT. GALLIFREY - DAY 2 FX: LONG FX SHOT, craning up to reveal the mountains of Gallifrey, as Ep.3.12 sc.40. But now transformed; the mountains are burning, a landscape of flame. The valley's a pit of fire, cradling the hulks of broken spaceships. Keep craning up to see, beyond; the Citadel of the Time Lords. The glass dome now cracked and open. CUT TO: 3 INT. CITADEL - DAY 3 FX: DMP WIDE SHOT, an ancient hallway, once beautiful, high vaults of stone & metal. But the roof is now broken, open to the dark orange sky, the edges burning. Bottom of frame, a walkway, along which walk THE NARRATOR, with staff, and 2 TIME LORDS, the latter pair in ceremonial collars. FX: NEW ANGLE, LONG SHOT, the WALKWAY curves round, Narrator & Time Lords now following the curve, heading towards TWO HUGE, CARVED DOORS, already open. A Black Void beyond. Tale CUT TO: 4 INT. BLACK VOID 4 FX: OTHER SIDE OF THE HUGE DOORS, NARRATOR & 2 TIME LORDS striding through. The Time Lords stay by the doors, on guard; lose them, and the doors, as the Narrator walks on. FX: WIDE SHOT of the Black Void - like Superman's Krypton, the courtroom/Phantom Zone scenes - deep black, starkly lit from above. Centre of the Void: a long table, with 5 TIME LORDS in robes Writer's(no collars) seated. -
Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr
humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war. -
“My” Hero Or Epic Fail? Torchwood As Transnational Telefantasy
“My” Hero or Epic Fail? Torchwood as Transnational Telefantasy Melissa Beattie1 Recibido: 2016-09-19 Aprobado por pares: 2017-02-17 Enviado a pares: 2016-09-19 Aceptado: 2017-03-23 DOI: 10.5294/pacla.2017.20.3.7 Para citar este artículo / to reference this article / para citar este artigo Beattie, M. (2017). “My” hero or epic fail? Torchwood as transnational telefantasy. Palabra Clave, 20(3), 722-762. DOI: 10.5294/pacla.2017.20.3.7 Abstract Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (sub- titled Miracle Day, much as the miniseries produced as series 3 was subti- tled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and Amer- ican premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ide- ologies of the BBC, Torchwood was a glocalised text from the beginning, de- spite its positioning as Welsh, which then became glocalised again in series 4. -
The Fantastic Queer: Reading Gay Representations in Torchwood and True Blood As Articulations of Queer Resistance Frederik Dhaenens1
Critical Studies in Media Communication Vol. 30, No. 2, June 2013, pp. 102Á116 The Fantastic Queer: Reading Gay Representations in Torchwood and True Blood as Articulations of Queer Resistance Frederik Dhaenens1 Fantasy films and television series have generally taken an ambivalent position toward homosexuality. On the one hand, the genre has omitted representations of gay characters or displaced homosexuality onto the victims, villains, or nonhuman others. Hence, from a queer theoretical perspective, homosexuality has been represented as a threat to the hegemonic discourse of heteronormativity. On the other hand, deconstructionist practices have revealed how the other may be read as a form of cultural resistance and a powerful metaphor for gay men and women. However, a few 21st-century fantasy series are breaking the tradition by representing characters and themes explicitly marked as gay. Using a textual analysis of two contemporary fantasy series (Torchwood and True Blood), this study illustrates how the inclusion of gay characters rearticulates this ambivalent position of the fantasy genre toward homosexuality. The ambivalence no longer serves to read the others as metaphors for homosexuality and/or queerness, but allows us to imagine queer subject positions and transgressive norms and values in close relation to actual gay characters. Keywords: Torchwood; True Blood; Gay Representation; Queer Theory; The Fantastic Introduction Nan Flanagan: We’re citizens. We pay taxes. We deserve basic civil rights ...just like everyone else. Bill Maher: Yeah, but ...I mean, come on. Doesn’t your race have a rather sordid history ...of exploiting and feeding off innocent people for centuries? Nan Flanagan: Three points. -
Whovians Can Get Their Fix with a 'Doctor Who
Whovians can get their fix with a ‘Doctor Whoʼ class at Syracuse University - The Washington Post 2/17/18, 432 PM The Washington Post Morning Mix Whovians can get their fix with a ‘Doctor Who’ class at Syracuse University By Soraya Nadia McDonald November 4, 2014 A Syracuse professor of digital and social media is offering a class based on the long- running British science fiction series “Doctor Who.” Professor Anthony Rotolo plans to take an exhaustive look at the wildly popular British series, which started in 1963 as a children’s show and was relaunched in 2005. How’s this hypothetical incentive for class participation: At Syracuse, if you answer a trivia question about “Doctor Who” correctly, you could net yourself a 3-D printed TARDIS or a miniature Dalek (one that won’t destroy everything in its path, of course). For non-Whovians: The Dalek are a particularly pernicious alien race set on destroying everything. They hate Doctor Who. The TARDIS is the vehicle, disguised as a 1960s London police call box, the Doctor uses to travel through space and time. Also worth knowing: The Doctor is able to die and regenerate himself in a different body, a detail that’s allowed 12 actors to play him in a 50-year span. The show is currently on its 12th Doctor, Peter Capaldi. ADVERTISING https://www.washingtonpost.com/news/morning-mix/wp/2014/11/04/whov…a-doctor-who-class-at-syracuse-university/?utm_term=.cba40a906a4b Page 1 of 3 Whovians can get their fix with a ‘Doctor Whoʼ class at Syracuse University - The Washington Post 2/17/18, 432 PM According to Rotolo’s course description: Students will consider and reflect on how Doctor Who has reached audiences from children and families to young adults and lifelong viewers through a wide array of broadcast, print and digital media, as well as describe how Doctor Who has applied elements of many media genres — sci-fi, horror, action, comedy and many others — to form a style that is unique to the series. -
Doctor Who and the Creation of a Non-Gendered Hero Archetype
Illinois State University ISU ReD: Research and eData Theses and Dissertations 10-13-2014 Doctor Who and the Creation of a Non-Gendered Hero Archetype Alessandra J. Pelusi Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Mass Communication Commons Recommended Citation Pelusi, Alessandra J., "Doctor Who and the Creation of a Non-Gendered Hero Archetype" (2014). Theses and Dissertations. 272. https://ir.library.illinoisstate.edu/etd/272 This Thesis is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. DOCTOR WHO AND THE CREATION OF A NON-GENDERED HERO ARCHETYPE Alessandra J. Pelusi 85 Pages December 2014 This thesis investigates the ways in which the television program Doctor Who forges a new, non-gendered, hero archetype from the amalgamation of its main characters. In order to demonstrate how this is achieved, I begin with reviewing some of the significant and relevant characters that contribute to this. I then examine the ways in which female and male characters are represented in Doctor Who, including who they are, their relationship with the Doctor, and what major narrative roles they play. I follow this with a discussion of the significance of the companion, including their status as equal to the Doctor. From there, I explore the ways in which the program utilizes existing archetypes by subverting them and disrupting the status quo. -
Labor Relations, 16Mm Film and Euston Films
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play. -
Dr. Who by G.A.S.L.I.G.H.T
Dr. Who by G.A.S.L.I.G.H.T. Map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r. Who by G.A.S.L.I.G.H.T. Victory Points Phase I Phase II • Dr. Who and K-9 • Dr. Who and K-9 – Protect worms – Destroy worms – If the computer is discovered, destroy it – Destroy BOSS • Romana I, Mike Yates, and a soldier • Romana I, Mike Yates, and a soldier – Protect worms – Destroy worms – If the computer is discovered, destroy it – Destroy BOSS • Liz Shaw and two soldiers • Liz Shaw and two soldiers – Protect worms – Destroy worms – If the computer is discovered, destroy it – Destroy BOSS • Lt. Lethbridge-Stewart and four troopers • Lt. Lethbridge-Stewart and four troopers – Destroy worms – Destroy Daleks • Sergeant Benton and four troopers – Destroy Sontarans – Destroy worms (1 point each) • Sergeant Benton and four troopers • Stevens and three guards – Destroy Daleks – Keep Dr. away from computer – Destroy Sontarans – Destroy worms • Sontarans • Elgin and three guards – Capture Jethrick – Keep Dr. away from computer – Kill anyone else – Destroy worms • Daleks – Capture Jethrick – Kill anyone else -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
Eco-Activism in Doctor Who During the 1970S
Author: Jørgensen, Dolly. Title: A Blueprint for Destruction: Eco-Activism in Doctor Who during the 1970s A Blueprint for Destruction: Eco-Activism in Doctor Who during the 1970s Dolly Jørgensen Umeå University In 1972, the editors of a two-year old environmentalist magazine named The Ecologist published a special issue titled A Blueprint for Survival, which subsequently sold over 750,000 copies as a book. This manifesto of the early eco-activist movement lamented the unsustainable industrial way of life that had developed after WWII and proposed a new 'stable society' with minimal ecological destruction, conservation of materials and energy, zero population growth, and a social system that supported individual fulfillment under the first three conditions (Goldsmith et al. 30). Blueprint received tremendous attention in the British press and became a seminal text for the British Green movement (Veldman 227–236). This environmental movement of the 1960s and 1970s was substantially different from traditional environmentalists of the early twentieth century who tended to be conservationists interested in wildlife and landscapes. The new environmentalists, whom Meredith Veldman labels eco-activists, "condemned not only environmental degradation but also the society that did the degrading" (210). They combined critiques against pollution with calls for limited population growth and refinement of social systems. Although the early eco-activist movement in Britain petered out politically in the late 1970s (it arose again in the mid-1980s), its radical environmental ideas had begun to permeate society. Vol 3 , At the same time that eco-activists were establishing their agenda, the BBC serial No television drama Doctor Who was enjoying its successful establishment in British 2 popular culture. -
I, - Tennant Play Three Incarnations of Gallifrey's Finest in the 50Th "Ibhfl DID THEY KNOW, the Day They Jsi
Steven Moffat, 1 the man behind n r Doctor Who, says the BBC could never kill the Time Lord... AND THEN THERE WERE THREE Doctor Who John Hurt, Matt Smith and David Saturday 7.50pm BBC1 ;•*'•; I, - Tennant play three incarnations of Gallifrey's finest in the 50th "iBHfl DID THEY KNOW, the day they JSi. anniversary special ^ invented Robin Hood, that when he J •* fired his arrow in the air it would ^-> I Ay for ever? When Dr Doyle picked •™«™«™ up his pen to write the very first Sherlock Holmes story, did the paving slabs of Baker Street rattle and heave? When Ian Fleming scanned his bookshelf for a name for his gentle man spy, and settled on James Bond, did that famous music echo faintly from the future? :; Most importantly, 50 years ago, when the Doctor was created in dull grey rooms at the BBC, did a shiver of fear pass through the heart of every evil-doer in the universe? Ah, 50 years. What can one say about 50 years of Doctor Who? Well, first of all, one can be . >' Y pedantic. Doctor Who hasn't been on for 50 years - owing to the outright stupidity and unforgive- able blindness ofthe BBC (sorry guys, it needs to be said), there was a 16-year gap. But seriously, you wouldn't expect the world's most famous time traveller to get here in a straight line, would you? That gap is important, though. It confers "You wouldn't expect something very special on this most special of all shows: immortality. -
Doctor Who: Trial of a Time Lord
Accused of ‘crimes against the involate laws of evolution’, the Doctor is on trial for his life. The sinister prosecutor, the Valeyard, presents the High Council of Time Lords with the second piece of evidence against the Doctor: a dramatic adventure on the planet Thoros-Beta which led to the renegade Time Lord’s summons to the court of Enquiry. But as the Doctor watches the scenes on the Matrix he is puzzled by what he sees – his behaviour is not as he remembers. Only one thing is certain: on the evidence of the Matrix the Doctor is surely guilty as charged . Distributed by USA: LYLE STUART INC, 120 Enterprise Ave, Secaucus, New Jersey 07094 CANADA: CANCOAST BOOKS, 90 Signet Drive, Unit 3, Weston, Ontario M9L 1T5 NEW ZEALAND: MACDONALD PUBLISHERS (NZ) LTD, 42 View Road, Glenfield, AUCKLAND, New Zealand SOUTH AFRICA: CENTURY HUTCHINSON SOUTH AFRICA (PTY) LTD. PO Box 337, Bergvie, 2012 South Africa ISBN 0-426-20335-6 UK: £1.99 *USA: $3.95 CANADA: $4.95 NZ: $8.99 ,-7IA4C6-caddfd- *AUSTRALIA: $5.95 *RECOMMENDED RETAIL PRICE Science Fiction/TV Tie-in DOCTOR WHO MINDWARP Based on the BBC television series by Philip Martin by arrangement with BBC Books, a division of BBC Enterprises Ltd PHILIP MARTIN Number 139 in the Target Doctor Who Library A TARGET BOOK published by The Paperback Division of W. H. Allen & Co. PLC A Target Book Published in 1989 by the Paperback Division of W. H. Allen & Co. PLC Sekforde House, 175/9 St John Street London, EC1V 4LL Novelisation copyright © Philip Martin, 1989 Original script copyright © Philip Martin, 1985