the 1917 zone

June 17, 2013

Unhappy Soldiers (The 1917 Zone – Part 2)

Jack Graham60s, imperialism, malcolm hulke, panic moon, revolution, terrance dicks, the 1917 zone, vietnam, war games5

On ‘The War Games’. From the January 2012 issue of Panic Moon.

The last Doctor Who story of the 1960s is the high point of the show’s attempts to engage with the radicalism of that era. It was made just as the worldwide protests against the Vietnam war reached a crescendo. It’s been called an ‘anti-war’ story, but this is wrong. It’s an anti-imperialist story and, up until the last episodes, it supports revolution.

Pacifism is not advocated. Carstairs uses his pistol to protect the Ambulance and the Doctor never bats an eyelid. The Resistance kill guards all over the place. The Doctor’s aim for much of the story is to raise an army to fight the aliens. ‘The War Games’ supports revolutionary violence.

The violence that ‘The War Games’ condemns is that of imperialism. The aim of the aliens is conquest. That’s all that lies beneath everything that goes on in their War Zones. Meanwhile, ‘Butcher’ Smythe and von Weich amuse themselves playing Risk with human lives. It goes beyond noticing that top brass can be callous. The British and German commanding officers have more in common with each other than with their men. They are fundamentally different – alien – to the grunts whose lives they control and squander. They report to the same system of aggressive expansion, and both keep their communication devices hidden behind portraits of their monarchs. Under patriotism, imperialism lurks.

This is really about class. The generals are one class, the soldiers are another. Carstairs and Lady Jennifer are posh but, otherwise, the soldiers in ‘The War Games’ are the workers (and peasants) of the world. They’re pawns on the board of the ‘great game’. The map of the War Zones even looks like a game board. Those soldiers who throw off their mental processing (ie the ideology of their rulers) start cooperating across lines of nationality and race. Russell looks like he comes from a British imperial war of the 19th century, but he treats Harper, a black man, as a trusted ally. They even start to overcome sexism. Zoe lectures Arturo Villa about tactics and forces him to listen. Kidding aside, Jamie supports her. When the soldiers fight together instead of against each other – like Jamie and the Redcoat with whom he’s imprisoned – they can end the war. That’s why the First World War Zone is constantly referred to as “the 1917 Zone”, because it was in 1917 that a revolution in Russia started a chain of events which lead to a revolt against the Kaiser and the end of the slaughter.

Terrance Dicks’ story about people on a game board (which he tells repeatedly) probably got inflected with revolutionary politics via ex-communist Malcolm Hulke. 1968 re-radicalised him, it seems. However, in the end, although the Doctor’s vanguard conquers the imperialist stronghold and stops the war, they don’t take over. Instead, the Doctor calls in the ‘good’ establishment to clear up after the ‘bad’ establishment. The Resistance will end up back in their ‘real’ wars, their minds wiped of the internationalism and solidarity they learned through struggle.…

November 15, 2012

The 1917 Zone – Part 1: Tim Nice-But-Then and the Curse of Downton Abbey

Jack Grahamdownton abbey, family of blood, first world war, human nature, imperialism, series 3, the 1917 zone3

The first in a new series of posts looking at the way Doctor Who has tackled World War One.

Looked at from a certain viewpoint, ‘Human Nature’ / ‘The Family of Blood’ makes all the right noises. All the proper sounds issue from it when it is tapped. It notices social hypocrisy about war, perhaps even moralising about it. For instance, while the young boys at the school are taught how to be good little soldiers, a veteran of the Crimean war is to be found begging outside the town hall.

There is also an acknowledgement that war is unpleasant. The boys tremble and cry when forced to actually point weapons at an approaching enemy, with even the odious Hutchinson is seemingly relieved at the realization that they’ve been shooting at empty scarecrows. Joan lost her husband at Spion Kop (a battle of the Second Boer War, which would’ve been a British victory but for the farcical incompetence of the British generals). The Headmaster has his speech in which he describes using his dead mates as sandbags.

There is an attempt at balance, at the dramatic demonstration of values rather than the elaboration of a didactic authorial point-of-view. Yet, the characters’ values are not allowed to go uninterrogated. Irony is much used. So the Headmaster rounds up his boys to fight, responds with angry self-righteousness to the taunting of Baines/Son, and so on… but also evinces sincere horror at the idea of allowing what he thinks of as a little girl to be caught in the crossfire. Of course, there’s another irony there because he’s prepared for male children to be sent into the line of fire. Females, especially working class females, are to keep silent (presumably unless cheering you on your way to the carnage).

There’s an awareness of open sexism and racism in the episodes, issues that other forays into the past – ‘Daleks in Manhattan’ for instance – have almost entirely ignored and effaced. Baines and Hutchinson look down on Martha and Jenny and make their nasty little racist joke. John Smith assumes that Martha’s talk of aliens is a case of “cultural misunderstanding”; a primitive failing to comprehend the difference between fiction and reality. Joan scoffs at the idea of a black maid training to be a doctor, apparently finding this concept even more immediately and self-evidently ridiculous than time travel or aliens.

The Class Struggle in Trumpton

There’s quite a common fad nowadays in TV drama, perhaps best exemplified by Mad Men: setting a story in a past era allows lots of implied sneering at crass, blatant, old-style sexism, racism, etc… all underwritten by a kind of tacit, back-slapping awareness of how much better we are than the people back then, now that we’re all enlightened liberals, cured of such silly shibboleths. In ‘Human Nature’ / ‘The Family of Blood’ there is at least an awareness of class as a factor, though ‘classism’ is depicted as just another category of prejudice alongside racism and sexism.…