working class

November 17, 2012

People Like Us

Jack Grahambenny, gods, history, lawrence miles, monarchy, new adventures, syriza, the wheel of ice, walking to babylon, working class0

Lawrence Miles on ‘nice-but-then‘ syndrome:

Re-writing the whole world in order to prop up a specifically late-twentieth-century agenda is bad enough, but WALKING TO BABYLON sets about re-writing the whole of history. Lady Ninan is supposedly a resident of ancient Babylon, but speaks and acts like a twentieth- century post-feminist liberal, thus “proving” that “people like us” have been making the world a lovely place in which to live throughout history; despite living in a city under constant threat of foreign attack, the Lady lets Bernice, a complete stranger and obvious alien, stay in her house without any form of introduction simply on the pretext that “people like us” have to stick together; Bernice has a relationship with a (Victorian, or early Edwardian?) traveller- cum-archaeologist who, despite the Victorian era’s notoriety for male violence, bigotry and misogeny [sic] turns out to be such a “new man” that he becomes a stereotypical perfect gentleman from a Barbara Cartland novel; the two of them embark on a relationship which has every possible jagged edge systematically smoothed away by the text, almost as a demonstration of how nice, kind, polite and utterly unthreatening men can be picked up in any historical period; he’s even completely unaware of the existence of male prostitution (!) – despite being well-schooled in history and hailing from an era in which most of the major scandals of the day involved public figures being found in homosexual brothels – in order to sledgehammer home the fact that he’s so non-existant as a sexual presence that he can’t possibly cause Bernice any harm or heartache, and as all good twentieth-century liberals know that’s what good relationships are made of.

It’s not just the fact that any historical context is thrown straight out of the window. It’s the fact that it’s been done to facilitate such a false, banal, “consensus-approved” romance. The uber-politics of WALKING TO BABYLON are presented as an ideal, but to put it bluntly if I lived in an “ideal” world this sterile then I’d kill myself in a week. It’d be going too far to compare the novel to the kind of disinfected, state-endorsed culture described in books like 1984, but I’m going to anyway because that’s how it made me feel.

Yet WALKING TO BABYLON went straight to the top of the New Adventure polls when it was released, and in a sense it’s not surprising. It tells the audience exactly what that audience wants to hear. Act in the “proper” manner and you, too, can live in a lovely soft- edged universe where everybody believes in exactly the same principles, regardless of their background or century, and you might even get to have sex with – according to your preference – either (a) Bernice or (b) a pretty, blushing young man who might as well have been lobotomized for all the personality he’s got. This isn’t a romance, this is Newspeak- culture, and like all Newspeak-culture it works because it’s essentially reassuring.

– Lawrence Miles, interview, 2001.

…

September 23, 2012

Playing with Dolls

Jack Grahambbc, cult tv, genetic determinism, mark gatiss, night terrors, sexism, star trek, stereotypes, steven moffat, working class15

UPDATE, 25/09/12: If you read this post, please read on through the comments too. Some astute readers used the comments section to set me straight on some issues both of fact and interpretation. As a result, my attitude towards ‘Night Terrors’ is now considerably more negative than my initial reaction (which you can read in the main review below). In fairness to myself, I do spend most of the piece saying what I don’t like about ‘Night Terrors’, including identifying some of what I call the “latent hostility” towards working-class people… but I failed to notice the wider context of the episode and so also the scale of the problem. I don’t mind admitting when I’m wrong (of course, I do really) but I hate that I blogged before giving myself sufficient time to think.

Okay, my foolhardy project of catching up with all the Doctor Who I’ve not seen in order to re-synch with the new stuff (and hopefully provide myself with blogging material) continues.

Last night I finally watched ‘Night Terrors’. Much to my astonishment, I didn’t absolutely hate it. I mean, it wasn’t particularly good… but it wasn’t actively offensive most of the time either. Which is fairly good going for Moffat-era Who written by Gatiss.

I was horrified by the idea that the Doctor now hears and answers prayers like God, with the pleas of a little boy travelling up to him through the heavens, but that was somewhat neutralised later by some technobabble explanation that made it sound very much like a special case. In the end, I liked that the Doctor actually seemed comparatively less full of himself, and more like a guy making it up and thinking it out as he went along. Matt Smith should be encouraged to slow down a bit more often. He had some nice, quiet moments (inbetween all the usual frenetic gibbering) that were very likeable. He does ‘kindly’ rather well.

There were cliches galore, of course. An old lady complains about her knees. A yobbo guy with a pitbull. Hoodies, etc.

Where would any mainstream BBC drama be nowadays if it had to try and depict a housing estate without the employment of hostile cliches? I think the latter stages of RTD’s depiction of Rose’s estate are the last example of such places being sketched without such latent hostility.

But… there was an interesting visual stress on the uniformity and blandness of the housing estate, bathed in that sickly yellow night-time street-light aura.

And this made the opulent but fake interior of the ‘mansion house’ into a fairly interesting visual counterpoint.

Of course, it was entirely predictable that the mansion would turn out to be a dolls house. But even that was kind of covered when the Doctor immediately realises it when he ends up there, treating the conclusion as though it’s self-evident. It looks like evidence of two tracks of thought at work in the story. We’re more on the Doctor’s wavelength than the other characters… which is not self-evidently the wrong way to do it. …

February 28, 2012

BBC Wales

Jack Graham70s, arthur scargill, barry letts, capitalism, class, green death, pertwee era, robert sloman, strikes, thatcherism, trade unions, wales, workers, working class1

The patronizing use of Welsh stereotypes in ‘The Green Death’ is evidence of the employment of centuries-old imperial condecenscion. However, Welshness alone does not straightforwardly equal idiocy in this story. Rather, it is the conjunction of Welshness with membership of the proletariat which produces characters who don’t really have a clue what’s going and need everything explained to them.

Clifford Jones and ‘Nancy’ (note how she doesn’t need a surname) are allowed to be efficient and useful only because their Welshness (which entails them using cute provincialisms galore) is offset by their educated, middle-class boffinity and right-onitude. Meanwhile, Jo marvels openly at her own foolishness in caring so much about the death of a “funny little Welshman” (who kept her alive). The difference between these Welsh characters – i.e. between the ones who qualify as people and those who don’t – is down to class.

The workers in this story are belittled, peripheral figures. They are profoundly out of touch and their Welshness is but a conduit by which they can be further quaintified. They miss the big picture, even when the hippy scientists try to explain everything to them. They side with Stevens when he tries to bribe them with promises of the trickle-down effect… indeed, the validity of Stevens’s claims that profits for Global will also mean prosperity for the workers is never challenged, only qualified by the criticism that pollution will be a side-effect. There is hardly a hint of class struggle here, besides the opening scene… and even here the struggle is portrayed as over. The mine is closed, the miners all but absent. Their status seems unclear… some of them seem to still have access to the mine despite its apparent closure. The mine itself seems not to be owned by the government but by Global Chemicals.

Now, in its haphazard and accidental way, some of this is actually prescient. The UNIT stories were supposed to be ‘five minutes into the future’ (we’re not getting into UNIT dating controversies – I couldn’t care less) and, of course, by the late-90s, British mining – together with so much manufacturing industry – had been deliberately destroyed by the Tories. Huge numbers of traditional working class jobs had been annihilated. Working class communities were wrecked in the process. In many ways, the sight of a crowd of workers, made redundant, closed out of their sold-off and shut-down workplace, listening to speeches about how coal is dead, being fraudulently told that their future lies in the trickle-down effect of private profit, is a sight that predicts the result of Thatcherism (which, of course, had already begun under Heath, albeit in a less aggressive form).

Thing is, viewed in the context of the times in which it was made, this is as puzzlingly skewiff as it is prescient. ‘Anachronistic’ is the only way to properly describe it.

You see… miners were powerful in 1973, having struck in 1972 for the first time since the 20s – and won! Miners all over the country came out over piffling proposed pay rises, proposed by the Tory government in the midst of declining living standards and working conditions.…