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Call for Proposals
Sydney Newman and The Development of Television and Film in the United Kingdom and Canada, 1941-1984
The Museum of Broadcast Communications describes Sydney Newman as “the most significant agent in the development of British television drama.”[1]But this is only one aspect of Sydney Newman’s (1917-1997) professional experience. Newman enjoyed a long and interesting career in broadcasting and films. He played a significant role in the production of television and film both in his native Canada and the United Kingdom. While his ‘claim to fame’ might very well be as creator of Doctor Who and The Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries, and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975). He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).
His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture. His influence was far-reaching. But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken into account his full career, to provide a more complete picture.
This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the development of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work. Articles can deal with specific aspects of his career, specific institutions (CBC, BBC, NFB), specific programs he developed, his influence as a producer/filmmaker, or administrator. Biographical articles and critiques are welcome.
The aim is that the collection taken as a whole, will provide a balanced and transnational look at his varied career during periods of significant development and change in the entertainment industry of both Canada and the United Kingdom.
Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 30th of October 2023. A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 August 2024.
Gillian I Leitch, PhD
Independent Scholar
Co-Chair, Science Fiction Fantasy Area, PCA/ACA
Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting+
In 2016 I had this brilliant idea to edit a collection on the professional life of Sydney Newman. It struck me that his career was a great means to focus in on the development and evolution of the television and film industry in Canada and Great Britain. I had spoken to a publisher who was very interested, and so I wrote and sent out a Call for Papers. I had two article proposals for the collection, and ultimately had to scrap the plan for the book in 2017.
I had felt that the subject of Sydney Newman would appeal to a wide variety of people – his career spanned some of the pivotal development of television and film in Canada and the UK. He played a decisive role in some of the most important institutions in the two countries, directing their operation. I felt for sure that there would be some historians who study popular culture, communications, media, film/television, nationalisms, and identity would be interested in contributing to a transnational study. I was wrong.
Is the time right now? I am not sure, but after talking with some colleagues and the representative of the interested publisher, I have been persuaded to try again.
So why Sydney Newman?
He has been described as a broadcasting pioneer. Certainly, his career at the CBC, BBC, ABC and the NFB at pivotal times in their corporate history has meant he influenced the policy and product of major broadcasters.
Canada:
Sydney Newman (1917-1997) began his working career at the National Film Board of Canada in 1941, working as an editor, producer, and director. He worked on over 350 films in his time there.
As a part of the NFB’s plans to move into television, he was attached to NBC television in New York in 1949. He wrote a series of reports on how television was organized and run there for the Canadian government.
In 1952 he moved to the Canadian Broadcasting Corporation, he was Supervising Director of features, documentaries, and outside broadcasts, which included producing Hockey Night in Canada. He then became Supervisor of Drama production in 1954, and oversaw among other programs, General Motors Theatre.
Writing in 1990, the journalist Paul Rutherford felt that during his time at the CBC in the 1950s, Newman had been a “great champion of both realistic and Canadian drama.” He felt that Newman “came to fulfil the role of the drama impresario with the vision to push people to develop a high-quality and popular style of drama.”
Great Britain:
On the basis of his work at the CBC he was offered a job at ABC television in the UK, and became the Head of Drama there. His work on the program “Armchair Theatre” brought in amazing numbers of viewers and featured up and coming theatre talent such as Alun Owen and Harold Pinter.
Television historian John Caughie stated that “Newman’s insistence that the series would use only original material written for television made Armchair Theatre a decisive moment in the history of British television drama.”
He also was responsible for the series such as “The Avengers” and “Police Surgeon” for ABC.
In 1962 he was hired by the BBC as Head of Drama. One of his first acts was to divide drama into three departments – series, serials, and plays. He created an anthology series called “The Wednesday Play,” “Doctor Who.”and the “Forsyth Saga.”
Of course, for me, “Doctor Who” is one of his most lasting legacies, a series that has been in production for the last 60 years (save a 15 year hiatus). But many of his productions have been important markers in television history.
Newman’s biography at the Museum of Broadcast Communications website points out that much of the work Newman is credited for at the BBC was little different from that which had been undertaken by his predecessor Michael Barry, who “also attracted new young original writers … and hired young directors … However, it was the newness and innovation which Newman encouraged in his drama output that is most significant: his concentration on the potential of television as television, for a mass not a middlebrow audience.
Canada Again!
Newman returned to Canada in 1970, and after a brief stint with the Canadian Radio and Television Commission (CRTC), he moved to became Chairman of the National Film Board of Canada. His time there was tumultuous, he was criticized for not speaking French, and not understanding French Canada culture. He was responsible for censuring and banning some productions. He was also responsible for moving production at the NFB to colour, and for securing television spots for the NFB’s production.
The writer Richard Collins felt that “the very experiences that enabled [Newman] to recognize the nature of the NFB’s problem and the need for a change of diction and reorientation to the tastes of Canadians had left him out of touch with Canada.”
When his contract expired in 1975, he became a Special Advisor on film to the Secretary of State, and from 1978 to 1984 he was Chief Creative Consultant to the Canadian Film Development Corporation.
Pontypridd Observer and Glamorgan Free Press, 27 August 1965
Watch Out – the Daleks are coming
This is an advance warning to all the citizens of Pontypridd – get under cover and start digging your bomb and ray shelters – for next week the Daleks are coming to town!
This paper’s secret undercover organisation has been working for weeks with the invasion force to find out their plans. Our intrepid reporter, wearing a Dalek suit, has risked life and limb to bring you a report, and this may well be the last issue of the paper to be printed on a human occupied world.
The centre of operations will be the County Cinema, Pontypridd, and provided members of the public show no fear and pay their money promptly at the door to seen the new film of “Dr Who and the Daleks” the Daleks will give a guarantee of immunity to annihilation to every possessor of half a cinema seat ticket.
The world premier Mr Stilson Wrench, said that he believed that the Daleks would honour their part of the bargain and no owner of a ticket stub will have either himself or his home disintegrated.
Scientists’ nightmare
Seriously, though, in a world now ruled by scientists, there has been a growing reaction trend to remind the general public of the horrors which can result from science gone mad.
Beginning, perhaps with the original “Jekyll and Hyde” story this theme now forms a large part of literature and of cinema and television features.
It succeeded at first became most people like being aroused by terror. It still succeeds although we have developed an immunity to horror, because we still hope to be roused and failing that can still enjoy a good laugh.
Flash of fire
The role of the Daleks in “Dr Who” on television is to destroy in a flash of fire anything which crosses their path. They are, in fact, a constant threat to the heroes of the programme anda t the County they fulfill the same role.
The Daleks were first discovered by Dr Who. The Doctor found them on another world with the aid of his space and time machine, “The Tardis”.
That the Daleks have since then plagued humanity is mainly due to Ian who made the fatal mistake of falling against a bank of control buttons, instantly transporting himself and his companions to the Daleks home plante where the Daleks are trying to destroy the only other form of life, the Thals.
Children, and no doubt, the adults who accompany them, will enjoy the film immensely as it has every ingredient to make pulses throb and spines tingle.
CFP: Being A Girl: Representations of Female and Feminism in Doctor Who
The casting of Jodie Whittaker as the 13th Doctor in 2017 caused a great uproar among Whovians. The casting of a woman in a traditionally male role brought forth supporters and critics. Questions fans asked included: Was the Doctor male? Would a woman change the series?
With Whittaker now entering her second season as the Doctor, we believe it is time for a critical examination of women in Doctor Who. We are seeking proposals for an edited/peer reviewed collection on the role of women in Doctor Who which discuss how women have been portrayed in the series – classic Who and new Who. Topics for papers include, but are not limited to: companions as romantic interests, female stereotypes (girly-girl, warrior women, girlfriend, screamer, etc.), male writers – female characters, the female voice in the production process, whether time lords have gender, female casting of the Doctor, the role of female companions, Master/Missy, and Madame Vastra and Jenny. The editors are open to any proposal which fits within the larger theme of gender and the feminine in Doctor Who.
Proposals should be submitted to doctorginn@gmail.com by the 28 February 2020, with articles ready by the 30 November 2020.
Editors:
Gillian I Leitch, PhD Sherry Ginn, PhD
The first hockey game broadcast from Maple Leaf Gardens was in 1952 on the CBC. And directing it was Sydney Newman, who also directed the first Grey Cup game broadcast on television. He moved from there to Drama, as Supervisor of Drama for the Canadian Broadcasting Corporation, and was responsible for General Motors Theatre, which produced among other Canadian plays – Flight into Danger by Arthur Hailey.
This is only a small part of a long career in cinema and television, a career which spanned several decades and three countries. He started working at the National Film Board of Canada during the Second World War, moving into television in the early 1950s, spending a year working with NBC in New York, and then several more with the Canadian Broadcasting Corporation. He moved to England working first for Associated British Corporation (revitalizing Armchair Theatre and creating The Avengers) then becoming head of Drama for the British Broadcasting Corporation at the point when the BBC was expanding with BBC2 (and while there creating Doctor Who). When he finally came home to Canada he worked for the CRTC, and then became Chairman of the National Film Board of Canada during the 1970s.
He is described by the Encyclopedia of Television as: “the most significant agent in the development of British television drama. He was to preside over the transformation of television drama from a dependence on theatrical material and forms to a significant art form in its own right.” [http://www.museum.tv/eotv/newmansydne.htm [accessed Oct 26, 2017]]
What an interesting career, and what a great entry into an examination of the development of Canadian and British television, and the development of Canadian and British popular culture. And that was certainly how I pitched it to a publisher when I proposed a collection of articles by experts on British and Canadian culture and broadcast history. The publisher was interested, now only to find writers interested in these themes, and Sydney Newman’s work. But here was the rub; they were not to be found. I only received proposals for two articles, dealing with his time with the BBC.
I ask myself why no one would be interested in writing an article about the NFB during its formative years? Newman was director and producer for some of the films in the series “Canada Carries On” and worked closely with John Grierson. He was at the CBC as it began its television broadcasts. Clearly a boring time – who would want to write about that? He was head of drama at a time when they were developing their style, and their audience. When he moved to Britain, he was coming in when the television industry was expanding with private networks. His work with ABC marked the beginning of “kitchen sink” dramas, and gave Armchair Theatre its best audiences and its best materials. He nurtured young talent like Alun Owen and Harold Pinter. When he moved to the BBC he undertook the reorganisation of its Drama department, and then managed it deftly as it increased its production to provide material for BBC2. He is also known for creating Doctor Who. On his return he took charge of the NFB. But then the 1970s in Montreal were boring times, so who wants to explore the relationship between a federal agency and filmmakers?
I know I am being a bit sarcastic (well actually, very), but I am perplexed as to why no one would be interested in contributing. These are powerful themes, and important points in Canadian and British history that deserve more attention. The fact that one Canadian was involved in both countries in these pivotal times offers the opportunity for comparison, and for connection. There exists a relationship between the two countries on many levels, perhaps in looking at the role of a Canadian in their broadcast industry will illustrate or deepen the understanding of each and of their relationship. It was also an opportunity to have a diverse group of specialists examine this in one publication.
It has been pointed out to me that no one knows who Sydney Newman was, particularly in Canada. When he died in 1997 in Toronto, it was to the British papers that you had to look to find the lengthy obituaries. His death here was only slightly marked. And that is a problem. As Canadians we don’t look to ourselves and see what we have done, or embrace those who have had a hand in the creation of our entertainment, of our culture. Newman stands out as a person who was an important participant in a time of great creative and cultural change. The NFB and CBC were our outlets – where Canadians looked to see ourselves reflected.
When Newman moved to the UK he was taking his Canadian experience and transforming the British entertainment industry. Could we see Canadian identity as he worked there? And what of the transformation of British culture? The 1960s were a time of great social change, and the television industry was reflective of the changes in the culture. Both public and private television worked to present to their audience material which connected to them, and of course entertained them. Newman was a major player in their popular culture.
And so I must now swallow my disappointment and shelve a project which I find both important and fascinating. I am not giving up, I am just going to have to wait. I will keep my Call for Proposals up on my blog and hope that at some point there is more interest. This is a subject that calls for more study – more ink!
The deadline is fast approaching – I am looking for people interested in Sydney Newman – people with expertise on the CBC (1950s), National Film Board of Canada (1940s and 1970s), the BBC and British television in the 1960s. Please forward to anyone you think might be interested in contributing.
Thank you!
Call for Proposals
Sydney Newman – Producing Television and Film Across Borders
Probably best known as the creator of the long-running science fiction television series Doctor Who, Sydney Newman played a significant role in the production of television and film both in his native Canada and in the United Kingdom. The Museum of Broadcast Communications describes Newman as “the most significant agent in the development of British television drama.”[1] But this is only one aspect of Sydney Newman’s (1917-1997) professional experience. Newman enjoyed a long and interesting career in broadcasting and films. While his ‘claim to fame’ might very well be as creator of Doctor Who and Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975). He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).
His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture. His influence was far-reaching. But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken his roles together, to provide a more complete picture.
This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the world of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work. Articles can deal with specific aspects of his career, specific institutions, specific programs he developed, his influence as a producer/filmmaker, or administrator. Biographical articles are also welcome. The aim is that the collection taken as a whole will provide a balanced look at his varied career in two countries during periods of significant development and change in the entertainment industry of both.
[Please note that Sydney Newman’s Memoirs Head of Drama: The Memoir of Sydney Newman will be released by ECW Press on 5th September 2017.]
Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 30th of September 2017. A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 July 2018.
Gillian I Leitch, PhD
Independent Scholar
Co-Chair, Science Fiction Fantasy Area, PCA/ACA
Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting
[1] http://www.museum.tv/eotv/newmansydne.htm [Accessed 2 April 2017]
Call for Proposals
Sydney Newman – Producing Television and Film Across Borders
Probably best known as the creator of the long-running science fiction television series Doctor Who, Sydney Newman played a significant role in the production of television and film both in his native Canada and in the United Kingdom. The Museum of Broadcast Communications describes Newman as “the most significant agent in the development of British television drama.”[1] But this is only one aspect of Sydney Newman’s (1917-1997) professional experience. Newman enjoyed a long and interesting career in broadcasting and films. While his ‘claim to fame’ might very well be as creator of Doctor Who and Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975). He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).
His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture. His influence was far-reaching. But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken his roles together, to provide a more complete picture.
This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the world of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work. Articles can deal with specific aspects of his career, specific institutions, specific programs he developed, his influence as a producer/filmmaker, or administrator. Biographical articles are also welcome. The aim is that the collection taken as a whole will provide a balanced look at his varied career in two countries during periods of significant development and change in the entertainment industry of both.
[Please note that Sydney Newman’s Memoirs Head of Drama: The Memoir of Sydney Newman will be released by ECW Press on 5th September 2017.]
Proposals should be approximately two hundred words, and sent to gilliandoctor@gmail.com by the 30th of September 2017. A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 July 2018.
Gillian I Leitch, PhD
Independent Scholar
Co-Chair, Science Fiction Fantasy Area, PCA/ACA
Key Words: Canada, United Kingdom, National Film Board of Canada, Canadian Broadcasting Corporation, British Broadcasting Corporation, Associated British Corporation, television, film, policy, public broadcasting
Gilliandr's Blog 
Angst and the Regeneration, Doctor Who, 2017
Every Doctor Who fan, every few years, undergoes the worry and fear of the regeneration. It starts with the dreaded announcement – ‘this will be the last season’ for whichever actor is playing the Doctor. The BBC and the Doctor Who production team then start this crazy game of who will be the next Doctor, the press weighs in and then the betting starts. It is all a crazy, crazy environment which is used to publicize the show, and well it causes much existential angst amongst the fans.
The merits of the top contenders are weighed, the bets are laid, and the wait ensues. Ultimately a new choice is made, and there is general discussion about whether the producers were drinking a lot, or if this was the best choice made, and so on.
This has been going on since 1966 when William Hartnell left the show and Innis Lloyd the producer had to replace him. This was big stuff – Hartnell was the original Doctor, and nowhere was it said that he could change. It was a risk in just replacing him, but they did, with Patrick Troughton. He managed it by being completely different. And so it came to pass that when the actor playing the Doctor decided that it was time to move on (and in the case of one – when someone else decided it was time to move on) the fan was faced with the suspense of the regeneration. Would the actor be good in the part, were things going to change too much, would it all work?
The first regeneration I remember is when Tom Baker left the series in 1981 and Peter Davison was announced as the new Doctor. I was a bit surprised. I knew Davison as “Tristan” in All Creatures Great and Small, and loved him in the part. How would he work as the Doctor? Added to which, he seemed awfully young. Ultimately, I loved his Doctor.
For me, the key to a good regeneration – or rather the key to having the series last when the lead actor leaves – is to make the character of the Doctor different enough so as to lessen comparisons between performers, while keeping the essential elements which the audience understand and recognize. This is a very tricky balance to keep. It all depends on the ability of the producers and writers to make sure that the stories provide the actor with the means to portray the Doctor, and please the audience. It is a rather hard place for an actor to be in, to have to take over such an iconic role, with such weighted expectations, huge history, and devoted fandom. It takes a deft hand, and a lot of talent to manage this. For the most part the series has been successful. Although I have to say, the first season for Capaldi was really a disappointment, so it was a good thing that the actor was so good in the part that he was able to overcome rather lacklustre scripts.
I have now gone through this whole regeneration merry-go-round 8 times, and well, honestly, it is getting silly. When it was announced that Matt Smith was leaving it became a rather heated debate as to who would replace him. I think that the added muscle of social media made this particularly noteworthy. There was the feeling that the role of the Doctor should reflect more of its audience. There was a lot of talk about having the Doctor be less WASP-y, with the casting Idris Elba or David Harewood, both fine actors of colour, and good choices. Then there was the talk of having the Doctor be less manly, and hiring a woman for the part. Neil Gaiman’s great episode “The Doctor’s Wife” had already suggested that Time Lords were not gender fixed. So why not have the Doctor be a woman?
A lot of people were outraged, the Doctor a woman? Not happening, it isn’t traditional, it won’t work, etc. They hired Capaldi, so the point was moot.
And then, during Capaldi’s run they brought back the Master as a woman. Missy was brilliant, and the chemistry between the Capaldi and Michelle Gomez, who plays her, is captivating. The issue of regeneration then as a woman was answered by the producers – male characters can regenerate into women. Any restrictions imagined by the fans or others were gone.
So when Capaldi announced that he was leaving, the discussion became more pronounced. Soon after there was a lot of buzz about Tilda Swinton being offered the role (an interesting idea). But with this seeming openness about gender in casting, the haters came out. I must say that this brave new world of social media has not only increased conversation, it has created a platform for people to express some not so pleasant views about women in roles of power (and the Doctor is a power role). There are also a number of people who expressed disdain at the idea of a female lead in a science fiction work. And then it was announced yesterday that Jodie Whittaker would be the Doctor. Boom!
I must say people can be disappointing, saying such hateful things, and making such rash judgements. We haven’t even seen her play the Doctor yet, and people are trashing the choice, making statements that are rather misogynistic and cruel. There is absolutely nothing wrong with having a female lead in Doctor Who. And in an interview Whittaker actually had to defend her gender. Defend it, as if somehow the choice was wrong. Ridiculous!
Every time the role is recast, there will be changes. As fans we have to accept that. The actors we enjoy will not play that role forever. They are talented people and want to enjoy a variety of parts in their career. We have to accept that the change is inevitable, and that while we may picture the Doctor in our heads in one way, and this is usually biased towards our first Doctor (you never forget your first) that is not necessarily how others do. So the Doctor will be played by a woman now – so what? It is not the gender that is important.
Like other regenerations the proof will be in the pudding. We have to hope that the producers and writers of Doctor Who come through with solid scripts, that the casting for all the parts is solid, and that the ultimate product – the episodes, are true to the series, its past and its present. Seeing as the show will also have a new Executive Producer (Chris Chibnall), and there will be new companions as well, it will be interesting to see how the whole changeover goes. I look forward to it!
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