Sunday, 22 June 2014

Inferno’s SSSI – Site of Special Science-fiction Interest

By Danny Nicol

“Inferno” (1970) is one of the finest Doctor Who stories.  It is the first to introduce the idea of parallel universes, and in so doing imagines a fascist Britain.  The plot involves an attempt to drill through the Earth’s crust in order to harness a new power source.  In the parallel-fascist Britain, secrecy, authoritarianism and deference combine to prevent any real resistance to the dangers of the project.  In one of the most tense Doctor Who stories ever broadcast, this leads to the destruction of the planet, and the Doctor has to try to return to our own reality in order to prevent the same fate befalling us.

 
The drilling operation turns humans into Primords 

In The Humanism of Doctor Who, David Layton observes that the negative image of the fascist Britain in “Inferno” is always implied in the “real” Britain of the Doctor Who world (D. Layton, The Humanism of Doctor Who (Jefferson NC and London: McFarland, 2012) 329).  Real Britain still has disparities in social power, rigidity of social structure, an over-reliance on authority and so on.  Thus for Layton the genius of “Inferno” lies in the similarities between the parallel fascist Britain and our own.  



The Doctor encounters the fascist
version of companion Liz Shaw
In a sense, though, Doctor Who imagines alternative universes in each and every episode, through its sustained use of metaphor.  Thus “Inferno” really offers three universes to compare and contrast – fascist Britain, "normal" Doctor Who Britain, and our own Britain.   I am looking forward to hearing a paper on parallel universes in Doctor Who (and Star Trek) from University of Wolverhampton academics Dr Aidan Byrne and Dr Mark Jones at the “Politics and Law of Doctor Who Symposium”, for further insights into “Inferno”.



The film location of “Inferno” is the Kingsnorth Industrial Estate on the surreal Hoo Peninsula in north Kent, an area I know and love.  Here am I on the quirkily-named promontory Horrid Hill, with the Kingsnorth Industrial Estate in the background across the estuary of the River Medway.   

Bleak house: the "Inferno" film location looms through the mist

The area forms “Boris Island”, the piece of land which the Mayor of London, Boris Johnson, wishes to turn into London’s main airport replacing Heathrow.  Yet this rural Peninsula contains fruit farms (Kent being famously “the garden of England"), the marshes in which Charles Dickens based Great Expectations and two huge RSPB bird reserves.  It has a remarkable sense of remoteness despite being close to London.  The “Inferno” location itself is incongruously surrounded by countryside: just outside its perimeter fence are marshes teeming with waterfowl. 


The protected “green belt” which surrounds Britain’s cities is essential not just for those who live there but for those who don’t – city dwellers who need greenery and space.  It provides respite from the insatiable concreting-over of our country.  The London Mayor believes “Boris Island” would be good for business: thankfully many business leaders disagree.  Nonetheless more recent Doctor Who stories have often imagined worlds dominated by corporate interests – and no doubt if “Inferno” were conceived today, the drilling would be a private not public sector operation.  Applying David Layton’s idea, ours is rather too close to these alternative worlds for comfort: the relentless domination of economic concerns over the environment is what “Inferno” rightly warns against.  

Thursday, 5 June 2014

Class, Euroscepticism and “The Monster of Peladon”

By Danny Nicol

Peladon – it’s an insular kingdom, cut off from the rest of the galaxy, archaic and twee, with a quirky established religion and an antiquated class system.  I wonder what country that’s supposed to be!

The Doctor’s first visit to this isolated planet (“The Curse of Peladon” (1972)) is widely acknowledged as an allegory for Britain’s accession to the European Communities (now, European Union).  The Doctor sides with those who favour Peladon’s entry into the Galactic Federation against a primitive and self-serving opposition.

The Doctor and companion Sarah Jane Smith encounter
representatives of the Galactic Federation
The solidly pro-EC stance of “The Curse of Peladon” was, however, reconsidered two years later in “The Monster of Peladon” (1974).  This less-well-crafted story is set some fifty years after the Doctor’s earlier encounter with the planet (ironically Britain's half-century milestone as an EC/EU Member State is not so far off).  The story rather overflows with political messages concerning feminism and the miners’ strike of 1974. However these strongly-expressed themes have rather obscured the story’s intriguingly unfavourable account of supranationalism.  Needing minerals for a war in which the Federation has become embroiled, the miners of Peladon are being worked excessively hard.  Federation troops are brought in to replace domestic troops in order to police the miners, and there is a threat that Federation workers will mine the minerals if Peladon miners down tools. The villains of the piece are the Ice Warriors, who as members of the Federation appear to be manipulating it for their own ends.  In particular the introduction of Federation troops seems to be a cover for an invasion by an oppressive Ice Warrior dominated force, authorised to use any terror method.   Of course things come right in the end, and the Doctor leaves Peladon with more social mobility, less sex discrimination and a more sceptical view of galactic integration. 

As an allegory “The Monster of Peladon” can be read as offering three valuable insights into Britain’s European engagement. 

First, interest lies in the swiftly-diminishing legitimacy of the Galactic Federation.  This legitimacy – like that of the EU – is results-orientated, not process-based.  In other words legitimacy relies on the benefits received from membership not on the organisation’s democratic attributes. On this basis the Doctor himself speedily becomes a Federation-sceptic.  He opines that the Federation has brought many of its troubles on itself: after fifty years of membership the miners of Peladon have got harder work for the same rewards.   Similarly with the EU, the Eurozone crisis has damaged its legitimacy, and it cannot recover ground by appealing to non-existent democratic credentials.

Give back our planetary sovereignty!
The Queen of Peladon confronts an Ice Warrior
Secondly, “The Monster of Peladon” shows that the contractarian argument – the idea that the UK signed up to “a Community of unlimited duration” and so must accept its benefits and burdens – will only take us so far.  In the story, the Queen of Peladon complains that her people have been dragged into a war which is not their own, only to be admonished by Ortron, her Chancellor and High Priest, that “we have to accept the duties of Federation membership, as well as the benefits!”  In a later episode the Queen laments the violation of Peladon’s planetary sovereignty; she reflects that when her father signed treaties with the Federation, he could not have known it would lead to nothing but bloodshed; as it is, she reflects, Peladon must accept the consequences.   Yet in the end, as the story shows, there is always a right to revolution.  The EC/EU is at one and the same time an international arrangement and an important part of the constitutions of the Member States, and the British constitution is traditionally easy to change.  Against that backdrop the idea that a previous generation of politicians can bind a political community not to change things is problematic.

Working class hero?
The Doctor makes common cause with Peladon's miners

Thirdly, and most importantly, the story flags up the class nature of supranational integration.  On Peladon, it is in particular amongst the ordinary people that disillusionment with the Federation is most keenly felt.  The miners complain that the promises of Federation membership failed to materialise: “the Federation told us things would be better.  So they are - for the nobles and the court.  We got nothing as usual!”  This leads in turn to resentment at the loss of sovereignty: according to Edis, one of the miners’ leaders, much though he resents the privilege of the Queen’s court, he resents still more that the “real masters” are the Federation.  This chimes with the upsurge in popularity of Eurosceptic parties throughout Europe – including UKIP’s successes in Northern England, Wales and Scotland.  The Eurozone crisis, the permanence of privatisation by dint of EU competition law, and the effect of the free movement of persons on job security and terms and conditions, all suggest that the European project is not some purely technical matter.  Class interests do not stop at the door of the European Union.  Agustin José Menéndez has observed that British entry into the EC did not affect all Britons equally. Indeed, whether you derived a benefit or burden from the country’s EC membership was determined not by your being British but by your socio-economic position.  (See A.J. Menéndez, “Whose Justice? Which Europe?” in Grainne de Búrca, Dimitry Kochenov and Andrew Williams, eds., Europe’s Justice Deficit (Oxford: Hart, 2014, forthcoming)).  “The Monster of Peladon” underlines that different constitutional arrangements benefit different classes of people, and in this regard European integration is no different from any other constitutional change.



Monday, 2 June 2014

Revisiting "The Invasion"

By Craig Owen Jones

One of the finest Doctor Who serials of the 1960s was ‘The Invasion’ (1968), an eight-part story directed by Douglas Camfield in which Patrick Troughton’s Second Doctor, together with companions Zoe (Wendy Padbury) and Jamie (Frazer Hines), are confronted with the megalomaniacal schemes of Tobias Vaughn (Kevin Stoney), the president of multinational corporation International Electromatics. As James Chapman and others have pointed out, in many ways the serial prefigured the future narrative direction of the programme. The primary plot point, whereby a multinational conglomerate exerts hegemonic control over an aspect of the world’s market, was to become a staple of Doctor Who; similar tropes have formed key elements in stories such as ‘Partners In Crime’ (2008) among others. Nor was the choice of an electronics company an accident, resonating with contemporary doubts over the speed of technological development in general (and computers in particular) – doubts that manifested themselves in debate over the viability (and wisdom) of embracing what Harold Wilson referred to as the ‘white heat’ of technology.

The Cybermen invade London

‘The Invasion’ does, however, maintain a surprising silence on another, equally topical matter. As the first serial set in contemporary Britain to be screened following the extraordinary tumults of the late spring and summer of 1968, it is extraordinary that the version of England presented in ‘The Invasion’ has nothing whatsoever to say about them. The unrest in America following the deaths of Martin Luther King and Robert F. Kennedy, the racial tensions in Britain exemplified by Enoch Powell’s ‘rivers of blood’ speech (delivered in April, sandwiched between the first and second readings of the Race Relations Bill in the House of Commons) and the strikes that followed his censure, and the radicalism of the Sorbonne are all firmly eschewed in favour of a not unsuccessful portrayal of swinging London.  For all her feminist bluster - borne witheringly by the males around her - supporting character Isobel (Sally Faulkner) is an aspiring fashion photographer with a penchant for mini-skirts and the quirkiness of the Portobello Road market, and Jamie’s interest in International Electromatics’ new model of portable radio is restricted to the pop music emanating from it.


Swinging Sixties: Companion Zoe and photographer Isobel encounter magnate Tobias Vaughn

It is only fair to point out that Doctor Who was not the only science fiction series to find the depiction of the social unrest and radicalism that encapsulated the end of the 1960s in Europe, America, and elsewhere problematic. The counterculture that formed the backdrop to that unrest was in many ways the most obvious object of comment, and less than three months after the broadcast of ‘The Invasion’, Doctor Who’s contemporary show, Star Trek, made an attempt at a critique. ‘The Way To Eden’ (1969) featured a group of cultish space aliens – thinly-veined depictions of hippies – whose quest for the mythical planet of the episode’s title ultimately brings nothing but death. The cultural politics of this widely-derided episode is painted in broad strokes, but it did at least represent an attempt of sorts to engage with this particular aspect of contemporary cultural affairs. Doctor Who viewers would have to wait until the 1970s, and the appearance of Jon Pertwee’s Third Doctor, for similar treatments.