By Eoin Colfer
11 medical professionals, 11 months, 11 tales: a year-long get together of healthcare professional Who! the main intriguing names in children's fiction every one create their very own precise event concerning the time-travelling Time Lord.
London, 1900. the 1st surgeon is lacking either his hand and his granddaughter, Susan. confronted with the quest for Susan, a wierd beam of soporific mild, and a number of marauding Soul Pirates motive on harvesting human limbs, the surgeon is promised a perilous trip right into a land he may possibly by no means forget...
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Extra info for A Big Hand For the Doctor (Doctor Who: 50th Anniversary, First Doctor)
Undoubtedly the culture and politics of the 1980s and 1990s has seen a decline in drama terms from a politics aimed at increasing audience knowledge to one that is a politics of pleasurable consumption. This is shown by the fact that there is a huge convergence of top-rated drama towards the values of entertainment. The consequent debate that has ocurred on 'quality' mirrors many of the fears and anxieties expressed in the run up to the 1990 Broadcasting Act. These include charges in the broadsheet and tabloid newspapers that the BBC is 'dumbing down' and moving away from its Reithian policies of the past and that Channel 4 is abandoning its mission.
In media terms these fears are an extension of a twentieth century mass society tradition that sees the mass of 'the people' in modern society as alienated, ill-educated and rootless, cut off from a sense of organic community and open to media manipulation. Such fears were again expressed in 1983 by the BBC's Director-General, Alisdair Milne, with his famous phrase 'wall-to-wall Dallas'. His commentary on this challenge to our national culture showed his concerns about American dominance of the international television industry and the impact American programmes would have on British audiences; the popular soap opera Dallas being the most visible evidence of such a cultural invasion in the early 1980s.
It is significant from the perspective of this book that the whole question of quality should thus be linked with maintaining a somewhat Page 16 spurious and rather old-fashioned sense of national identity, in the face of the emergence of the multiplicity of hybrid identities celebrated in the hybrid forms of contemporary TV drama, which can be more consonant with social and ideological change. Notes 1 For example Anthony Giddens, The Consequence of Modernity, Cambridge, Polity Press, 1990. 2 See Chapter 6, 'Bardic television', in John Fiske and John Hartley, Reading Television, London, Methuen, 1978.
A Big Hand For the Doctor (Doctor Who: 50th Anniversary, First Doctor) by Eoin Colfer