Film

“YOU DON’T WANNA MISS THIS WEEK’S FEATURE CREATURE”: BUFFY’S TOP TEN STAND ALONE EPISODES

It is 20 years since the debut of the television series Buffy the Vampire Slayer. As a show that has generated much academic and fan-generated writing, I thought I would post this piece that I wrote for All Slay zine back in 2003. So Scooby Gang fans, enjoy!

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There has been much analysis and debate over the story arcs of Buffy. As the show developed, the series arcs became longer and longer, so much so that pretty much all of season 6 and 7 progressed the story arcs. On the other hand, some of my favourite episodes are the stand alone episodes. These episodes don’t further the story arc much, or even at all, but still provide come of the best Buffy moments. So I digress into the world of the Top Ten Stand Alone Episodes…

BEWITCHED, BOTHERED AND BEWILDERED (Season 2, Episode 16)

Synopsis: After being dumped by Cordelia on Valentine’s Day, Xander blackmails Amy into performing a love spell. The spell backfires when Xander becomes every woman in Sunnydale’s ‘cuddle monkey’, except for Cordelia. This results in an obsessive mob chasing Xander and Cordelia into Buffy’s basement. The episode resolves with Cordelia rejecting the sheep mentality of the ‘Cordettes’ and choosing to date Xander, ‘no matter how lame he is’.

Why It Works: Like many of the humorous stand alone episodes, Xander stands as the main character of the episode and it is the second time he’s been rejected by a girl in two seasons. The episode starts off slowly and there is suspicion that it might revolve around Angel’s dangerous new obsession with Buffy, but when Buffy and Amy both start flirting with Xander, the fun begins. The soundtrack of ‘Dr. Love’ works a treat and the interaction of the infuriated Giles, the love-stricken Jenny and poor, hopeless Xander is hilarious. Around the ‘Cordettes’, Cordelia’s acid tongue is at its sharpest, but the episode’s conclusion keeps the show’s continuity and provides the basis for almost a season’s worth of laughs.

Quotablest Quote:
Xander: “Do you know what’s a good day to break up with somebody? Any day besides Valentine’s Day! I mean, what, were you running low on dramatic irony?”

GO FISH (Season 2, Episode 20)

Synopsis: The Sunnydale High swim team is winning competitions, but also seem to be losing their skin. The Scooby Gang investigate and find the swim team are taking steroids that have the unfortunate side effect of turning them into sea monsters. Xander’s undercover work lands him in danger, resulting in blood transfusion and the excitement of Willow and Cordelia.

Why It Works: An episode full of red herrings, but also full of one-liners. This was David Fury’s first episode for Buffy and is an indication of the humour present in his later episodes. Xander and Cordelia comes through with the funnies again, both taking a side on the issue of the swim team and its various privileges. Of course, Cordelia’s pro and Xander’s con – until he joins the team. A very light episode in between ‘I Only Have Eyes For You’ and the season end ‘Becoming’, but very enjoyable.

Quotablest Quote:
Xander: And what about that nutty ‘all men are created equal’ thing?
Cordelia: Propaganda spouted out by the ugly and less deserving.
Xander: I think that was Lincoln.
Cordelia: Disgusting mole and stupid hat.
Willow: Actually, it was Jefferson.
Cordelia: Kept slaves. Remember?

BAND CANDY (Season 3, Episode 6)

Synopsis: The Mayor and Mr Trick hire bad guy Ethan Rayne to distract the population of Sunnydale while they prepare a sacrifice for a demon named Lagos. Rayne uses cursed candy bars, sold by the Sunnydale High students to raise money for the band, which turn the adults into teenagers. Giles and Joyce are both affected and although this pleases Buffy at first, it ultimately results in her disapproval.

Why It Works: This episode works principally because the characters’ nuances, well known by this time, change drastically. Although Joyce comes off partially as annoying and whiny, Giles’ reversion to a rebellious cockney and Principal Snyder’s nerdish tendencies make this episode very entertaining. The Scooby Gang play most of this episode straight, even Xander, but the comical performances by the adults are fantastic, especially where Giles and Joyce argue with the ‘mature’ Buffy.

Quotablest Quote:
Willow: ‘Kiss rocks’? Why would anyone want to kiss… Oh, wait. I get it.

THE ZEPPO (Season 3, Episode 13)

Synopsis: It’s the end of the world again and the Scooby Gang must assemble for the fight – except Xander. Sidelined for the showdown, Xander borrows his uncle’s car and after a riling from Cordelia, befriends a group of zombie teenagers. While they plan to ‘bake a cake’, Xander is seduced by Faith, before saving the school from exploding.

Why It Works: Like ‘Band Candy’, the humour from this episode lies in its self-referential parodies. Instead of the overly dramatic apocalypse scenario, Xander’s adventure for acceptance and identity is the main storyline. He goes from scene to scene, trying to fit in, but ultimately finds that instead of trying to be someone else, such as ‘Car Guy’, he’s better off being himself. His seduction by Faith is classic comedy and satire of the usual Buffy structure is a great reprieve from the show’s moments of heavy drama, while allowing Xander to find his own place within the Scooby Gang.

Quotablest Quote:
Xander: Yeah, great knife. Although I think it may technically be a sword.
Jack O’Toole: She’s called Katie.
Xander: You gave it a girl’s name. How very serial killer of you.

FEAR ITSELF (Season 4, Episode 4)

Synopsis: Halloween once again provides the Scooby Gang with a predicament. The Frat Party’s haunted house has turned into a real house of horrors, due to Oz’s blood being spilt on an ancient rune. A fear demon is trying to emerge, leading to Buffy being dragged into a basement of zombies, Xander turning invisible, Willow’s magic going awry and Oz changing into his werewolf state. Eventually Anya and Giles rescue the gang, before Buffy stomps the miniscule fear demon.

Why It Works: Although the episode is surprisingly similar to Season One’s ‘Nightmares’ with hints of Season Two’s ‘Halloween’, ‘Fear Itself’ is very good episode. Much of the laughs come from the incidents outside of the haunted house, such as Giles’ ridiculous sombrero and dancing skeleton or Xander and Anya’s interaction. Finally, the appearance of the miniature fear demon and Xander’s taunting conclude an enjoyable Halloween romp. Also notable for the first mention of Anya’s fear of bunnies.

Quotablest Quote:
Anya: What?
Xander: That’s your scary costume?
Anya: Bunnies frighten me.

SUPERSTAR (Season 4, Episode 17)

Synopsis: Jonathan is a world-class superhero, worshipped by all, with Buffy as his sidekick. When a demon arrives that Jonathan is reluctant to fight, Buffy realises something is amiss. With the help of Anya, Buffy discovers that Jonathan has created an alternate reality, which spawned the monster. By Buffy eventually killing the monster, the alternate world Jonathan created disappears, but the advice he gives Buffy and Riley about the Faith incident remains.

Why It Works: ‘Superstar’ removes Buffy as the central character of the show and gives her a secondary role alongside the diminutive Jonathan. As well as Buffy’s venture from the ‘normal’ to resuming her role as the Gang’s leader, the episode’s humour comes from the over-the-top hero worship of Jonathan. Giles’ Jonathan swimsuit calendar and his apprehension in admitting to owning it is perhaps one of the best Giles’ moments ever. Also very enjoyable is the altered opening sequence with Jonathan being very James Bond.

Quotablest Quote:
Buffy: Anya, tell them about the alternate universes.
Anya: Oh, okay. Um… say you really like shrimp a lot. Or we could say you don’t like shrimp at all. “Blah, I wish there weren’t any shrimp,” you’d say to yourself…
Buffy: Stop! You’re saying it wrong.

THE REPLACEMENT (Season 5, Episode 3)

Synopsis: A sophisticated demon named Toth aims to separate Buffy into two different bodies, but happens to separate Xander instead. One Xander is smooth and confident, the other is clumsy and self-loathing, but both believe the other is a demon, or an evil robot. Giles ascertains that both are the ‘real’ Xander and they need each other to survive. Before the two Xanders kill each other, the Gang intervenes and Willow reunites them, despite Anya’s interest in kinky sex games.

Why It Works: By the end of Season Five, all three members of the Scooby Gang have had a doppelganger, but the fact that there’s two Xanders makes this episode exceptionally funny. Xander at his most downtrodden and self-loathing is always going to be hilarious and he is. Smooth Xander is also quite funny, especially when he confronts the Lame Xander. Riley has a rare comedic line, as well ass some classic lines from Buffy and Giles. The scene where Lame Xander tries to convince Willow that he’s the ‘real’ Xander is damn well amusing, and you have to love the Snoopy dance. Additionally, some think that Anya’s nightgown is overtly comical.

Quotablest Quote:
Lame Xander: It’s a robot. It’s an evil robot constructed from evil parts that look like me designed to do evil.

TRIANGLE (Season 5, Episode 11)

Synopsis: While Giles flies to England to gather more information on Glory, Anya (and Willow) is left in charge of the Magic Box. When Anya disapproves of Willow and Tara’s experimentation with spells, they both turn to Xander, who decides to escape their bickering. Left alone to sort things out, Willow and Anya release Olaf the Troll from a bottle that had imprisoned him. Olaf then goes on a destruction spree, ending up at the Bronze where the gang find out that Olaf is indeed Anya’s ex-boyfriend and she had turned him into the troll. Xander fights Olaf and is rewarded with the ‘insane troll logic’ of having to decide between Anya or Willow’s life being spared. However, a distraught Buffy beats Olaf before Willow sends him to another dimension.

Why It Works: Olaf as a mediaeval troll is one of the best characters that the show has created and his altercation with Xander and Spike over ‘plump succulent babies’ and ‘much hearty grog’ is such cheesy dialogue that is also hilarious. However, ‘Triangle’ is all about Anya and her humorous speech. In the previous episode ‘Into The Woods’, Willow took Anya to task about her speech and now the two are at each other throats, but the results are damn funny. Despite the hilarity of Willow and Anya, it is also pleasing to see the two resolve their differences by the episode’s conclusion. Also, this is the first episode for over a season without Riley. Much rejoicing was had.

Quotablest Quote:
Willow (imitating Anya): I like money better than people. People can so rarely be exchanged for goods and/or services!
Anya: Xander, she’s pretending to be me!

TABULA RASA (Season 6, Episode 8)

Synopsis: Xander, Anya, Willow and Tara have learnt that Buffy was in heaven and Willow proposes magic to make Buffy forget. Tara gives Willow an ultimatum to stop using magic. Meanwhile Giles tells Buffy that he is leaving for London. All of the Gang, plus Spike gather at the Magic Box, but succumb to a mind control spell by Willow that goes horribly wrong. The Gang lose their memories and try to figure out who they are and what they are doing. However they are interrupted by a literal ‘loan shark’ and his vampire hoods. The Gang eventually regain their memories and Tara breaks up with Willow.

Why It Works: Again, the humour of this episode arises from the characters’ performing in a totally different way than their usual self. The piecing together of the puzzle and their incorrect assumptions make for amusing viewing. Spike’s realisation that he is a vampire and his parody of the ‘Angel’ spiel is particularly good, but once again the prize goes to Anya and Giles for their routine as a married couple – although one does wonder why Anya remembers her fear of bunnies.

Quotablest Quote:
Buffy: I’ll name me, Joan.
Dawn: Ugh!
Buffy: Did you just ‘ugh’ my name?

HIM (Season 7, Episode 8)

Synopsis: Dawn is head over heels for RJ, the handsome quarterback of Sunnydale High. She starts to obsess about him, even trying out for the cheerleading squad. Only she isn’t the only one after RJ. Soon, every girl who comes into contact with RJ falls under his charm. Buffy, Dawn, Willow and Anya all attempt to show their love for RJ. Xander and Spike realise that the girls are under a love spell, triggered by RJ’s jacket. Before destroying the jacket, they save Buffy from firing a rocket launcher the Principal Wood, Willow from performing a spell and Dawn from being run over by a train. However, Anya’s crime spree goes unprevented, yet unnoticed.

Why It Works: As we saw in ‘Bewitched, Bothered and Bewildered’, love spells make for humorous watching. Dawn’s cheerleader try out is very amusing, yet totally cringe worthy. There are loads of nerd-ish references to past episodes, which make fan boys (and girls) smile with glee. Just before the very serious story arc on Season Seven, ‘Him’ is totally light hearted and fun. The scene from Principal wood’s window where Spike and Xander take out Buffy before she fires the rocket launcher is priceless.

Quoteablest Quote:
Buffy: “Willow, you’re a gay woman! And he… isn’t.”
Willow: “This isn’t about his physical presence! It’s about his heart.”
Anya: “His physical presence has a penis!”

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London Recruits: Please help fund doco on ‘secret war against Apartheid’

This is an appeal to help raise money to fund the completion of this documentary on the British activists who travelled to South Africa in the late 1960s to undertake secret missions to help the African National Congress and the South African Communist Party. Here’s a message from the film makers:

New documentary feature London Recruits tells the stories of the young women and men who undertook clandestine missions in the struggle to overthrow apartheid. Kept secret for decades, with your help, the nail-biting stories of those who risked all in taking on one of the 20th century’s most feared and brutal regimes will be told on the big screen for the first time.

The filmmakers behind London Recruits have launched a Kickstarter appeal to raise the final injection of funds needed to finish the project. Money raised with enable them to shoot reconstruction scenes, film remaining interviews, excavate further archives and build visual effects.

By backing London Recruits you will play and integral role in the project and help get the story of solidarity and internationalism to the big screen. Donate by October 1st. (https://www.kickstarter.com/projects/londonrecruits/london-recruits

Keep up to date with the project on Twitter (https://twitter.com/LondonRecruits) and on Facebook (https://www.facebook.com/londonrecruits/)

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If you can, do donate to the film’s Kickstarter. A book recounting these stories of those who went on these secret missions was published in 2012 by Merlin Press. Do check that out as well!

I may post more on this next week, as I am just going through the papers of Ronnie Kasrils that were recently deposited at the Historical Papers Research Archive at Wits in Johannesburg.

#BlackPantherWoman: Black Power, gender and limits of transnationalism – a guest post by Jon Piccini

Once again, Jon Piccini (University of Queensland) has written a splendid piece on the recently shown documentary Black Panther Woman and I’m delighted that this blog is able to post it. Jon also wrote this piece on Anne Summers’ Damned Whores and God’s Police a few months ago.

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The airing of Blackfella Film’s Black Panther Woman on SBS is significant for a few reasons. It highlights sexual crimes and violence within what academics broadly call the ‘New Left’ – those social movements of the 1960s and 1970s which challenged the capitalist/racial/gender/sexual status quo. As the film’s protagonist, Marlene Cummins, notes: “the thing is that violence on women permeates the whole of society: white or black”, and sexist/patriarchal values infused these social movements as well.

Here, I want to look briefly at the construction of masculinity in these movements and how this provided the political foundations for such violence. Secondly, I want to draw out some of the interesting parallels between Cummins’ trip to New York in the film, and similar trips taken by radical aboriginal activists in the 1970s.

Masculinity was at the centre of the 1960s revolts. For the white student left, heroic, handsome figures like Cuban-Argentine revolutionary Ernesto ‘Che’ Guevara were the epitome of a rebellious masculinity, and groups such as Students for a Democratic Society in America (and of course similar groups in Australia) were overwhelmingly led by males who relegated women to menial secretarial or typing jobs – much as women were in the workforce and society at large. Sara Evans has described well how the second wave feminist movement emerged not only out of a rebellion against sexist society – but the continuation of these practices within the white left and indeed the black civil rights movement.

For the ‘coloured’ left, masculinity was equally vital, but for a whole range of other reasons. For black power radicals in the United States, black men had been robbed of their masculinity by the dehumanisation of slavery and their continued status as colonial subjects. If black men had been emasculated and feminised by colonial white society, then the enactment of a proud black masculinity was seen as vital to the reclaiming of this. Such an ideology left little space for women. Stokely Charmical famously commented that the place of black women in the movement was “prone” – women’s place was to ascribe to traditional feminine values and faithfully serve their men – including being effective sexual chattels – so as to not contribute to the colonist’s emasculation.

As Black Panther Woman highlights, this hideous gender politics travelled across the Pacific to Australia alongside the whole package of Black Panther Party iconography, lexicon and practice – fusing with a pre-existing sexism and unofficial code of silence. The place of women in the Black Panther and broader civil rights/black power movement has been reassessed in recent decades, with quite a bit of academic work now existing exploring the importance of both well-known women radicals like Kathleen Cleaver, and the lesser known activists whose day-to-day work was vital to the success of these movements. Marlene’s story of political dedication amidst such personal pain is sobering and heart wrenching, highlighting a gap in our understanding of the reality of sexual violence within New Left movements.

The documentary was also fascinating from another perspective – that of the global imagination of radicals during the period. Marlene’s obvious pleasure at being invited to New York to attend a gathering of Black Panther-inspired radicals from around the world is a fascinating mirroring of the experience of another indigenous woman travelling to America forty-five years earlier – Patsy Kruger. Kruger, 30 years old and president of the Victorian branch of the Aboriginals Advancement League, was invited along with four other Australians – Bruce McGuinness, Solomon Belear, Jack Davis and Bob Maza – to attend a the 1970 Congress of African People’s in Atlanta, Georgia. Thankfully for historians, the five recorded their thoughts on the trip in a now very-rare book on the trip.

Upon receiving the invitation to travel to the congress, Kruger recalled thinking “my feeling good could know no bounds”. Interviewed by The Age before her departure, Patsy explained a bit of why she felt such excitement: “Intelligent, vocal and articulate, [Kruger] is determined to learn all she can…about how best to start a revolution for Aboriginal rights in Australia.” This desire to learn from black activists in the USA was mirrored by other travellers, many of whom had already begun using the rhetoric of Black Power in the few years previously to express their frustration at the failure of the 1967 referendum to engender any real change. As Kruger put it, white Australians were

apathetic, selfish or self-centred… oh, they have a conscience about it. They proved that in the 1967 referendum. But they subdued it and didn’t really go to the basic problems of the Aboriginals.

Yet, the visit to the United States actually delivered only mixed results for the travellers. Kruger recalls the Congress of African People’s being a terrific experience, having “met, talked and lived with black brothers and sisters in the struggle, mostly from North America, but also from the United Caribbean, South America, Asia and Africa”. Cummins enjoys a similar euphoria in the documentary, being surrounded by activists from around the world united by a sense of (now somewhat nostalgic) attachment to ideals of Black Nationalism.

The significance of this level of contact for aboriginal activists in the 1970s cannot be overstated – for many activists of colour around the world seemed just as unaware of their existence as white Australians pretended to be. Aboriginal activist Bobbi Sykes remembers going to a famous black political bookstore in Harlem, New York, only to be told “that there weren’t any blacks in Australia. Hence no Black Australia section”. Kruger described leaving the conference as a “sister in the struggle for the liberation of black people wherever they are and whoever they are”.

Yet, these important contacts and lessons also highlighted for some the impracticability of global connections. Cummins’ narrative is one of holus bolus transition of Black Panther ideas from America to Australia – but the reality was much more complex. Bob Maza, for example, reflected in a later interview how:

The black situation in the USA made me realise that if our black movement here in Australia is going to be left in the hands of whatever ego-trippers there are around… then we are going to head the same way that the black Americans did.

Maza’s injunction was clear – ultra masculine and violent rhetoric would lead to splintering of the working (if tenuous and contested) coalition in Australia between black and white activists.

On a different note, Jack Davis argued that the experience of black Americans, victims of transportation and slavery yet now a significant part of American life, could not really relate to Australian Aborigines, who had been in Australia “since the creation” and had little purchase on public life. Bob Bellear struck a similar chord, noting how “the thing is that blacks in Australia… can’t equate the problems of this country, the problems of class struggle, the problems of racism in this country with problems in any other part of the world”. “[T]he problem…is getting blacks just to know about each other, in such a vast country as this”, Bellear suggested, and thus overseas experiences should only be of secondary concern.

While debated, the importance of overseas travel to the movements of the 1960s and 1970s cannot be contested, as Cummins’ final uniting with her co-thinkers across the world in Black Panther Woman so splendidly demonstrates. Equally, her gut-wrenching story of sexual abuse is a telling lesson and cautionary tale for those of us who want to make political use of the past.

Jon Piccini is a historian of social movements. His book, Global Radicals: Transnational protest, Australia and the 1960s is forthcoming with Palgrave Macmillan. He tweets at @JonPiccini.

New article: Thatcherism and The Young Ones

TYO Agora

This is just a short post to let everybody know that my new article on depictions of Thatcherite Britain in The Young Ones has been published in Agora. A version of the paper can be found here. If you can’t access it properly, send me an email and I’ll ping one your way.

As usual, feedback, critiques and praise is welcome.

The Conversation (UK) On Rik Mayall, The Young Ones and Thatcher

I just thought I’d mention that The Conversation (UK) has published a short piece by myself on The Young Ones as Mayall’s ground-breaking achievement and what the show reveals about Britain under Thatcher in the 1980s. You can read it here.

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In tribute to Rik Mayall: The Young Ones, Thatcherism and the People’s Poet

It is very saddening news to hear of the sudden death of Rik Mayall at the age of 56. As Rick, the lefty sociology student in The Young Ones, Mayall helped create one of the greatest contemporary portrayals of life in Thatcherite Britain, while indulging in surreal and off-the-wall comedy. The longevity of The Young Ones is a topic that I have written about at length. In a paper under consideration for publication at the moment, I wrote:

The Young Ones can be viewed historically and gives us insight into how Thatcherism and the 1980s was experienced by sections of British society. The show can be read as a text that portrays popular opinions about Thatcher’s Britain and satirises contemporary issues… However this does not mean that The Young Ones is an accurate reflection of the times per se – the show is obviously an over-the-top and surreal portrayal of student life in Thatcherite Britain. We, as historians and students of history, don’t watch The Young Ones to observe an authentic depiction of life under Thatcherism as it actually was, but because we can see certain themes and concepts (important for understanding Thatcherism and 1980s Britain) depicted in the television show. The show works as an excellent demonstration of the zeitgeist of Britain under Margaret Thatcher, but at the same time, it is factually inaccurate and stakes no claim to historical authenticity… 

Janine Utell has written that The Young Ones ‘challenge[d] the hegemony of Thatcherism’, using laughter to highlight the ‘profound ruptures and transformations in society’ under Margaret Thatcher’s Prime Ministership.. Characters that espoused left-wing positions had been in British television comedies before, but had often been the focus of ridicule. Robert Lindsay’s character of Wolfie in the late 1970s sitcom Citizen Smith was a stereotypical Marxist attempting to start a socialist revolution in suburban London via the Tooting Popular Front… On the other hand, The Young Ones were obviously critical of Thatcher and capitalism in the 1980s and sympathetic to the ideas of the left, but also willing to poke fun at the left for its sanctimonious tendencies.

The Young Ones doesn’t show us Britain in the 1980s as it really was, but it is a depiction of how the 1980s were experienced. The references to phenomena such as unemployment, police racism, popular capitalism, student activism, sexism and class stratification in the show are taken from the real life experience of living in Britain under Thatcher and depicted as icons/symbols that could be popularly recognised, but satirised to an unreal level. The Young Ones captures the zeitgeist of Britain in the early 1980s under Thatcherism by making reference to many symbols of the era, but the context in which these symbols are represented is often contorted and push to the bounds of the absurd. The juxtaposition of the political and social commentary with surrealism and cartoon slapstick makes the show enjoyable to watch, while telling us much about the recent past – this is why historians should rewatch The Young Ones.

Other alternative comedy television shows broadcast around the same time as The Young Ones, such as Not the Nine O’ Clock News, Spitting Image and OTT, were predominantly made up of topical sketches and stand-up performances and could be immediate in their satirical take on the politics of the day. However The Young Ones had to weave its satire into the broader narrative of the episode and accordingly its parody of aspects of Thatcherite Britain had to have broader resonance that were not so instantaneous. Arguably the longevity of the show’s satire and the significance of its comedic targets makes The Young Ones much more valuable for historians of Britain in the 1980s than other television shows that have not had the same durability.

This paper is based on a bunch of blog posts I wrote after the death of Margaret Thatcher in 2013. You can read the series, titled ‘What can The Young Ones teach us about Thatcherism?’, here:

Part One: Introduction

Part Two: ‘Race’ and the police in the 1980s

Part Three: Unemployment

Part Four: Neo-liberalism, market populism and crony capitalism

Part Five: Activism and the left

Part Six: Women and sexism

Part Seven: Higher education and class

And here’s Rick with the final word:

Mr Gove, film can never replicate historical ‘truth’

The last few days has seen a historiographical debate about the First World War played out in the media between Michael Gove, the Conservative Education Minister, and several different historians, including Richard J. Evans and Tristram Hunt, with plenty of others weighing in (see this article in The Guardian for a good summary). One of Gove’s arguments is that the popular memory of the First World War in Britain has been warped by satirical comedies such as Blackadder Goes Forth, which suggests that people cannot tell the difference between what happens on screen and what ‘really happened’. I thought this excerpt from this article by myself might be worth considering in this debate:

“Film can be an effective, or disruptive, vehicle in shaping ideas about the past, but to articulate the past through film does not mean to recognise it the way it actually was. In Cinema 2: The Time Image, Gilles Deleuze asserts that we should not confuse the two—‘The past is not to be confused with the mental existence of recollection images which actualize it in us.’ The problem of film as historical evidence is that historical consciousness can be influenced by film (as well as popular forms of  storytelling) and there is a fear by some more traditionalist historians that ‘our’ memory will take on the conventions of cinematic representations of the past. Historical narratives provided by film often reinforce our popular memories of the past and, as discussed earlier, can be deemed ‘authentic’ or ‘inauthentic’ depending on their conformity to popular memory. As Raphael Samuel wrote, film ‘can establish . . . a past that never was, but which corresponds to what we would have liked it to be’.”

That is all, Mr Gove. Now should we discuss historical fidelity and Inglorious Basterds?