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Doctor Who - The Talons Of Weng Chiang
Film Description Doctor Who and his assistant Leela are confronted by sinister and seemingly inexplicable occurrences in this gripping thriller set in the shadowy depths of nineteenth century London. He soon comes face to face with his most deadly enemy to date: Magnus Greel - a fifty-first century war criminal posing as Weng Chiang, an ancient Chinese god.
Film Information
DVD Extras Audio commentary By Louise Jameson, Philip Hinchcliffe, David Maloney, John Bennett and Christopher Benjamin; Documentary: Whose Doctor Who; Blue Peter Theatre; Behind The Scenes Footage; Philip Hinchcliffe Interview From 1977 Edition Of Pebble Mill; Trailers And Continuity Announcements; Photo Gallery; Production Subtitles; Tardis Cam No 6.
Technical Details
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Video Tape! Glorious Video Tape! by Clinton Morgan With the exception of our soap operas most television that involves some kind of writing, acting and direction appears to be shot on film. Today's digital technology makes it possible for programme makers to create the illusion that their drama or comedy show was shot on film whilst avoiding the difficulties involved with shooting on actual film (not knowing what the finished result would look like until the rushes were printed for example). Some might find this aspect of digital technology exciting. In fact a lot of cinema has been shot digitally as opposed to the old fashioned (and soon sadly probably defunct) method of celluloid with sprocket holes. Consider films like 'Hidden', 'Sin City' and 'Collateral'. All were shot digitally. None the less there is nothing like real film. For example a series like 'GBH' would not look right if it was shot digitally and given a 'film' look. You might think that this is a personal gripe and that I should get over it. Well, yes it is and perhaps I should. However the film look on television today is ten-a-penny that there is a recieved opinion that anything that looks like it is shot on video has low production values. Interestingly enough a lot of television dramas today that would have been merely praised with terms such as 'good' are being praised with pointless superlatives as "The production values are good." Digital philm (a term coined by a friend being a combination of 'phoney' and 'film') may look as glossy as The Sunday Times' 'Style' section but it looks nowhere as good as the colour episodes of 'The Avengers' or even 'The Monkees'. Nobody said "The production values are good" because nobody needed too. Good production values were seen as par for the course. What the discerning television viewer wanted was something more. There is an art to shooting on video-tape and shooting in a multi-camera studio set-up just as there is an art to shooting on film. Perhaps the next generation of programme makers should think carefully before flicking the switch on their high definition digital cameras to create the illusion of film. Maybe the head honchos of television should encourage writers to write intimate studio set based plays for the old fashioned multi-camera set up. Video can look beautiful and television should not be ashamed to look different from the cinema. Here are a few favourite examples of how the video look can be a good look. You may think of some other examples (for example 'Brimstone and Treacle', 'The Flipside of Dominick Hyde' and 'The Stone Tape'). For me the fading out of video-look dramas began with the second series of 'Cardiac Arrest'. When it looked more like your average hour long 9pm drama as opposed to an episode of 'Casualty' then it had lost its bite.
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