Dissertation Appendices and References

[beccaelizabeth]

A lot of this should be photos, but I can't figure out how to put them in just yet. Bit of a pain really.

Appendices

Appendix A

Child characters do not command the interest of children older than themselves. Young heroines do not command the interest of boys. Young heroes do command the interest of girls. Therefore, the highest coverage amongst children and teenagers is got by: THE HANDSOME YOUNG MAN HERO (First character). A young heroine does not command the full interest of older women; our young hero has already got the boys and girls; therefore we can consider the older woman by providing: THE HANDSOME WELL-DRESSED HEROINE AGED ABOUT 30 (Second character). Men are believed to form an important part of the 5 o’clock Saturday (post Grandstand) audience. They will be interested in the young hero; and to catch them firmly we should add: - THE MATURER MAN, 35-40, WITH SOME ‘CHARACTER’ TWIST. Nowadays, to satisfy grown women, Father-Figures are introduced into loyalty programmes at such a rate that TV begins to look like an Old People’s Home: let us introduce them ad hoc, as our stories call for them. We shall have no child protagonists, but child characters may be introduced ad hoc, because story requires it, not to interest children.

BBC WAC T5/647/1: CE Webber to Donald Wilson, ‘Science Fiction’, 29 March 1963 [in Chapman, 2006, p18]

Appendix B

In contrast, Susan (Carole Ann Ford) – now referred to as the Doctor’s ‘granddaughter’ in order to alleviate any concerns viewers might have entertained about the propriety of their relationship – is the ‘immature’ female prone to getting into trouble. Susan is a precocious teenager intended as a point of identification for girls of a similar age (she is introduced listening to pop music on a transistor radio), though her advanced scientific knowledge also marks her difference from her contemporaries. The case of Susan provides the first example of the limitations on characterisation imposed by the Doctor Who formula: she was required to fulfil the role of ‘screamer’ and often had little to do beyond looking pretty and frightened.

[Chapman, 2006, p23]

Appendix C

By including the relatively vulnerable and/or childlike figures of the Doctor, Susan, Barbara and Ian, Doctor Who could offer identifications for children where the characters could alternately embody the child’s wish to exercise adult rationality and control, and also the child’s own sense of vulnerability and powerlessness. […] Susan was designed to be both normal and alien, both a figure for aspirational identification and also a vulnerable child like the child viewer.

[Bignell in Butler 2007 p51]

Appendix D

As Kirsten Marthe Lentz found in ‘The Popular Pleasures of Female Rage’, the victimization experienced by male cinematic heroes exists because ‘the audience narratively understands that pay-back is near and that the painful interlude is a temporary form of victimization… However, for the [female] hero… the dynamic reverses so as to create the sense that it is her agency/freedom which is only temporary and that she will soon return to her normally victimized, compromised position.”

[Heinecken, 2003, p135]

Appendix E

List of Companions

There are arguments about which characters count as Companions, and that effects the counts and proportions. This is the list I used.

First name	Last name	gender	travelled with	species	canon	Exit?
Susan	Foreman	female	1	Gallifreyan	TV	get married
Ian	Chesterton	male	1	Human	TV	go home
Barbara	Wright	female	1	Human	TV	go home
Vicki		female	1	Human	TV	get married
Steven	Taylor	male	1	Human	TV	career
Katarina		female	1	Human	TV disputed	died
Sara	Kingdom	female	1	Human	TV disputed	died
Dodo	Chaplet	female	1	Human	TV	just left
Polly		female	1, 2	Human	TV	go home
Ben	Jackson	male	1, 2	Human	TV	go home
Jamie	McCrimmon	male	2	Human	TV	memory wipe
Victoria	Waterfield	female	2	Human	TV	adopted?
Zoe	Heriot	female	2	Human	TV	memory wipe
Brigadier	Lethbridge-Stewart	male	2, 3, 4, 5, 7	Human	TV	career
Liz	Shaw	female	3	Human	TV	career
Jo	Grant	female	3	Human	TV	get married
Sarah Jane	Smith	female	3, 4, 10	Human	TV	left behind
Sergeant	Benton	male	3, 4	Human	TV disputed	career
Mike	Yates	male	3, 4	Human	TV disputed	medical leave
Harry	Sullivan	male	4	Human	TV	career
Leela	of the Sevateem	female	4	Human	TV	get married
K-9		robot	4	Robot	TV	multiple
Romana	dvoratrelundar	female	4	Gallifreyan	TV	rule universe
Adric		male	4, 5	Alzarian	TV	died
Nyssa	of Traken	female	4, 5	Traken	TV	career
Tegan	Jovanka	female	4, 5	Human	TV	not having fun
Vislor	Turlough	male	5	Trion	TV	family
Kamelion		robot	5	Robot	TV disputed	destroyed
Perpugilliam	Brown	female	5, 6	Human	TV	get married
Melanie	Bush	female	6, 7	Human	TV	new friend
Ace		female	7	Human	TV	never did
Grace	Holloway	female	8	Human	TV disputed	career
Rose	Tyler	female	9, 10	Human	TV	multiple
Adam	Mitchell	male	9	Human	TV disputed	kicked out
Jack	Harkness	male	9, 10	Human	TV	left behind
Mickey	Smith	male	9, 10	Human	TV	Career
Martha	Jones	female	10	Human	TV	family, career
Donna	Noble	female	10	Human	TV	memory wipe
Astrid	Peth	female	10		TV disputed	Died
Wilfred	Mott	male	10	Human	TV disputed	Family
Amy	Pond	female	11	Human	TV	Died
Rory	Williams	male	11	Human	TV	Died
River	Song	female	10, 11, ?	Human plus	TV disputed
				left because
Female	26			get married	5
Male	15			career	8
Robot	2			died	8

Multiple sources, including

http://www.bbc.co.uk/doctorwho/classic/episodeguide/companions/

Rory and Amy died slowly of old age after leaving the TARDIS repeatedly to live a married domestic life and have careers. The Doctor saw their gravestones and can never visit them again, so it probably counts as ‘died’. But there are significant differences between their exit and any previous.

The chart below summarises the gender balance of Companions.

Pie Chart of proportions of women to men as the Doctor’s Companions.
[26 women, 15 men, 2 robots]

Appendix F

Fermat's Theorem, the proof. And I mean the real one. Never been seen before. Poor old Fermat, got killed in a duel before he could write it down. My fault. I slept in. Oh, and here's an oldie but a goodie. Why electrons have mass. And a personal favourite of mine, faster than light travel with two diagrams and a joke. Look at your screens. Whoever I am, I'm a genius. Look at the sun. You need all the help you can get. Fellas, pay attention.

The Doctor in 5.1 The 11^th Hour , 2010

Appendix G

DOCTOR: Or maybe you could just listen a minute. Because all I really want to do is accept your total surrender and then I'll let you go in peace. Yes, you've been interfering in human history for thousands of years. Yes, people have suffered and died, but what's the point in two hearts, if you can't be a bit forgiving, now and then? Ooo, the Silence. You guys take that seriously, don't you? Okay, you got me. I'm lying. I'm not really going to let you go that easily. Nice thought, but it's not Christmas.

[…]

DOCTOR: Now, do you know how many people are watching this live on the telly? Half a billion. And that's nothing, because the human race will spread out among the stars. You just watch them fly. Billions and billions of them, for billions and billions of years, and every single one of them at some point in their lives, will look back at this man, taking that very first step, and they will never, ever forget it.

[…]

SILENCE [on TV]: You should kill us all on sight.

6.1 Day of the Moon, 2011

Appendix H

Each of the Doctor’s regenerations offers a performance of masculinity, although rarely does the Doctor fulfil (thankfully) dominant images of masculinity. It is still a case of intellect over might, although throughout the series the Doctor has aligned himself with male companions who have been, or are, in active military service.

[Green in Garner, 2010, p17]

Appendix I

DOCTOR: Come on, Amy, I'm a normal bloke. Tell me what normal blokes do.
AMY: They watch telly, they play football. They go down the pub.

DOCTOR: I could do those things. I don't, but I could.

[5.11 The Lodger, 2010]

Appendix J

Doctor: It’s not like that, that’s not what I’m like.

Amy: Then what are you like?

Doctor: I don’t know, Gandalf. A space Gandalf. Or the little green one in Star Wars.

Amy: You really are not. You are a bloke.

Doctor: I’m the Doctor.

Amy: Every room you walk into, you laugh at all the men and show off to all the girls.

[Meanwhile in the TARDIS, 2010]

Appendix K

As much as the Doctor remains senior due to his knowledge of space and time travel, it is a recurring trope of the series that the pair adopt a two-pronged approach to trouble. The Doctor gains as much knowledge as possible from authority figures which include Charles Dickens, diplomats, high-ranking government officials, and other doctors. Alternatively, Rose bonds with minor figures, and extracts (often more useful) information from characters such as a maid, a plumber, and a backbench MP. It must be noted that these characters are all female and that Rose interacts with them in a singularly open and emotive manner.

[Kerrigan in Garner et al, 2010, p149]

Appendix L

RORY: Right, I'm due at work.
DOCTOR: What? You've got a job?
RORY: Of course I've got a job. What do you think we do when we're not with you?
DOCTOR: I imagined mostly kissing.
AMY: I write travel articles for magazines and Rory heals the sick.

[7.4 The Power of Three, 2012]

Appendix M

My summary of River Song’s timeline, as we know it in 2012: She was first introduced as a mystery, someone as adventurous and technically skilled as the Doctor, who knows more than he does because she knows his personal future, but who is completely unknown to him and the audience. Subsequent episodes revealed that she is Melody Pond, the child of two of the Doctor’s companions, Rory Williams and Amy Pond, conceived on the TARDIS, born on the asteroid base Demon’s Run, kidnapped and raised by Madame Kovarian to be a weapon against the Doctor [6.7 A Good Man Goes to War]. She had a first childhood in the 1960s where she was kept in a spacesuit in the attic of a children’s home full of memory altering aliens [6.1 The Impossible Astronaut / 6.2 Day of the Moon]. When she broke out of that she regenerated. After some still mysterious decades she grew up alongside her parents as their best friend Mels, going from trouble in school to trouble with police, until she steals a car and pulls a gun to get the Doctor to help her escape in the TARDIS [6.8 Let’s Kill Hitler]. She gets shot and regenerates again into River Song. She kills the Doctor with a poisoned kiss; then she gives up all her remaining possible lives to save him instead. He sends her to hospital in the far future and she goes to university on the moon to study him for her PhD. When she finishes, Madame Kovarian kidnaps her again, puts her in a spacesuit again, and sends her to kill the Doctor again [Closing Time]. This time River takes control of her life and saves the Doctor. Unfortunately this breaks space-time. The only solution is to let the Doctor die, but River would rather let the universe collapse because he is more important to her. So the Doctor marries her [The Wedding of River Song]. The marriage ceremony allows her to get close enough to see he is at that time miniaturised and piloting a robot duplicate of himself, to fake his death. When the new spouses kiss, it apparently kills the Doctor, again. To maintain the trick, River goes to prison for the Doctor’s murder. The Doctor then breaks her out at night to go have adventures in space and time, until she gets the skills and equipment to break herself out and call him in on her adventures. Sometimes she is let out on licence in order to get the Doctor involved in a particularly tricky problem [5.4 Time of Angels / 5.5 Flesh and Stone]. Eventually River gets pardoned and becomes a professor of archaeology, exploring space and time her own way. She leaves messages in unusual places she knows the Doctor will eventually see [5.12 The Pandorica Opens], and expects him to be there to catch her when she jumps off buildings or out of spaceships. In the end she sacrifices herself to save the Doctor’s life; he saves her, as a computer file, and uploads it to a virtual world, along with friends she was travelling with, where they get a domestic happily ever after with children to look after [4.9 Silence in the Library/4.10 Forest of the Dead].

Appendix N

RIVER: Well then, soldier. How goes the day?
DOCTOR: Where the hell have you been? Every time you've asked, I have been there. Where the hell were you today?
RIVER: I couldn't have prevented this.
DOCTOR: You could have tried!
RIVER: And so, my love, could you. […]

DOCTOR: You think I wanted this? I didn't do this. This, this wasn't me!
RIVER: This was exactly you. All this. All of it. You make them so afraid. When you began, all those years ago, sailing off to see the universe, did you ever think you'd become this? The man who can turn an army around at the mention of his name. Doctor. The word for healer and wise man throughout the universe. We get that word from you, you know. But if you carry on the way you are, what might that word come to mean? To the people of the Gamma Forests, the word Doctor means mighty warrior. How far you've come. And now they've taken a child, the child of your best friends, and they're going to turn her into a weapon just to bring you down. And all this, my love, in fear of you.

[6.7, A Good Man Goes to War]

Appendix O

AMY: You absolutely, definitely may kiss the bride.

DOCTOR: Amelia, from now on I shall be leaving the kissing duties to the brand new Mister Pond.
RORY: No, I'm not Mister Pond. That's not how it works.
DOCTOR: Yeah, it is.
RORY: Yeah, it is.

[5.13 The Big Bang]

Appendix P

screencap

Alex Kingston as River Song in Let’s Kill Hitler, early

Appendix Q

screencap, on the right
screencap, glowing

River Song in Let’s Kill Hitler, later.

Appendix R

screencap Future River [6.8]

River Song dressed for action. BBC promo pic, 6.8 Let’s Kill Hitler http://doctorwhotv.co.uk/lets-kill-hitler-cast-gallery-24623.htm, end of page

Appendix S

screencap

River Song in white hospital gown [6.8], near end

screencap

blurry River Song in white hospital gown, foreground, and the white pages in a blue cover of her new diary [6.8], near end

Appendix T

“While traditional heroic texts foreground the establishment of control over others […] female centered texts primarily articulate concerns/tensions with autonomy, issues over gaining and maintaining control over the self. In other words, female control is about establishing the independence and self-determination with which heroes begin.” [Heinecken, 2003, p152]

Appendix U

screencap

Amy Pond first adult appearance [5.1]

screencap

Amy Pond first adult appearance, cropped to show detail, rear view.

screencap

Amy Pond in space [5.2 The Beast Below]

Appendix V

“Women are the prime target audience for advertisers and TV; accordingly, TV has tended to treat women more favourably in its representations than film does.”

[Heinecken, 2003, p15].

“TV negotiates social issues, offering various interpretations of their meaning. Because there is a range of meanings rather than one single meaning, more people will find something with which they can identify or enjoy in the show. […] Rather than offering one single way to think about feminism, TV offered several, sometimes contradictory, ways of thinking about this social issue.” [Heinecken, 2003, p9].

Appendix W

MRS ANGELO: Oh, hello, Amy dear. Are you a policewoman now?
AMY: Well, sometimes.
MRS ANGELO: I thought you were a nurse.
AMY: I can be a nurse.
MRS ANGELO: Or actually a nun?
AMY: I dabble.
[…]

DOCTOR: And what sort of job's a kissogram?
AMY: I go to parties and I kiss people. With outfits. It's a laugh.
DOCTOR: You were a little girl five minutes ago.
AMY: You're worse than my aunt.
DOCTOR: I'm the Doctor. I'm worse than everybody's aunt. And that is not how I'm introducing myself.

[5.1]

Appendix X

screencap

screencap

screencap

Amy Pond, end 6.6 repeated beginning 6.7, trapped in a box, pregnant, and screaming.

Appendix Y

Memories are more powerful than you think, and Amy Pond is not an ordinary girl. Grew up with a time crack in her wall. The universe pouring through her dreams every night.

[5.13]

DOCTOR: There's going to be a very big bang. Big Bang Two. Try and remember your family and they'll be there.
AMY: How can I remember them if they never existed?
DOCTOR: Because you're special. That crack in your wall, all that time, the universe pouring into your head. You brought Rory back. You can bring them back, too. You just remember and they'll be there.

[5.13]

Appendix Z

AMY: I wish I could tell you that you'll be loved, that you'll be safe and cared for and protected. But this isn't a time for lies. What you are going to be, Melody… is very, very brave.
[6.7]

DOCTOR: Hello. Hello, baby.
AMY: Melody.
DOCTOR: Melody? Hello, Melody Pond.
RORY: Melody Williams.
AMY: … is a geography teacher. Melody Pond is a superhero.
[6.7]

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