Doctor Who CSP: LIAR

Our first television Close-Study Product is Doctor Who - An Unearthly Child from 1963.

This is an in-depth study which means we need to analyse the product in terms of media language, industries, audience and representation. In addition, this CSP will be examined in Paper 2 with a short clip to analyse.

Notes from the lessons

Narrative theories

Todorov: Equilibrium

Todorov suggested that all narratives follow a three part structure.

They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when a new equilibrium is restored.

Equilibrium > Disequilibrium > New equilibrium

This can be applied to most media narratives.

Propp: Character Types

Vladimir Propp stated that there were seven basic character roles when he analysed classic fairy tales and that these were present in most narratives. Media products still use these recognisable character types today:

Hero, Villain, Heroine/Princess, Father, Donor, Helper/Sidekick, False Hero

Roland Barthes: Enigma and Action Codes

Action Codes: anything that suggests something dramatic is about to happen. E.g. when the TARDIS begins to take off or when the shadow appears in the final shot of the episode. 

Enigma Codes: a narrative code that creates mystery and gives the audience questions to keep them watching e.g. who is the Doctor and where is he taking them? Will the teachers get home? What is the mysterious shadow in the final scene?

Levi-Strauss: Binary opposition

Binary opposition is a theory that all narratives are driven by conflict of a series of opposing forces. There are many examples that can be found in this Doctor Who episode e.g. good v evil; young v old; human v alien; dark v light etc.

Doctor Who: An introduction

• Listed in Guinness World Records as the longest-running science fiction television show in the world with over 800 episodes.
• The Doctor explores the universe in a time-travelling space ship called the TARDIS [Time And Relative Dimension In Space]. The TARDIS has a vast interior but appears smaller on the outside.
• The Doctor travels through space and time preventing evil aliens or people from harming innocent people or changing history.
• The Doctor has gained numerous reoccurring enemies during his travels, including the Daleks and the Cybermen.
• Twelve male actors have headlined the series as the Doctor. The transition from one actor to another is written into the plot of the show with the concept of regeneration into a new incarnation. In 2018 the BBC had their first female incarnation for the thirteenth Doctor.

Doctor Who: An Unearthly Child

Social and historical context

First episode: Saturday, November 23rd,  1963 on the BBC. The plot was a narrative arc (a story over several episodes) involving the Doctor and his companions voyaging 100,000 years into Earth’s past to help some cavemen discover fire. 

William Hartnell was the first Doctor, as an anti-hero who frequently put his companions in jeopardy for his own curiosity. Daleks made an appearance in the first series, as the arch enemies of the Doctor.

Jodie Whittaker took over the role as the Thirteenth Doctor in 2018 and is the first woman to be cast as the character. 

1960s Britain

1961: First man in space – Russian Yuri Gagarin.

1962: The Beatles spark a British music revolution.

1964: BBC2 TV channel launched (third UK TV channel).

1965: The introduction of the mini skirt in a fashion show.

1967: BBC Radio 1 pop music station launched.

1969: First Man on the Moon – American Neil Armstrong.

1969: Concorde is flown for the first time.

1970: Mass media – 90% of households in UK have a TV, many now in colour.

The 1960s saw a shift in British culture. There was more freedom for young people and a breakaway from traditions.

Episode analysis: An Unearthly Child

An Unearthly Child (sometimes referred to as 100,000 BC) is the first narrative arc in the British science fiction television series Doctor Who. It was first broadcast on BBC TV in four weekly parts from 23 November to 14 December 1963. Scripted by the Australian writer Anthony Coburn, it introduces William Hartnell as the First Doctor and original companions; Carole Ann Ford as the Doctor's granddaughter Susan Foreman, with Jacqueline Hill and William Russell as school teachers Barbara Wright and Ian Chesterton. The first episode deals with Ian and Barbara's discovery of the Doctor and his time-space ship TARDIS in a junkyard in contemporary London. 

Plot of episode 1

Schoolteachers Ian Chesterton and Barbara Wright are concerned about one of their pupils, Susan Foreman, who seems to have a very ‘alien’ outlook on England. They have come to her listed address to investigate. They arrive in a junkyard and find a police box, which proves to be no ordinary police box. When Ian and Barbara enter, they discover it to be much bigger on the inside than the outside. In the TARDIS is Susan and her grandfather, the Doctor. Fearing that Barbara and Ian will give away the secret of the TARDIS, he kidnaps them and takes the machine to the Stone Age, where they will have to fight for their lives.

The First Doctor was played as less mischievous and more cruel than later incarnations. He also seems less concerned about saving the human race. 

His companion was made his ‘granddaughter’ because it was thought inappropriate for an old man to be accompanied by a young girl if she were unrelated to him. 

Representations

Daniel Chandler's representation theory: CAGE

This is a theory about how the media constructs or represents individuals or groups of people through the media. Key markers of identity can be remembered through the acronym CAGE:

C- Class
A- Age
G- Gender
E- Ethnicity

Characters and representation in An Unearthly Child

Susan Foreman
Susan Foreman is the first of a long-standing tradition of Doctor Who companions.  It was felt improper in 1963 for an older man, such as the Doctor, to be travelling through space with a young 15 year old girl; so she was written as his Granddaughter.  She is a strong link to the young target audience and will often react in ways that the audience might in future episodes [e.g. screaming at aliens].  Classically relatable.

She also provides a link between the chaotic alien madness of the Doctor and the human confusion embodied by Barbara and Ian (and the audience).  She is therefore a translator of the more Sci-Fi elements of the story to a naïve 1960s audience.   She can often be seen explaining some of the Doctor’s stranger outbursts to the humans Barbara and Ian.  Another example of exposition.

The Doctor
The Doctor represents the new age of technology and science that was emerging in the 1960s.  The ‘space race’ was underway and the world was fascinated with all things space travel and linked to other planets.  He represents this new world of discovery.

He is a Time Lord from the planet Gallifrey and he explores the universe with usually human companions who serve as audience surrogate characters to ask questions which allow the Doctor to provide relevant exposition.  He is often eccentric, distracted and dark in mood.  Some commentators have said he symbolises the struggle between good and evil, some have said he is a symbol of a God-like presence who wanders through time and space trying to change history for the better. 

Teachers Barbara Wright and Ian Chesterton

Barbara and Ian represent traditional human values and are classically middle class. They are the people the Doctor explains everything to, so that the audience understands as well.  This is known as exposition.

They are also Science and History teachers so often offer advice and opinions to the Doctor on matters of space and time.  They also have very clearly defined gender roles in the series.

Barbara and Ian also play the narrative role of mother and father to Susan who is very naive and who has not had that paternal guidance from the Doctor.  They are very traditional in their gender roles.  Ian is very physical when there is fighting or physical work to be done. Barbara is represented in a more homely, caring role in the series. These were stereotypical gender roles in the early 60s – but times were changing.  Ian and Barbara are bonded by their human characteristics in their Space adventures.  They represent the caring, empathetic part of the human condition in how they look after Susan and, in later episodes, the Doctor himself. 

Audience

Reminder: demographics and psychographics

Demographics: The audience classified through ‘fixed’ characteristics such as: age, gender, race/ethnicity, where you live, job.

Psychographics: The audience classified through beliefs, values, hobbies and interests such as: Strugglers, Reformers, Aspirers and Mainstreamers. 

General audience notes:

• Mainstream family audience – broad appeal as millions of people watch the BBC.
• Long-running which shows it appeals to mainstream audience (age 10-40+). 
• An Unearthly Child given PG certificate – parental guidance.
• Demographics: A-E class as some complex plot points but also action that is easy to understand.
• Gender: split down middle (although traditional science fiction fans were male, this has changed over time. From 1970-2010 the female sci-fi audience grew by 22%).

Audience pleasures

We can apply Blumler and Katz's Uses and Gratifications theory when analysing the audience pleasures offered by Doctor Who: An Unearthly Child. Remember, we must consider it from the perspective of a viewer in the 1960s who would have reacted in quite a different way to an audience in 2020. Remember, the four key categories for Uses and Gratifications theory:

INFORMATION/SURVEILLANCE: learning information that you did not already know. Doctor Who offers its audience an education about space travel, science and history.  

PERSONAL IDENTITY: personally relating to something - seeing your lifestyle on screen. Think about how different audiences may identify with Susan, her teachers or the Doctor.

DIVERSION/ENTERTAINMENT: escapism and being entertained away from your normal life. Science Fiction is a classic genre for escapism - what examples of this could be found in the episode?

PERSONAL RELATIONSHIPS: caring about characters and wanting to find out what happens to them. This is the first episode of four - which characters do you think the audience will want to follow on their journey? 

The 3 Vs

VISCERAL PLEASURE: Physical thrill of watching something e.g hairs on the back of your neck in a horror film, sport, big explosions. 

VICARIOUS PLEASURE: Experiencing something through the characters (e.g. time/space travel). 

VOYEURISTIC PLEASURE: Watching something you wouldn't normally get a chance to see (e.g. inside TARDIS).

Doctor Who Fan Culture: Whovians

Doctor Who now has an international online fan culture of events, fan fiction, fan-edited trailers and more. The BBC also produces merchandise to sell to this audience. 

The 'Whoniverse'

The ‘Whoniverse’ is made up of podcasts, spin-offs (other shows that derive from the main Doctor Who and have settings, ideas, characters in common e.g. K-9 which is a kid’s show about Doctor Who’s robot dog) and documentaries, behind-the-scenes, sneak peaks and so on.

In the most recent series of Doctor Who, this fan culture actually appeared in an episode: 

You can read more about Doctor Who's fans and its cultural impact in the extension articles at the bottom of this post. 

Industries

TV industry in 1963

There were only two TV channels in the UK in 1963: BBC and ITV. 

In terms of technology, videotape had only been in use for seven years when An Unearthly Child was made. It allowed the BBC to create the space and time travel effects we can see in the episode which were considered amazing at the time. 

In 1967, BBC2 launched as the first colour TV channel. BBC1 and ITV then switched to colour in 1969 as more people bought colour TVs. 

Compared to the digital and streaming TV landscape of today, 1960s television was a different world.

Importance of Doctor Who to BBC

Doctor Who is one of the most iconic franchises that the BBC has. It has been shown all over the world through BBC Worldwide and generates huge income for the BBC.

In 2014, a BBC Worldwide Report stated Sherlock and Doctor Who as the BBC’s biggest exports of the past year. The worldwide simulcast (simultaneous transmission) of “The Day of the Doctor” in 2013 saw this episode air at the same time in 98 countries on six continents.

 

Doctor Who franchise: spin-offs 

The BBC has maximised the popularity of the Doctor Who franchise by creating a series of spin-offs that build on the same universe or characters as the original show. These include:

• K9
• Sarah Jane Adventures
• Torchwood
• Class

These spin-offs allow the BBC to target slightly different audiences while still taking advantage of the huge Doctor Who fanbase. 

Spin-offs - opening titles:

Doctor Who - LIAR: Blog Tasks

Create a new blogpost called Doctor Who - LIAR: Blog Tasks and complete the following questions:

Language and Contexts

1) How can we apply narrative theories to this episode of  Doctor Who? 

Todorov's Equilibrium:

Propp's character theory:

Barthes's enigma and action codes:

Levi-Strauss's binary opposition: 

2) In your opinion, what is the most important scene in the episode and why?

3) What genre is An Unearthly Child and how can you tell? Make specific reference to aspects of the episode.

4) How does An Unearthly Child reflect the social and historical contexts of the 1960s?

Representations

1) What stereotypes of men are reinforced and subverted in Doctor Who: An Unearthly Child? How?

2) What stereotypes of women/girls are reinforced and subverted in Doctor Who: An Unearthly Child? How?

3) How do the representations of young people and old people in An Unearthly Child reflect the social and historical context of the 1960s? 

4) What representations of race/ethnicity can be found in Doctor Who: An Earthly Child? Is this surprising or not? Give reasons for your answer and consider historical / cultural context (the 1960s). Has this changed in more recent series of Doctor Who?

5) How is social class represented in An Unearthly Child? Think about how education and knowledge is presented in the episode.

Audience

1) Who is the target audience for Doctor Who? Do you think it has changed since 1963?

2) What audience pleasures are offered by Doctor Who - An Unearthly Child? Apply Blumler and Katz's Uses and Gratifications theory to the episode. Make sure you provide specific examples from the episode to support your ideas.

Personal Identity:

Diversion (Escapism):

3) What additional Uses and Gratifications would this episode provide to a modern 2020s audience?

4) Thinking of the 3 Vs audience pleasures (Visceral, Vicarious and Voyeuristic pleasures), which of these can be applied to An Unearthly Child?

5) What kind of online fan culture does Doctor Who have? Give examples.

Industries

1) What was the television industry like in 1963? How many channels were there?

2) How does An Unearthly Child reflect the level of technology in the TV industry in 1963?

3) Why is Doctor Who such an important franchise for the BBC? 

4) What other programmes/spin-offs are part of the wider Doctor Who franchise?

5) Why does the Doctor Who franchise have so much merchandise available? Give examples. 

Grade 8/9 extension tasks and reading

Read this Media Magazine article tracing the cultural impact of Doctor Who. What does it suggest regarding the importance of Doctor Who, representations and industry?

Read this Guardian feature on female characters in Doctor Who. What does it suggest regarding the representation of women over time in Doctor Who?

Consider representations of age in Doctor Who. How have representations of age changed over the 50-year history of the show?

Read this Guardian feature 'Is Doctor Who doomed?' which contains lots of industry and audience context that will help us reach the top levels in exams.

Read this press statement from Disney+ regarding Doctor Who and their agreement with the BBC. What does this tell you about the global television industry?

Read this Guardian article about Doctor Who showrunner Russell T Davies and the possible end of the BBC. What does he say about it?

Read this New Statesman feature on Doctor Who as a global phenomenon. What does it suggest about Doctor Who fandom, British identity and the importance of the brand to the BBC?

Read this Guardian feature on the representations of race and ethnicity in Doctor Who over the last 55 years. How has the programme changed in its representations of race and how does this fit the BBC's remit to inform, educate and entertain? 

You will have some lesson time to start this but will need to complete this for homework - due date on SatchelOne.

Television: Introduction to TV Drama

Our next topic is Television - A crucial in-depth topic.

These are particularly important CSPs as we know they will definitely come up in Media Paper 2. The first 42 marks of this paper will be based on your knowledge and understanding of the two TV programmes across Media Language, Industries, Audiences and Representations.

The CSPs: Doctor Who (1963) and His Dark Materials (2020)

We need to study the following episodes as our in-depth CSPs:

Episode 1 of Doctor Who: An Unearthly Child (1963)
Episode 1 of His Dark Materials (Season 2): The City of Magpies (2020)

Doctor Who - An Unearthly Child Opening:

His Dark Materials Season 2 Trailer:

Assessment: Paper 2 Section A

Television will be tested using two medium response questions on an extract clip from one of the two episodes we will be studying. One question will be worth 8 marks and one will be worth 12 marks. There will then be one extended 20-mark essay covering the whole of both of the episodes you have studied.

Introduction to TV Drama

Television drama is a popular TV genre. ‘Binge-watching’ series in one go is a recent phenomenon while other dramas have built hugely loyal fanbases (e.g. Doctor Who) over many years.

There are many sub-genres and hybrid genres in TV drama from costume drama to fantasy or science-fiction.

Key conventions

TV Drama has certain recognisable conventions or typical features. These include: 

• Dramatic narrative, usually linear (with continuity across episodes.) This is called a narrative arc where the story goes across the series.
• Ensemble cast (characters with own storylines). Sometimes an episode will focus more on one character or another.
• Specific technical codes e.g. realistic lighting and editing for social dramas to keep it gritty. Common use of flashback, point of view shots, dialogue and voice over, enigma and action codes throughout.
• Use of stereotypical ‘stock’ characters get storylines across quickly.

TV Drama Series

A TV drama series is a set of connected TV episodes that run under the same title e.g. Stranger Things, Doctor Who or His Dark Materials. They are usually structured in ‘seasons’ or ‘series’ and often end with a ‘season finale’. (‘Season’ is the American term but you will hear the British term 'series'.)

Genre

Genre Definition: A style or category of TV, film, music or literature.

Genre is the term to classify any TV or film media product that has a chosen style and follows certain codes and conventions e.g. comedy, action or crime drama. 

Genres can change over time and there is increasingly a fashion to combine genres to create hybrid genres. E.g. Science fiction and fantasy.

NCIS

We can use the mnemonic NCIS to remember how to analyse the genre of film or television:

Narrative: the storyline and preoccupations / issues e.g an action adventure film usually features a dangerous quest or mission. Todorov’s Equilibrium theory of narrative structure might apply here.
Characters: the people who drive the story. Here you may see examples of  Propp’s character types e.g.  In fantasy there is often a hero, princess, helper, villain etc.
Iconography: the mise-en-scene (CLAMPS) to create a particular look e.g. a horror movie may be particularly focused on blood, darkness and set at night.
Setting: the locations or time period used e.g. in Western movies, you will often see it located in American or Mexican deserts around 1800s.

Grade 8/9 Recommended Reading:

Read this Guardian TV review from the first episode of His Dark Materials season two. What did the reviewer think of the episode? Also look at the comments from readers below the article - do they agree? 

Have a look at this Guardian feature on the top ten Doctor Who stories. How do these fit the conventions of TV drama? Why do you think these narratives were picked in the top ten?