He works hard to place each episode in the context of its time, simultaneously trying to see the episodes as they would have been originally viewed while also looking at them with a more modern, critical eye. When it comes to his overall view of the Troughton era, I think he hits a few ideas right on the head. First, much of the appeal of these episodes was and remains the brilliant performance of Troughton in the part.
His charisma is able to carry weak episodes and turn better episodes into experiences that remain brilliant and engaging. Though I find other eras of the show equally appealing, I have always thought that Troughton was the strongest pure actor ever to take the role until the modern era. Of course, Sandifer is not always on target. In addition, his discussions will never get me interested in the extra-canonical material like the novels he cares so much about.
This volume also suffers from the blind swing of history. He discusses episodes from this period that he would like to see recovered. At the time he was writing, the likelihood of any new episodes coming to like was small. Indeed, it remains small. And yet, they keep popping up periodically. Now that they have been, I wonder whether his opinions have changed at all. I do not read the blog from which he draws these books.
Still, whatever quibbles I have and, as I said, arguing with the author is one of the pleasures of these books, this is a wonderful volume of commentary.
In particular, Sandifer is clearly a fan which makes his criticisms easier to digest. I am already working my way through volume 3, and I look forward to reading the rest as they appear.
Within a few Yes, you. Like the first volume, this was an engaging and thought-provoking work. He does show a programme progressing though, as well as making great play of the fact that chemistry, alchemy and LSD all seem to have a big part in its development. How The Evil of the Daleks reveals the secrets of alchemy. We each acknowledge that, in entering into a Contract, neither of us has relied on any representation, undertaking, or promise given by the other or be implied from anything said or written in negotiations between us prior to such Contract except as expressly stated in these Terms and Conditions , e. Doctor Who : Gallifrey stories.
December 31, - Published on Amazon. As with so many, I grew up with Tom Baker's fourth Doctor. Whether The Mind Robber implies an alternate origin for the Doctor in which he is not a Time Lord but a lord of something else entirely. Here at Walmart.
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In your cart, save the other item s for later in order to get NextDay delivery. Politics, music, technological and social development, and all manner of other things have crossed paths with Doctor Who over the nearly fifty years of its existence, and by using Doctor Who as a focus, one can tell a story with far wider implications. It draws its name from the concept of psychogeography — an artistic movement created by Guy Debord in and described as the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.
More contemporarily, the term is associated with writers like Iain Sinclair, who writes books describing lengthy walking tours of London that fuse his experience with the history of the places he walks, weaving them into a narrative that tries to tell the entire story of a place, and Alan Moore, who does the same thing while worshiping a snake. Psychochronography, then, attempts the same feat by walking through time.
Where walking through space involves little more than picking a direction and moving your feet rhythmically, walking through time without the aid of a TARDIS is a dodgier proposition. The easiest way is to take a specific object and trace its development through time, looking, as the psychogeographers do, at history, lived experience, and the odd connections that spring up. And so this book is the first part of a walk through Doctor Who. The essays within it wear a lot of hats, and switch them rapidly. All involve a measure of critical reading in the literary theory sense, not in the complaining sense of Doctor Who stories to figure out what they are about.
This generally means trying to peel back the onion skins of fan history that cloud a story with things everybody knows. But it also involves looking at the legacy of stories, which often means looking at that onion skin and trying to explain how it got there. No effort is made to disguise the fact that the first appearance of the Time Lords is massive for instance, but on the other hand, the book still looks carefully at what their initial impact might have been. This approach also means looking at how a story would and could have been understood by a savvy viewer of the time, and at how the story can be read as responding to the concerns of its time.
That means that the essays tend to be long on cultural context. And, in the end, it also means looking at how I personally interact with these stories. This book has no pretense of objectivity.
It is about my walking tour of Doctor Who. I try to be accurate, but I also try to be me. To fully grab the scope of the topic, in addition to the meat of the book — entries covering all of the Doctor Who stories produced with Patrick Troughton as the lead actor — there are four other types of entries.
The first are the Time Can Be Rewritten entries.
TARDIS Eruditorum - An Unauthorized Critical History of Doctor Who Volume 2: Patrick Troughton [Philip Sandifer] on snakwalldeha.ga *FREE* shipping on. TARDIS Eruditorum - An Unauthorized Critical History of Doctor Who Volume 2: Pat from the popular blog TARDIS Eruditorum offers a critical history of the Patrick Troughton era of Doctor Who. Book 2 of 6 in the TARDIS Eruditorum Series.
One peculiar feature of Doctor Who is that its past is continually revisited. The bulk of these came in the form of novels written in the 90s and early 00s, but there are other examples. At the time of writing, for instance, Big Finish puts out new stories every year featuring the first eight Doctors. These entries cover occasional highlights from these revisitations, using them as clues to how these earlier eras are widely understood. The second are the Pop Between Realities, Home in Time for Tea entries, which look at popular media and culture to build context for understanding Doctor Who.
Third, there are the You Were Expecting Someone Else entries, which deal with spinoff material produced concurrently with Doctor Who but that, inevitably, has some significant differences from the approach of the televised material. Finally, there are some essays just thrown into the book version as bonuses. These mostly consist of me slogging my way through some established fan debate about Doctor Who and trying, no doubt fruitlessly, to provide the last word on the matter.
This book version, however, revises and expands every entry, as well as adding several new ones — mostly Time Can Be Rewritten entries, but a few others. To this end, I should thank the many readers of the blog for their gratifying and edifying comments, which have kept the project going through more than one frustrating stretch. A final note — although I have expanded and revised the essays in this book from their original online versions, I have not attempted to smooth out the developing style of the entries. Much like the show it follows, this project has evolved and grown since its beginning, and I did not wish to alter that.
But most of all and most importantly, thank you, all of you. But most of all, thank you, dear reader.
I hope you enjoy. If you want to understand in Great Britain, it is possible that no fact is more immediately relevant than the fact that on Saturdays in , at around PM, the latter episodes of Season Three of Doctor Who were airing opposite imports of the Adam West Batman series.
If this does not sufficiently unsettle you, I highly recommend firing up, say, Part Four of The Celestial Toymaker or a random bit of The Ark and watching it back to back with a Season One episode of Batman. What is unsettling about this is that, with only three channels in existence at the time, ITV viewed Batman as the natural competitor to Doctor Who in that media environment.
Up to this point, one of the major characteristics of Doctor Who has been the essential joke of the TARDIS crew being the completely wrong people for this sort of story. In its original form, this is clearest—two schoolteachers, a teenager, and an old Victorian inventor walk into an alien planet.
This stock character arrangement belongs to an older view of science fiction as a serious genre with a broad audience as opposed to as a subset of adolescent action serials. Even through Season Three and the start of Season Four there was still the Doctor, who was by and large the antithesis of a proper action hero. The whole concept still hinged on the incongruity of the old Victorian inventor and these harshly modern and increasingly postmodern settings.
Unlike Ian essentially a middle aged ex-soldier and Barbara the charmingly mumsy type they are attractive young people of the sort who seem to belong in an action serial. But the heart of the show—the main character—was still a conscious and deliberate contrast with what the show had him face. He was a cantankerous old man, not a fun action hero. In terms of everything we talked about in the first volume of the series, this was a huge contrast with Batman.
Every element of Batman was keyed towards the goal of frenetic and over the top action. Doctor Who is about the gulf between its concepts and the juxtapositions created by them. Compare that to Batman. To grab a random example from the series, there is a plotline in which the Joker uses a van equipped with mirrors on the outside which can cause it to appear invisible to kidnap the Maharajah of Nimpah who is actually just the Joker as part of a larger scheme to humiliate Batman into endorsing a ransom check ….
Yes, plotlines of this sort are completely mental and over the top. But in Batman , the knowing nods about how ridiculous it all is are all there is. Some of that is a matter of presentation—nowadays we view Batman in color, but in on ITV, it would have been transmitted in the same fuzzy black-and-white as Doctor Who. But for all its facileness, Batman is trying to have more fun than Doctor Who is.