A Silver Lining or just a bit grey?

So I feel like I'm the one in a million person that didn't get on board with this film, I know I missed the boat with all the hype it caused during the Oscars, but I just can't quite see what everyone else does? Silver Linings Playbook, a rom-com about mental illness, ballroom dancing and the Philadelphia Eagles. I wish I knew why. It’s a slow, repetitive, meandering, mostly overacted little picture—perfectly agreeable but nothing. I have never been able to tolerate the pointless, meat-headed, masturbatory cinema of self-indulgent writer-director Mr. Russell, especially the criminally boring Three Kings and the extremely pretentious I Heart Huckabees. The ridiculously titled Silver Linings Playbook, not in the same league as his 2010 film, The Fighter, doesn’t do for Bradley Cooper what that movie did for Mark Wahlberg, but it does suggest that the eccentric Mr. Russell has learned a few things about where to place a camera. For starters there’s Bradley Cooper, who’s built a solid following by devoting his entire career to trashy comedies, so we got assorted loathsome Hangover remedies, and Cooper got a 'most google image search' association. Unfortunately for us Brits it's very unlikely that any of us saw him the critically acclaim production of the Elephant man in Williamsburg and so we probably didn't have any idea that Cooper actually considers himself a thespian & potential Oscar winner. The movie is a mess, but there is some evidence that Mr. Russell kicked and nudged and tweaked his star into doing something besides resting on his George Clooney charm and killer smile. He actually does some acting. Cooper plays Pat, a bipolar high-school history teacher and former athlete who returns home to Philadelphia after an eight-month meltdown in a mental hospital. Subject to irrational mood swings and violent rages, he fully lost it when his wife cheated with another teacher. Pat beat him up, lost his job, his marriage, his house and his freedom, and he was sent away on a plea bargain. Now he's returned, in the custody of his equally crazy parents, and determined to get back in shape, rebuild his life and win his wife back. His father (Robert De Niro), who is as crazy as he is, just wants Pat to return to what matters most in life—the religion of worshipping the Philadelphia Eagles. Pat runs, works out, wears garbage bags to sweat, tells us fun facts about American history while breaking his wife’s restraining order, and wakes his parents in the middle of the night ranting about Ernest Hemingway. Between tirades, he meets an emotionally disturbed widow named Tiffany (Jennifer Lawrence) who has been fired from her job after having sex with 11 people in her office - Men & Women, Pat particularly likes that, what man wouldn't? Tiffany, who turned goth tart after her policeman husband was killed playing Good Samaritan on his way home from buying lingerie at Victoria’s Secret, offers to reunite Pat with his wife if he will partner with her in a dance competition (her sister is his wife's best friend apparently - I got lost there too) During long rehearsals in the garage to songs by Bob Dylan and Johnny Cash, a mutual attraction blossoms, thwarted by awkward idiosyncrasies that keep the movie moving from one absurdity to another - It really does get worse... The football part of the movie—about how Pat’s crazy father, family members and friends bet their life savings and future on an Eagles game in a parlay that depends on at least a 5-point score in the dance competition—is so confusing I never did figure it out, and couldn’t care less. (Seems the father, who has been banned from the Eagles stadium for repeatedly starting riots, has invested everything in his beloved team in the hope of financing a cheesesteak business or something like that at least) None of this makes sense. It all ends in what would ordinarily seem anticlimactic, except for one thing: how can anything be anticlimactic if there isn’t much of a movie in the first place? There’s nothing wrong with the overrated Jennifer Lawrence that some serious acting lessons couldn’t improve. The rest of the actors are pretty much on their own. Nothing mature or thoughtful here, which leaves Cooper to carry the show alone. He’s played it comfortable and he’s played it safe. Showing it’s fun to be bipolar, he could have played it like Jerry Lewis. Instead, he’s starting to realize the rewards of taking acting to a deeper level. Maybe they really should've killed Tiffany off at the end? But no, happily ever after Mr & Mrs 'Crazy'. I will add this to the list of 'Films people say they enjoy but really have no idea what's going on'

Can I Come In? Say That I Can Come In

A Review of Let The Right One In...

Tomas Alfredson has defied all expectations. He’s taken the most self reflective of genres and reinvented it with a single stunning film. Unquestionably subversive at times transcendent, Let The Right One In reintroduces the vampire character to the real world. Gone are the clichés and what replaces them is a story of uncertain friendship and fragile love in a social reality of the darkest fantasy.

Oskar is a 12 year old boy out of sync with this world, so pale he’s almost translucent, so physically unimposing he’s practically invisible, the ghost of the narrative. Unfortunately for Oskar escape is elusive; he’s tragically bullied at school, and consequently buries himself in a scrapbook of violent murders and trades in any friendship for a world of fantasy.

Enter Eli, immediately different in the tranquil Swedish setting, Eli has jet black matted hair and wears only a pink shirt to protect her from the cold. They meet in a shallow pool of light cast by streetlights, a sickly halo thrown over the old rusting playground. Outside the light is lurking the dark unknowable night, but inside Oskar finds a protector from the dark. All the while there are questions Eli cannot answer, a serial killer stalking the streets of his town and dangers beyond the darkness of the playground but Oskar has already stepped into the light.

The film is highly reminiscent of Miyazaki’s Castle in the Sky, and is all the more heartfelt a love story with its faltering under adolescent uncertainty. When Eli comes to Oskar’s room one night, after feeding, she climbs in behind him, and unable to see her face he asks her to be his girlfriend. She replies “will anything change?” he says No and so she agrees. And as they lie there listening to Eli’s heartbeat, the film reaches a moment of transcendence where innocence, horror and love dissolve into each other.

In its collision of fantasy and reality, love and loss, and darkness and light, Let The Right One In has swept aside the rest of the genre and proved that horror thrills definitely don’t come cheap.

An Advertising Campaign

Please, Please, Please Let Me Get What I Want - A Review of (500) Days Of Summer

“ A memory driven look at a failed romance”

Tom, a greetings card writer is an old romantic, Summer a vintage looking beauty has completely contemporary views on love and romance. Tom has been searching for the ‘one’ since his childhood years and as soon as Summer enters his life he knows it’s her he has been waiting for ( Your average Rom-Com plot structure to some extent) Except 500 Days is not averagely seen on the romantic comedy shelf, its structure is not linear, this isn’t an entirely new concept however it does keep the audience’s attention for longer as it has not been commercially reproduced – as yet.
The beginning of the narrative, but not the love story, starts at the end of the romance with Summer, setting the break up date for day 290 of their relationship. Setting this out from the start gives the viewer the knowledge that this story might not finish in the way previous films of this genre do and immediately makes for a more interesting watch. We also know that any scenes set after this date will inevitably involve Tom moping around the screen in any attempt to redeem the affections of Summer.
Deschanel is mesmerising in the film, considering her characters reluctance to love Tom in the same way the audience will, it was entirely possible that she would become hated, but her performance makes the audience endear to her. She is a charming and refreshing take on the usual role of the female in similar roles.
Gordon – Levitt has not been seen in a romantic casting since the 1999 film ’10 Things I Hate About You’ however his indie approach to this role is remarkable, he proves to be equally as adept as Deschanel in portraying the sweet and somewhat naive Tom, even his boyish looks that only set to remind us of the child he played in ‘3rd Rock From The Sun’ work in his favour adding to his innocence in love.
The film could be easily imaginable as a collage, the kind some make of their favourite relationship or days from their life, this gives it a much more visual non linear structure showing us only the key moments from the relationship and initially only from Toms viewpoint, as the film develops so do the hindering problems that the couple face. After the break up and the start of his plan to win back her affections we are given subtle hints that although we want this to happen for his own emotive sake, that Summer has moved on. This may not be initially picked up on at first watch but gives the film the density which sets it apart from other ‘one watch’ romantic comedies and the rare concept that you can watch it more than once, not only for the charisma and chemistry between the main characters but also that more insider hints at heartbreaking finale can witnessed on 2nd,3rd and 4th viewing.
The film is a perfect mixture of realistic romance , cynicism and overall enjoyable viewing for hopeful singles, couples and those recently dumped all backed up by a solid soundtrack boasting songs from Regina Spektor, Doves, Wolfmother and The Smiths.

Manchester is red? Theories of Place and Sport

Manchester's identity is composed of many different elements; it has a unique distinctiveness where by people on a global scale know much about the city without the need to visit in person. The industrial revolution, the commonwealth games, the rain, the architectural and those few years we now know to be 'Madchester', all make up the Manchester of present day, but one of the most consumed, capitalised and influential components to Manchester's identity, is Football, namely Manchester United. The full extent of this report is to analyse theories of sport and place, and their relation to the subculture which in this case is Football Fans. To fully evaluate Football, Manchester United and its relation to place, fandom and Englishness I must first look into the theory on sport in this country.

'Taking pride in the sporting achievements of one's nation is clearly significant indicators of one's attachment to one's homeland...As English football fans re-establish their identities, they have replaced the Union Jack with the flag of St.George and are reclaiming their Englishness. ' (Storry/Childs: 1997: 15)

The sport is taking on its own identity within England, and the use of the flag is to state their separation from the other countries that make up the U.K as it has been seen in football history, clubs from Wales, Scotland and Ireland often challenge English clubs in European titles.
England is known for being a proud country, this especially equates through Manchester, although many of the countries football clubs are predominantly owned, or employ other nations-in that of its footballers, everything comes back to football being the English game. Although granted England might not always be the best in the world, its premiership league is known for holding some of the world's greatest talent. English people take pride in their game, as is quoted above, and this is shown through the dedication and support of the fans. It is stated in the text 'Sport and Identity in the North of England' that 'If cricket shows up the differences between North and South most clearly, it is football that is most deeply Northern.' (Hill : 1996: 150)
Manchester has always been a global commodity since its industrial days, in a recent talk given by Dave Haslam he spoke of Manchester and the relation on a local and global scale. When people attended the Hacienda in the early 1990's it was a local club, in the centre of the city, attended by a variety of citizens from Manchester and the surrounding areas, just as people attend the football matches held at the Manchester United ground Old Trafford. However the movement of Madchester and the people involved with this scene transgressed on a Global scale, all around the world people had their own views of what it would be like to live in Manchester and travel to the Hacienda. This is true of Manchester United, on a local scale matches are attended by local support but also people from all over the country journey to Manchester on their respective coaches, to see their team play, their hometown and its relation to Manchester is not an issue for these die hard fans. But United is seen in the Global market too, there evolution into a multi million pound company, has put the football club on the map, not only for its sport, but with clothing brands, sponsorship, summer tours to Asia and Africa, and of course the branding of their own football players through advertising and interviews, the club even has its own television channel MUTV.
The professor Robert Robertson has studied the use of the word Glocalisation, which is a combination of the words globalisation and localisation, and is the central theory to this report. It can be used in an environmental sense for the phrase 'Think globally, act locally', it combines the environments on a global, local and regional scale and forming these into one individual dimension. The word was developed to give local and global aspects a fair view, it can be stated that locality can be overlooked for the more influential global issues. It is used to link the local to the global and this is how I will use my research when linking the local support of Manchester United to its global influences.
John Bale is a senior lecturer in education, and particularly focuses his work on that of space, place and sport and its position in contemporary society. His work in the book 'Sport, space and the city' is another basis for my report. In relation to local and global scaling he states;

'Sport in its modern form, and archetypically football in its modern form, provides what is arguably the major focus for collective identification in modern Britain and in much of the rest of the world. In the USA, football, baseball and basketball perform a similar function. How else can such diverse (and to outsiders, nondescript) towns as Crewe, Scunthorpe, Torquay or Carlisle regularly project themselves via the national media and, at the same time, find a focus which unites the towns' various residents?' (Bale: 1993: 55-56)

The idea that it is the sport which provides the identity for a community, or even tribes of fans is one of the staple origins for this report, the idea that it is the place or location of the football stadium that links people and fans together, as it is stated above it does not matter on the size of the town or city in which the local football team is located but on the projection of the fans and the clubs appeal.


MCFC: Real Club, Real Fans?
The subculture I have chosen to focus on is that of the football fan, particularly focusing on my own club that of Manchester United, with a comparison to football fans depicted in film. The fan by definition is;

'A fan is generally viewed as an 'obsessed' individual: someone who has an intense interest in a certain team, celebrity, show, band or similar.' (Crawford: 2004: 19)

Football fans are usually portrayed in the mass media, as loutish, beer swilling, hooligans and although I am not denying that some fans of football do fit this treatment, in more recent times, the football clubs themselves are trying to stamp out this ethos, hence why this report is not on the much talked of subject of hooliganism, which has often tarnished the as Pele himself once said 'Beautiful Game'. It is a topic and movement that will also exist, but as fans are becoming more diverse, a strong sense of family is coming back into the stadium.
Football in Manchester has always been well documented and supported, it arose during the era of the industrial revolution, and was generally enjoyed by working class men of a white background, who had developed leisure time from working in factories and cotton mills, it is embedded in the city's history alongside the industrial revolution.
Through the research I undertook to compile this report, it is clear from the questionnaires (see appendix page 13-26 for examples) that Manchester United is a way of life for many people, in my own case it was hereditary that I supported Manchester United, and this is true of everyone I have spoken to. The club has often been criticised as have the fans for being 'Glory supporters' when the generation before us came to love the club through very difficult and turmoil times. Environments surrounding sporting events particularly football are becoming more family orientated and through my research it appears that in fact supporting Manchester United is somewhat hereditary, seen in the following examples;
Why did you choose MU as your club?

. My uncle was a Manchester City fan so my dad who wasn't a big football fan beforehand became a united fan to annoy him, which he then instilled into me. . My Dad was a united fan, and he sort of made me support United. Then I got my first shirt for Christmas that year and I never looked back. . My Grandma's brother was a steward there, in the Busby days and my Dad and Uncle are both fans. . The choice was sort of made for me by my dad - also an avid red


Personally I was encouraged that Manchester United were the team to support, my dad was born the same year as the Munich disaster and so the club always held a fond place with him, and now this has been passed on to myself and my younger brother (whose middle name is actually Robson after the legend of United that was Bryan Robson). Many view watching United be it at Old Trafford or on television as a community affair, even watching with the whole family around, or celebrating a brilliant win in the pub with mates. The football fan is not someone that should be feared and looked down upon, be it for footballs humble roots, or trouble which is caused at certain matches, but for its ability to hold whole communities together, this is the main ethos to the fans way of life.
In the spring of 2005, Malcolm Glazer, a Jewish-American billionaire businessman, who already owns the Tampa Bay Buccaneers, increased his stakes in the Manchester United Football Club and took a controlling role in the clubs decisions. Glazer had owned shares in the club since before 2003, over the next year he increased his share by a little but it reflected a lot on the future of the club. A hostile takeover had always been expected with Manchester United, it is a lucrative football club that makes billions of profit every year. On the 14th June 2005 he took his shares to 98% after buying out the three biggest share holders in the club, this meant that everyone who previously owned stakes in the club had to give them up to Glazer. Of course this is just the background history to what is to follow.
The repercussions of this event have been huge on the local football fans of Manchester. In a reaction to this take over and surrounding factors of Manchester United becoming a more capitalist and consumer based company, for example, season tickets and match prices were all set to increase, the fan launched a campaign; propaganda from this campaign can been seen in the below picture;
Figure 1 'Love United Hate Glazer'
This branding of United is stating the supporter's territory; these stickers are across lampposts, billboards, walls and bus stops leading from Old Trafford all around the surrounding area, even at the local tram stops. The message is very clear, and even three years after the take over new material is affiliated at match days, across the internet and through the United fanzine the Red Issue. (examples are shown in pages 5-6 of the appendix)
The use of this case study for the subculture of football fans is simple, fans are the centre to any football club be it Manchester United or Torquay United, their opinions can shape the clubs future, of course Manchester United would not be the club it is if they didn't occupy thousands of seats with season ticket holders who come back year after year. In relation to the Glazer take over, it is clear to see opposition was met due to the feeling that it was an American businessman and his family taking over the position of the club purely for profitable benefit. Although Manchester united is criticised for its global supporters, the support is Manchester is still the greatest and in this case the most vocal. Through my individual research I posed the question; 'What do you think of the Glazer take over?' Surprisingly everyone I spoke to gave the same opinion, the feeling through-out this feedback was that it was a very sceptical move by United and the Glazer family, of course there has been disappointment in the increased ticket sales and the availability of tickets, and the expense of merchandise, but in favour of the Glazer family the general feeling was that they have stayed out of the major decisions with United, and allowed a lot of revenue to buy new players which have only strengthened the teams performance on the pitch, and it was established it is this that truly matters to the United fan. (all questionnaires can be found in the Appendix)

'Green Street' or as it is always known 'Hooligans' is a 2005 film set around the West Ham United firm of football fans, who go by the name of the 'Green Street Elite', in reality the firm is called 'Inner City Firm (ICF)', they are by the far the most notorious football firm to have ever existed. The film itself has been criticised for its exaggerated levels of violence and some particularly unrealistic cockney accents. However in my opinion it can give the audience a very genuine and insightful view in the lives of football fans and their passion. The narrative follows the character of Matt Buckner, a major in journalism at Harvard who has been kicked out for use of Class A drugs, which actually belonged to his upper class roommate. He travels to England to stay with his sister, and becomes involved in the firm of the Green Street Elite through his sisters Brother- in-Law, Pete Dunham. The film may be lacking in a life changing script but the narrative does conclude some ideologies that translate through any football club or fan. The following dialogue is seen approximately half way through the film;
Bovver: Pete may be cutting you some slack, you being Shan's Brother and all, but let's get one thing straight. We Don't Like Outsiders.
I have felt this message first hand when handling my research, after submitting a post on a Manchester United fan forum. I believe because I was unknown to the forum my views and opinions were not valid there consequently I was branded an outsider.
Matt Buckner in the film is as implied before an American or as stated through-out the film a Yank. The members of the firm are also very clear that they do not like journalists, especially American journalists. Leaving Matt in a uncomfortable position when he is confronted by the other characters. In the similar respect to the position of the fans concerning the Malcolm Glazer takeover, Matt, being American is seen as having 'no idea' when it comes to football, or as he repeatedly calls it, 'soccer'.
The film also includes an interesting scene in Manchester, where they jump the United hooligans waiting for them at Victoria train station, and when the GSE are celebrating their victory through the streets of Manchester, the track 'I want to be adored' by the Stone Roses (an influential result of the Madchester days) is heard in the background, setting the tone and scene for many viewers, the audience hereby know that they are in Manchester through this well known song, locating there place geographically more so.


There is only One United.
Concerning my own research I found the best way to find the information I needed was through quantitative surveys, open ended questions to get more opinion based answers from the public. As well as asking general supporters of the football club in question I also spoke to the organisers of local supporters clubs based in my area, that of Devon. When looking back through images and supporters memorabilia I myself own, as well as other family members and friends, I found that these were best used when looking at Manchester United and its globalisation and marketable appeal. The use of primary sourced material and quantitative surveys has made up the basis for this report, and all the above stated research is to be found in the appendix in their own specific chapters. The first theorist I have chosen to analyse in relation to this research is that of the already mentioned John Bales. Bale states that;

'Apart from war, sport is one of the few things that binds people to place simply through ascription.' (Bale: 1989: 14)

Bales work describes football as this countries main identification for the collective, and particularly the uses in launching the local football team into a global market, the above quote linking this to people being connected to one place simply through its sporting achievements. In further relation to the work of Ronald Robertson and 'Glocalisation' this is particularly true of Manchester United and the research I have conducted. Eric Cantona, a true legend of Manchester United once said;

'I feel close to the rebelliousness and vigour of the youth here. Perhaps time will separate us, but nobody can deny that here, behind the windows of Manchester, there is an insane love of football, of celebration and of music.'

Manchester draws in people from all around the world, but in relation to their football team, it is the stadium that brings sense of belonging and unity, it has been stated that; 'If sport is a religion, then its stadiums are its temples and cemeteries.' (Crawford: 2004: 68) It is the stadium that acts as a central embodiment for the fans and their unification.
On a local scale, as stated before, football and indeed Manchester United are embedded in their local, northern roots, the stadium itself is of cultural importance, drenched in history of the team but also Manchester's past. This is also why many fans from different locations are mocked for supporting United purely for the Glory. The main argument from Mancunian fans that people from other counties and countries cant be real united fans because they do not live locally, and this true can be associated with the work of Bale and the connection he makes with Englishness, identity and football. This is counter argued by following text, taken from the December 2007 issue of the Manchester United Fanzine, the Red Issue.
Figure 2 - Redrant: Issue no. 199 Red Issue
This particular fan's rant is over the much discussed topic of the nationality of supporters, his way of life concerning the football club and its locality is representative of many of the supporters that are affiliated with local supporters club across the country. He states he wasn't born in Manchester nor will he ever live there, but he has supported United all his life, after following his Dads support of the club, much like the people I have spoken to. He states, 'United is in the blood, NOT in the postcode.'
The importance of supporters clubs across the country is great, the sense that people believe they are part of a united (or Manchester United) identity, that they support one thing.
In John Bales book 'Sport, Space and the City' he analyses a map of the location of Manchester United Supporters Clubs this figure is shown below;
Through my research I have devised my own version of this map, eighteen years later. The results were incredibly different to that of 1990, my version of this map, only locates supporters clubs in England, but does distinguish the counties they are located in, it can be seen below;
Figure 3 - Map depicting Local Manchester United Supporters Clubs

The local supporter's club locations have become vastly produced in the past near twenty years, and much to popular belief there are fewer in the south of the country than is perhaps assumed. The main conglomerations of supporters clubs are in fact located in three particular counties, Greater Manchester, Cheshire and Merseyside. In my own home county the clubs have increased by an added five more, who all participate in traveling to the majority of home and away games every weekend.
When speaking to a member of the Plymouth branch of the Manchester United supporters club I ask him the following question;
Why do you personally find it important to have local supporters clubs across the country?
BASED WHERE WE ARE (PLYMOUTH) MAKES IT EASIER (A) TO OBTAIN MATCH TICKETS AND (B) GET TRANSPORT TO OLD TRAFFORD FOR MATCHES.
Although the open ended question was not answered to a full extent and perhaps the response I was requiring was not fully achieved the sense that the supporters from a particular area in this case over 300 miles away, can provide tickets and travel for everyone involved so they can collectively view their team, adds to the theories on unity and identification with the brand of United.
Garry Crawford in his book 'Consuming Sport' states that;
'This does not mean that 'locality' is necessarily of less importance but rather that the meaning of this is often 're-invented'. Where connection to place becomes evermore 'imagined' rather than 'physical'. (Crawford: 2004: 53)
This can be true of the United fans that cannot afford, or feel the need to travel up the country to see the team play, either through means of online membership to the club or perhaps being affiliated with the local supporters but without the travel endurances, there relation to the tribe of fans that follow United is as Crawford states, 'imagined'.
This can also be linked to Manchester Uniteds unbelievable grasp of consumerism. All items that can be bought from their own megastore at old Trafford, online at the website and unofficial products across the internet, add to the sense of belonging to a certain tribe, from replica shirts, to Christiano Ronaldo mugs, it all constitutes the sense of belonging, and buying into the brand that is United. In the appendix examples of Programmes dated from the cup finals of 68' and 99' to programmes from 2000 and 2008 can be located, all artefacts that have been kept and treasure by my own family for their own individual reasons.
Crawford also states;
'It is evident that sports will frequently draw support from beyond their specific locality' (Crawford: 2004: 53)
The belief that the fans are all fans together, and can relate to a specific identity is one of the most essential aspects. This factor also contributes to United persona on a Global scale, it is universally know across the world, but this global support is also the main reason so many other football clubs and their rival fans, look down upon United for their success and state that most of Uniteds supporters are from other parts of the world, not Manchester.
This report was originally about the topic and opinions surrounding the Glazer take over of Manchester United and some of the fans reaction to create F.C United, a now locally based club with much local support. However as my research continued I believed the 'bigger picture' was that there has always been conflict concerning the locality of Manchester United and its representation on a Global scale. The take over then became key to this point, as there was much objection due to my previous analysis of an American businessman taking over a English football club purely for its wealth and global market. Through my questionnaires and the interview I undertook I have come to realise that although initially there was much scepticism with this affair, the overall approach was well handled by the Glazer family, and although there have been increased ticket prices and merchandise has become more expensive the family have left the football club to deal with their players and the sport. The Americanisation of the club has never happened, which is what was feared. This did initially entail a capitalist future for the club; however it is not marketing but Uniteds reputation that has projected it to a global market. Manchester United is still on many levels a local club, I myself have been to games, and sat in the Stretford end, where the sheer capacity of die hard fans, continuous chanting and singing, and some very strong Mancunian followers are all very intimidating, but at the same time the sense of community and identity as a United fan is overwhelming, using my myself as an example, I have experienced both the global and local market, before moving to Manchester the closest I could get to the stadium or players was reading there 'United Magazine' (see appendix page 1) or watching them play on the television, of course my own location has changed, for my own reasons not to follow United specifically (this was of course an added bonus).

Women In Comics

The relationships between comic book characters is often very difficult to divulge, their complex on-going storylines mean that in one issue the couple could be married, and the next one could be decease. The archetypal relationship within comic book history is that of Superman and Lois Lane. Everybody knows how their love story develops, her first falling for the man of steel, and not being capable of seeing his clear resemblance to her clumsy, bumbling co-work Clark Kent. Of course this is overcome and expanded on in the newer versions of Superman, for example, the main focus to their relationships is the continuing narrative in the television programme, 'The new Adventure of Superman' and this also follows onto the recent film 'Superman Returns' (2006). But the example set by Superman and Lois Lane has continued to influence other co-comic book characters.The relationship Wonder Woman had with Steve Trevor is very similar to that of Superman and Lois Lane. Princess Diana is from a fictional tribe called the Amazons, based on many Greek myths, her mother is Queen Hippolyta. When a young, attractive intelligence officer from the American army crashes onto her island, Wonder Woman nurses him back to health and ends up falling in love with the man known as Steve Trevor. She returns with him to America and is known as Diana Prince, by day she is a quirky, nervous secretary, secretly in love with her boss Steve Trevor, however she has also the alter ego of Wonder Woman. Steve Trevor fought his own battles but also pinned for the love of his rescuer in many tight situations, that of Wonder Woman without stopping to ponder the resemblance to his secretary. We are use to this storyline with Superman but strong females with men who can act as the 'damsel in distress' are less common. The creator or Wonder Woman, William Marston, was very deliberate in reversing the roles seen in the relationship with Steve Trevor and Wonder Woman, and for Trevor to be attracted to a woman with infinite more power than him, was still a radical theory to be accepted. Wonder Woman even came against controversy when deciding if she should or should not marry Steve Trevor, the following image is from an issue of Sensation Comics no.94, where is it is even stated in jest that 'Only a sudden call for help could prevent Wonder Woman from marrying Steve Trevor!' Whether it was a tactical decision to keep Wonder Woman from marrying, is for individual opinion but I believe that at the time she eventually had to be married off for fear that the woman may become to independent, even Wonder Woman's place had to be in the home at some point. Marston was once stated as saying; 'Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world' however after Marston died and another writer took over, the personalities of Wonder Woman and Steve Trevor were some what sacrificed, Diana became apologetic for her great powers, and instead of needing to rescue her lover, she found herself often in a situation she herself couldn't escape from and Steve Trevor was called upon to rescue her. Steve Trevor became jealous of her power and threatened her existence; this was not the morality check that Marston had intended for these characters. The importance of Steve Trevor accepting Diana for who she was, was crucial to not only the narrative but also the audience. Marston had aimed this theory of women being accepted at his young male audience to show them the example to follow. Within society this storyline had to blend with the change of the time, after the women's contribution during the war, they had been pushed back to the boundaries of the home, and strong independent women were not tolerable. If the storylines were too biased towards the role of the woman they would have surely been cut immediately.Supergirl first appeared in the Action Comic, number 123, published in august 1958. There have been many incarnations of Supergirl, commonly used merely to represent the female version of Superman. Supergirl is Superman's cousin from their home planet and is sent to earth by her father. Supergirl acquires similar powers to that of Superman when she arrives on earth, and even has her own sidekicks, that of her orange cat Streaky, who gains superpowers after being in contact with X-Kryptonite and also the more popular Comet the Superhorse, a former centaur and Supergirl's very close equestrian sidekick. It can be interpreted that Comet the Superhorse in fact had his own attraction to his master, and in a later depiction of Supergirl, she falls in love with a half man half horse character called Comet, who it is described as having a 'long, silvery mane'. Although Superman and Supergirl are related and so aren't in any form of heterosexual relationship, the relationship they do hold is interesting to analyse for the factor of how Supergirl is introduced to the comic book world. During the 1950's the woman's place was still very much in the home, there were very few careers for women, and this was reflected in the material that came through in comic books. Supergirl had to be introduced to society when Superman believed her to be ready. Even though she had the same superhero qualities to her older cousin and eventually her own companions she was viewed very much as a feeble woman, and although the stories are fictional, the function of introducing Supergirl was also to instigate a reaction from the young male audience. Due to the decade in which the character Supergirl was created, she had to be introduced to society within the story to integrate within the reader's society as well, in a similar way to Wonder Woman's powers being toned down during this period, Supergirl was viewed very much as a sidekick to Superman more often than not needing rescuing or aid from Superman and not aiding herself, but of course she did play her fair role in his survival at times. In present day, comics are more 'sexed' up for the audience's attention, Supergirl now has her own comic and place within the 'Legion of Superhero's' . It is of course still clearly Supergirl, but her outfit is skimpier, her figure slimmer, her hair blonder, she has been made over into the new all American girl, in a similar way to the manufactured celebrities and pop singers that thrive in America. Her appearance is to entice more readers, and to continue in the ever changing society that she was born into. Women in fiction have always suffered for their power; it seems that in a fictional world women are incapable of having all the power, a man to love them and the success they desire. This feeling is echoed through out many narratives, but brought back up to date in the recently finished television series 'Buffy the Vampire Slayer'The show was initially aired on March 10th 1997 until May 20th 2003. This series was centred around a teenage girl called Buffy Summers, who was selected as the next Vampire Slayer, a long line of slayers went before her all young women, chosen by fate to fight demons and vampires that lurk in Sunnydale, the 'peaceful' town that the series is set in. Buffy has a some what large entourage that help her through the series. The show was very much aimed at a cult audience and even evolved its own spin off series called 'Angel'. The show depicts Buffy fight against evil whilst also showing her troubled home life and family issues, against the teenage world of fitting into life with her peers at school. Buffy has a somewhat large aid in fighting the demons and vampires of Sunnydale, and there is great contrast between that of her slaying alter ego and her attempt at a normal home life. Buffy in my opinion has three main love interests, the two vampires with souls, Angel and later Spike, and Riley, a soldier. The first relationship that Buffy encounters is with a Vampire 'turned good' called Angel. He offers the role as Buffy's love interest but also is known as the Vampire with a soul, however he leaves Buffy to make amends for his previous sins and appears in his own Spin off that of 'Angel'. When Buffy and Angel consummate their relationship, Angel experiences a moment of true happiness, which breaks his curse set upon him many years previous and releases his true vampire spirit onto Sunnydale, forcing Buffy to turn against her boyfriend and crucial Sidekick and send the vampire to hell. Joss Whedon has stated in the text, 'Reading the Vampire Slayer' that, 'All relationships on the show are sort of romantic' The text also goes on to say;Other shows such as those in the Star Trek franchise, have carefully avoided the implication that characters not formally in a relationship are attracted to each other; Buffy and Angel have consistently implied both heterosexual and homosexual relationships outside the shows official canon. ( Kaveney: 2004: 11)Riley, Buffy's next serious relationship after Angel some what resembles a similar character to Steve Trevor, a respectable military figure, set in place to combat evil. He unlike Angel and Xander is intimidated by Buffy's powers, especially when his artificially enhanced powers are destroyed. Setting Buffy back in the ways of female heterosexual heroines before her, and punishing her for extreme abilities. The final male sidekick to aid and hinder Buffy is the vampire known as Spike. His role varies through the whole series, once the enemy of Buffy, in series six they developed an overwhelming lust for each other, causing Spike to hunt out a soul that Buffy may fall in love with, when he is turned 'good' he protects and helps Buffy and her kid sister, and in fact becomes a hero in the final episode, sacrificing himself to save Sunnydale.These science-fiction crossed with melodramatic productions came into television at a similar time, as a fresher version of the comic book for the youth of the day. Other examples such a Smallville-the new adventures of Superman have also been truly successful, but I have chosen Buffy as my example due her to similarities to that of incarnations of Wonder Woman and Supergirl, even the characters that play companions to The Good Doctor. In a heterosexual relationship, Women are always the punished or the hurt partner, no matter who has the power. In relation to Wonder Woman, she in fact in a very similar way to that of Buffy had to denounce her powers in favour of a man, because the men in their lives couldn't cope with the pressure of being in a relationship with a powerful woman, this theory is seen through-out the whole of society in citizens own personal lives but is often focused on through film and television for dramatic effect, a line that embodies this feeling is in the film depiction of 'Charlie's Angels', a film which summarises the ideology of strong women, and weak men. Dylan says 'You don't want to be with a man who's intimidated by a strong woman anyway.'

Sex & The Tardis

In past series of 'Doctor Who' or as it is now referred to the 'Classic' series, the Doctor was subject to strict codes of conduct when it came to relationships. However the newly revived series has been introduced into a society where sex is not the complicated and stringently restricted subject it was during production of the classic series. To discuss the heterosexual relationship between the Doctor and his female companions I will focus primarily on the new series as inter-TARDIS relationships seem to be thriving.In his long crusade against evil, the Doctor has not stood alone. He has been accompanied by a variety of companions including a loyal robot dog named K-9, a fellow Time Lord named Romana and even the Stone Age woman Leela.' (A Critical History of Doctor Who on Television, John Kenneth Muir: 1969:3)The television series 'Doctor Who' has always held much controversy over the relationships with the people who travel with the Doctor. Perhaps this is thought upon more with the new series because the 21st century society has differing opinions to those of the society when Doctor Who was first launched. Sex and experimental relationships is not the taboo subject it once was in television, and although the series holds the same teatime slot in scheduling, the storylines both in the realms of action, special effects and sex are now open to diversity. It has been noted that the majority of the Doctors companion are young, attractive females, and in the more recent series young attractive males. There were strict codes of conduct inflicted on the actors concerning the response to many of the companions, for example Peter Davies who played the fifth Doctor was not permitted to gesture the companions, and this included putting his arm around them. Sex in the TARDIS was clearly forbidden but unlike the present series was not suggested by the audience, and it was not seen to further the story in any particular way. Within society Doctor Who became a national institution and placed itself at the heart of children's Saturday night entertainment, this ultimately resulted in the Doctor becoming a somewhat avuncular character in relation to his younger companions. As the series progressed and Doctors became younger and more attractive the production team were thought to have provoked the idea of sex in the TARDIS, and resulted in the series being concluded that the Doctor was in fact not capable of even appreciating love, romance, sex and relationships. This is seen in the episode 'City of Death' where the Doctor viewed the character of the Countess Scarlioni as 'A beautiful woman, probably' confirming that perhaps as an alien and a Timelord he is unable to perform certain emotional feelings. The elusion of the Doctor and his sexual relationship is analysed in the text, 'A Critical History of Doctor Who.'As a result of this stringent 'no sex' policies, most romantic relationships on Doctor Who seem either forced or restrained. Susan, Leela, Vicki, Jo and Peri all leave the series to wed guest stars, but the decisions by these women to marry seem more a result of plot necessity than passion or romance. (A Critical History of Doctor Who on Television, John Kenneth Muir: 1969:64)This links us to the present day series of Doctor Who; the Doctor rarely seems to have competition for the heart of any of the female characters in which are introduced to. Even the character of Captain Jack Harkness who it is stated to like any 'kind' of sexual partner - be it women, men or aliens - bids for the Doctor's attention along with all his female counter parts, but the women always fall for the Doctor. They have only left the show due to force (in Roses case) or because there love for the Doctor is unrequited (in the case of Martha Jones).The subject of sex and relationships has been brushed upon within the series previously, in the first ever episode 'The Unearthly Child' it was established that Susan was the Doctor's Granddaughter but neither Susan or the Doctor ever discussed her parents, this is later reiterated with the tenth Doctor (David Tennant) who states in the episode 'Fear Her' he 'was a dad once'. In the most recently aired episode of the new series, the Doctor (David Tennant) explains to Donna (the current companion) that he has fathered children, and states that they and the rest of his family died in the time war, it is a feeling of fatherhood that can never be replaced, because it is too painful for him to bare. This frustratingly but also understandably makes the time period before the Doctors travelling days a matter open to opinion concerning his family history back on his home planet of Gallifrey. The subject of sex in the TARDIS was initially broken in the 1996 television film of Doctor Who where the eighth doctor was seen kissing his companion Grace Holloway. The film was also aimed at an American market, and perhaps this can be used to explain the sexualized nature of this television film, the sexed up version was made to appeal to this new audience however fandom was shocked when this act of romance was seen even in 1996, it broke the long standing taboo of the subject of romance between the Doctor and his companions, but at the same time it set a precedent for the newly revived series. In the case of Rose Tyler, who we know as the new 'girl next door' in the re-launch of the series in 2005, the actors and the characters have often challenged the opinions of the press, fans and other characters concerning the relationship between Rose and The Doctor. The ninth Doctor (played by Christopher Eccleson) describes the relationship by saying he 'employed' Rose, immediately raising queries with their sexual relationship. Through the first revived series there was also clear competition between Rose's boyfriend Mickey and the ninth Doctor, Rose even leaving Mickey in the first episode to travel with the mysterious man, she had only just met, instigating questions of love at first sight, desire or perhaps just instinctive trust. Rose and The Doctor show jealous emotion when the other had flirtatious moments with passing characters, heightening their relationship status. The Doctor appears to be much more open to relationships in the new series, and since the revived series aired in the 2005 the Doctor has developed from his first on screen kiss in 1996 to kissing and embracing many a companion, including Rose, Martha, Captain Jack Harkness, Madame de Pompadour and whilst being temporary locked as a human being had a serious relationship with the character of Joan Redfern. However for the audience and production team the Doctors emotional feelings - if he can be stated as having them - are always in the direction of Rose. After trapping Rose in the parallel universe to save her from being sucked into the unknown, the Doctor manages to transmit a hologram image of himself to meet her in the other universe, they share a tender moment where Rose exclaims she loves him and the Doctor only has time to say her name before it is implied repeating her sentiment. This shows the clear admiration the Doctor and Rose shared, and could even be described as the Doctors first serious relationship with a companion, as although many a companion have declared their love for the Doctor it is unknown that the Doctor was capable to returning the same emotions. The Doctor then states to his new companion Martha that he'd rather travel 'alone', clearly mourning her loss. The character of Sarah-Jane Smith played by Elisabeth Sladen, is a recurrent figure first seen travelling with the third and fourth doctors, but she also reappears in the new series featuring beside David Tennant in an episode called 'School Reunion' her character is now a journalist investigating some mysterious activities at a school where the doctor happens to be investigating as well. This episode is particularly interesting to the question of whether Doctor Who's companion can be seen in a sexual context as there appears to be a lot more than just the question of hanky panky in the TARDIS when it is related to Sarah-Jane Smith. When the Doctor first sees Sarah-Jane in the staffroom, he is overjoyed; he looks at her with esteem, and states his name is 'John Smith' regular followers of the show know this to be the name the Doctor uses when he is undercover. Sarah-Jane Smith states,"John Smith? I use to have a friend who sometimes went by that name.'The Doctor: 'Well it's a very common name'. Sarah-Jane: 'He was a very uncommon man'. "The Doctor is very excited to see Sarah-Jane, and cannot hide is joyous smiles at being reunited with her, of course she is still unaware of his real identity. Later on whilst investigating the school at night she discovers the TARDIS in a store cupboard, and the Doctor begins his explanation and reasoning for leaving her a long time ago. The audience views the relationship between the two of them, and it is clear they have a lot of history and mutual love for one another. Comedic responses come when Rose and Sarah-Jane are introduced and a clear jealous nature is seen in the two of them. Mickey also makes the comment that the Doctor is dealing with 'The Mrs. and the Ex', launching more insight into the relationships between the Doctor, his old companions and that of Rose.This episode is different to previous episodes from the new series because it gives the audience insight into what happens to companions after they leave the Doctor and how they continue with their lives after seeing the whole universe before them, and we see the lasting emotional attachment left with the companions even long after the Doctor has clearly moved on. Rose believes that what her and the Doctor have is a real connection but after viewing the relationship between Sarah-Jane and the Doctor, changes her opinion to believe that she is just the next girl in a long line of attractive female companions, of course from the audiences point of view this is view is in a ore light hearted way, as Mickey stated it is like watching his current girlfriend and his ex-girlfriend argue over who means more to the Doctor. The Doctor states he would never do that to her, and even after Rose leaves, the Doctor never forgets her, leading us to believe that he did keep to his word, and maybe she is the first companion that he truly loved or his first serious relationship in a long time. Sarah-Jane even states at the end of the episode to Rose that 'Something's are worth getting your heart broken for'. Although there may be more sexual innuendo in the new series, I believe this to be because of a change in television and censorship. Within society romance can be accommodated more appropriately in early evening television and although the show was primarily aimed at children, with the regeneration of the new series it is apparent that any person from any age group can enjoy the show. This effects the role of the sidekick as it can be depicted to many different people. With the departure of Rose at the end of Series two we were introduced to Martha Jones, the first black companion, of course there was Mickey ( Rose's 'on-off' boyfriend) who was also from a ethnic background but his character was never permanent where as Martha was first perceived as a new romantic connection for The Doctor. However the Doctor, still reeling from the loss of Rose does not picture Martha in the same respect, Rose cannot be replaced. Martha shows examples of a lot of jealously towards Rose, one of these examples is in the third episode of the latest series called 'Gridlock', where the Doctor takes her to 'New Earth' and she realises he has also taken Rose to the same place and refers to herself as a 'rebound'.In fact Martha leaves the Doctor at the end of series three to save herself from anymore heartache, as she like many of the Doctors female companions has fallen for his remarkable charm. Knowing that she cannot replace her competitor Rose, she leaves his side to look after her family. The newly aired series four will feature five of the past companions. Catherine Tate plays the Doctors permanent sidekick and it is clear from the outset that their relationship is purely platonic, and reinforced towards the end of the first episode, when the Doctor is griping over the fact that he ruined part of Martha and her families life, and hints at the relationships being too much for him to take again, the conversation is as follows;'Doctor: I just want a mate. Donna: You just want to mate, (outraged) Doctor: No! I just want A MATE. Donna: Good 'cos you're not mating with me sunshine.'Although the Doctor has acquired yet another attractive female companion it is clear that the writer Russell.T.Davis has made a decision to cut the Doctors love interests for the beginning of this series, perhaps because it has become somewhat distracting from the narrative and alien encounters, or on the other hand just to rest the Doctor from love to let the friendly storyline of himself and Donna develop.The Good Doctor will always have companions, many of which female because it provides the entertainment the show desires to lift it from the reality and horror of travelling to different alien worlds. It provides more structure to the Doctors character as well, and makes him more audience friendly as people can sympathise, emphasise and feel compassionate towards him, as he struggles to fight the universe and his somewhat human feelings towards love. His sexuality and relationship status will always be a mystery to many followers of Doctor Who, although he first appeared as an avuncular character, his relationships through the new series have dampened this idea and left it open to discussion. Personally I feel he is very capable of these human emotions, and as his family history is also left open to opinion, the time lords may experience the same humane emotions. We know he had a family at some point, and it is hard to believe that he has never experience love, sex or relationships in his nine hundred year life span.