Doomwatch 1970
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The Wall of Lies #144
The Wall of Lies Number 144 Newsletter established 1991, club formed June first 1980 The newsletter of the South Australian Doctor Who Fan Club Inc., also known as SFSA MFinal STATE Adelaide, September--October 2013 WEATHER: Martian Spring Free We’re for South Australia! by staff writers Rancid fake patriotic local campaign. The Wall of Lies’ favourite weekend tabloid rag has rebranded itself as being in favour of the state with the slogan: “We’re for South Australia”. Which does lead to the question; as opposed to what? If this was a sincere claim, then one way to have demonstrated it would have been to not move the headquarters from Adelaide to the US in 2004; the shareholder meetings had been a highlight of the satire calendar here. Patriotism. O u It’s the last refuge of the scoundrel. S t So Or in some instances, the first. on We are also modestly in favour n! of four South Australias. Fan cast as Doctor; smug, jealous git by staff writers After Colin Baker and David Tennant, third case of wish fulfilment. Peter Dougan Capaldi’s casting was revealed via a reality televi- SFSA magazine # 30 sion-esque special Doctor Who Live: The Next Doctor, carried live worldwide and broadcast on ABC1 in South Australia Monday 5 August (3.30am Central Standard Time). A 1973 Radio Times letter from a teenage Capaldi lauding the show’s tenth O u S t anniversary was read out, albeit very poorly. Internal memos from So on this time show the production office regarded him as a nuisance n! for lobbying to take over The Official Doctor Who Fan Club. -
Don Shaw (Scnptwn~Ter) Page 1 of 2
Don Shaw (Scnptwn~ter) Page 1 of 2 Don Shaw (Scriptwriter). "The stress today is on film punctuation. They want to keep the story flowing... They want a lot of action. Don Shaw wrote a total of four episodes for Survivors, all of them extremely well written. One of them, Mad Dog, was one of the highlights of the entire series. He is also well known for his contributions to Doom watch and his recent BBC series, Dangerfield. How did Don start out on his career as a scriptwriter? "I started out by acting in radio plays while I was still a teacher. I had actually been to Sandhurst as an officer cadet with King Hussein of Jordan, King Feisal of Iraq and the Duke of Kent. I didn't like the army, so I finished my national service and became a teacher. It was while I was teaching that I passed a BBC audition in Birmingham and acted in a number of radio plays, and from that I learned how to write a radio script. I wrote a number of radio plays, and then I acquired a literary agent who told me that if I wanted to make a living out of writing then I ought to go into television. She introduced me to Gerry Davis, who was my first contact. I met Gerry with another writer, Roy Clarke, who now writes Last of the Summer Wine. They turned down one of his scripts but did mine. From that I moved on to Thirty Minute Theatre with Innes Lloyd, who became a very famous producer. -
Tenth Planet of How 1986 Would Ben Leaves a Uranium Fuel Rod Recovered
THE TENTH PIANET Seven Who fans out of ten positions of power in this brave would probably suggest The Tenth new world - perhaps the most Some of the technological Planet 4 to be the missing episode accurate prediction made in The elements seem ridiculous today. they would most like to see Tenth Planet of how 1986 would Ben leaves a uranium fuel rod recovered. This is somewhat actually turn out to be. lying around in a corridor, and at surprising given that most fans no time does anyone caution him have probably not seen The Tenth against radioactivity. It seems Planet 1-3, unavailable on BBC somewhat over-literal of the Video or (to our knowledge) UK production team to resolve that the Gold, and as such have little idea twinned nature of the planets of the quality of the production. should be shown by giving We recently viewed a fan Mondas land-masses equivalent to produced copy, cornpnsmg our own but...upside down. episodes one to three, plus the Unfortunately, in order for the soundtrack to episode four married characters to realise this within 24 with loosely appropriate images hours, when Mondas appears on The near-realism of the script is from the first three episodes, the screen, it is seen turning at about carried into the set design, which John Cura telesnaps and such film one revolution every two seconds, is, for the most part, convincing footage as survives. 43 200 times faster than its "twin" rather than spectacular. The main Earth! Nevertheless, the space set, the tracking room, follows the The tenor of the piece is very tracking aspect of the story is familiar pattern of rows of desks similar to The War Machines, the convincingly done, and as such it lined up behind one another. -
1 Television Series and Serials
1 MS 199 A807 Papers of Norman J.Crisp [U/F] denotes that material is currently unfit for production and cannot be consulted [C]* denotes that material is closed Television series and serials 1/1 The brothers: details of directors and other staff, names and n.d. addresses, names of agents and fees of the main actors Ministry of Transport road safety act 1969 1/2 The brothers `The funeral': pilot script and carbon, discarded pages Jul 1970 1/3 The brothers `Down to business' (formerly `The meeting'): first and Nov 1970 - Feb second draft scripts, carbons, handwritten cast list, camera script 1971 1/4 The brothers `Mary': first draft script, carbon, manuscript cast list, Nov 1970 - rehearsal script c.Feb 1971 1/5 The brothers `Decision': first draft script 11 Jan 1971 1/6 The brothers `The party': first draft script, manuscript cast list, Feb - Mar 1971 rehearsal list 1/7 The brothers `The perfect day': rehearsal script Apr 1971 2/1 The brothers `Crisis': rehearsal script May 1971 2/2 The brothers (second series) `A family gathering', `Wheels and Jul - Oct 1972 deals': first draft scripts, rehearsal script, story outline, manuscript cast list 2/3 The brothers `Labour pains', `Negotiations': first draft scripts, Sep - Oct 1972 manuscript cast lists, rehearsal script 3 The brothers `Declaration of independence', `Errors of judgement': 1972 [U/F] scripts 4/1 The brothers `No hard feelings': draft scripts, manuscript cast list, Dec 1972 - Feb notes on the storyline 1973 4/2 The brothers `The Hammond account', `The newly weds': scripts, Feb -
For More Than Seventy Years the Horror Film Has
WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans. -
The Cult… of Survivors
The Cult of… Survivors | Review Science Fiction Broadcast as part of BBC4’s heavily-promoted Science Fiction Britannia Britannia series, the Cult of… Survivors (initial TX 20:30, 5 December 2006, BBC4) provided an energetic and fast-moving (if frustratingly incomplete) appreciation of the finest post-apocalyptic serial ever broadcast by the BBC. Despite suffering from the kinds of deficiencies which can’t help but irritate The anyone with more than a cursory awareness of the programme, the Cult of… Survivors provided an effective (and often affectionate) introduction to Cult… of Terry Nation’s groundbreaking drama. Survivors’ inclusion in what must be said was a fairly eclectic shortlist of six ‘cult’ BBC shows also indicates that the Survivors reputation of what has long been an overlooked and undervalued show continues to be rehabilitated. Within the significant constraints of both 26-minute running-time and a very restricted budget, the documentary was able to evoke a credible sense of the political and social context in which Survivors was created; the topicality and relevance of its core themes; and of the creative antecedents for its small- screen post-apocalyptic preoccupations. The programme also took time to reflect (if all too briefly) on several of the key themes and critical turning point in the history of the show’s evolution: its guiding motifs and assumptions; the decisively important relationship between producer Terence Dudley and originator Nation; the skilfully matched characterisation of the three series one leads; and the dramatic mettle of some classic first series episodes – including, most prominently, The Fourth Horseman and Law and Order. -
'Went the Day of the Daleks Well?' an Investigation Into the Role Of
Tony Keen ‘Invasion narratives in British television Science Fiction’ ‘Went the Day of the Daleks well?’ An investigation into the role of invasion narratives in shaping 1950s and 1960s British television Science Fiction, as shown in Quater- mass, Doctor Who and UFO If the function of art is to hold a mirror up to society, then science fiction (sf), through the distorted reflection it offers, allows the examination of aspects of society that might otherwise be too uncomfortable to confront. This essay aims to look at how invasion narratives, stories concerned with the invasion of Britain from outside, shaped three British science fiction series, and how those series interro- gated the narratives. The series will primarily be examined through aesthetic and social ap- proaches. Particular areas to be explored include the embracing and subverting of common assumptions about Britain’s attitude to invasion, and the differing attitudes to the military displayed. Introduction As an island nation, the prospect of invasion has always occupied a prominent place in the British popular imagination. According to Sellar and Yeatman, the two memorable dates in history are 55 BC and 1066, the dates of the invasions of Julius Caesar and William the Con- queror.1 Subsequent events such as the Spanish Armada of 1588 are also well-known mo- ments in history. It is inevitable that the prospect of invasion should produce speculative literature. Some works appeared around the time of Napoleon’s threatened invasion of 1803,2 but ‘invasion literature’ as a literary genre emerged out of the growing market for novels and short-story magazines, and is generally considered to have begun with the appearance of George Tomp- kyns Chesney’s 1871 story ‘The Battle of Dorking’,3 a story of the German conquest of Eng- land, prompted by the German victory in the Franco-Prussian War of 1871. -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information. -
From Cybermen to the TARDIS: How the Robots of Doctor Who Portray a Nuanced View of Humans and Technology
From Cybermen to the TARDIS: How the Robots of Doctor Who Portray a Nuanced View of Humans and Technology GWENDELYN S. NISBETT AND NEWLY PAUL Critics and fans have praised the 2000s reboot of the science fiction classic Doctor Who for its increasing use of social commentary and politically relevant narratives. The show features the adventures of the Doctor and his companions, who have historically been humans, other aliens, and occasionally robots. They travel through time and space on a spaceship called the TARDIS (which is shaped like a 1960s British police box). The show is meant for younger audiences, but the episodes involve political and social commentary on a range of issues, such as racism, sexism, war, degradation of the environment, and colonialism. The Doctor is an alien from Gallifrey and can (and does) regenerate into new versions of the Doctor. Scholars have commented extensively about the show in the context of gender and race, political messaging, transmedia storytelling, and fandom. In this project, we examine the portrayal of robots and labor, a topic that is underexplored in relation to this show. Doctor Who makes for an interesting pop culture case study because, though the show has a huge global fan base, its heart remains in children’s programming. The series originated in 1963 on the British Broadcasting Corporation (BBC) as a show for children that incorporates lessons related to courage, ingenuity, kindness, and other such qualities, which it continues to do to this day. Doctor Who is also interesting because the Doctor has a history of machines as companions: K-9 the GWENDELYN S. -
The Timeless Children
DOCTOR WHO SERIES 12 EPISODE TEN THE TIMELESS CHILDREN PROGRAMME NUMBER: DRAA753P/01 10:00:00 BBC WORLDWIDE STING CUT TO: 10:00:05 EP 9 RECAP 10:00:05 Music in 'M1 Ep 9 Recap’ THE DOCTOR We are in the very far future RYAN Only seven humans left. THE DOCTOR Cyberdrones. THE DOCTOR (CONT’D) Go with the humans. Help them. Get them out of here. You won’t make it back to the Tardis alive. ASHAD We know where you are. We will find you. BESCOT The Boundary. It’s where we’ve been trying to get to. RAVIO A gateway. A direct route out of here into another random part of the universe. THE MASTER Wow! Be afraid Doctor because everything is about to change. 10:00:35 Music out 'M1 Ep 9 Recap’ 10:00:35 OPENING TITLES 10:00:35 Music in 'M2 Opening Titles' 10:00:41 Caption 'Jodie Whittaker' 10:00:43 Caption 'Bradley Walsh' 10:00:45 Caption ‘Mandip Gill’ 10:00:47 Caption ’Tosin Cole’ 10:00:50 Caption 'BBC Doctor Who' 10:00:57 Caption 'Series Producer Nikki Wilson’ 10:01:00 Caption 'Director Jamie Magnus Stone’ 10:01:04 Caption ‘The Timeless Children’ Written by Chris Chibnall 10:01:07 Music out ‘M2 Opening Titles’ CUT TO: 10:01:07 EXT. SHANTY PLANET/SHORELINE – DAY 10:01:07 Music in ‘M3 Take My Hand’ The distant ruins of Gallifrey. THE MASTER holding out his hand to THE DOCTOR -- The Doctor resisting, in shock, staring at him -- behind her are RYAN, KO SHARMUS and ETHAN. -
William Hartnell - Biography
July 2020 >All I Want for Christmas - The ‘Must Have’ Doctor Who Toys of A selection of the Early 1960s Television Heaven’s >The Tenth Planet vs Attack of Doctor Who related the Cybermen >New Beginnings - Every articles in one online Debut Story from Hartnell to mag. McCoy William Hartnell - Biography Plus: Anthony Ainley - The Daleks - Tom Baker A 1960s Classic: The Invasion Ray Cusick Interview FREE FOR USE OF PUBLIC Back in 2000, I had an idea for a website that celebrated 20 television shows that had influenced television viewing habits over the previous 60 years, that were loved by millions, or were timeless classics. Of course, this was my own particular choice and therefore very subjective. What’s one man’s junk etc. Unsurprisingly, Doctor Who was one of those shows, even though at that time it was taking a rather longer than expected sabbatical. Over the last twenty years there’s been no shortage of writers wanting to share their love of the world’s longest running science fiction series and on the following pages are a selection of some of them. It’s amazing to think that nearly sixty years has passed since we first entered that police box in a junk yard in Totters Lane and were whisked away on one of television’s greatest adventures. Adventures that are still unfolding today. If you want to read more then pop along to the website at televisionheaven.co.uk where, as well as Doctor Who you will find reviews on over a thousand shows, articles (some serious, some light hearted), biographies and a fair bit of television history. -
Sample File the Second Doctor Sourcebook the Second Doctor Sourcebook
THE SECOND DOCTOR SOURCEBOOK THE SECOND DOCTOR SOURCEBOOK B CREDITS LINE DEVELOPER: Gareth Ryder-Hanrahan WRITING: Walt Ciechanowski EDITING: Dominic McDowall COVER: Paul Bourne GRAPHIC DESIGN AND LAYOUT: Paul Bourne CREATIVE DIRECTOR: Dominic McDowall ART DIRECTOR: Jon Hodgson SPECIAL THANKS: Georgie Britton and the BBC Team for all their help. Dedicated to Zoe. “My Second Is An Instrument Of The Past” The Second Doctor Sourcebook is published by Cubicle 7 Entertainment Ltd (UK reg. no.6036414). Find out more about us and our games at www.cubicle7.co.uk © Cubicle 7 Entertainment Ltd. 2013 BBC, DOCTOR WHO (word marks, logos and devices), TARDIS, DALEKS, CYBERMAN and K-9 (wordmarks and devices) are trademarks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996. Doctor Who logo © BBC 2009. TARDIS image © BBC 1963. Dalek image © BBC/Terry Nation 1963.Cyberman image © BBC/Kit Pedler/Gerry Davis 1966. K-9 image © BBC/ Bob Baker/Dave Martin 1977. Printed in the USA Sample file THE SECOND DOCTOR SOURCEBOOK THE SECOND DOCTOR SOURCEBOOK B CONTENTS INTRODUCTION 4 CHAPTER SEVEN 85 The Evil of the Daleks 86 CHAPTER ONE: THE SECOND DOCTOR AND COMPANIONS 5 The Tomb of the Cybermen 91 Who is the Doctor? 6 The Abominable Snowman 96 The Doctor’s Companions 9 CHAPTER EIGHT 100 CHAPTER TWO: TOOLS OF THE TRADE 16 The Ice Warriors 101 New Characters 17 The Enemy of the World 105 New Traits 20 The Web of Fear 109 New Gadgets 23 CHAPTER NINE 112 CHAPTER THREE: ENEMIES 25 Fury of the Deep 113 Cybermen 26 The Wheel in Space