TARDIS stands for Time and Relative Dimension(s) in Space. In the Whoniverse, tension is definitely an important dimension to any story. Following discussions in the episode thread for The Story & the Engine, I’m intrigued by the concept of tension and how it is expressed in so many different ways in different stories.
I’m posting this thread in “General/Off Topic” because I welcome discussion in relation to the presentation and expression of tension in any medium of DW stories; televised, prose, comic book, audio, stage play etc. It’s all DW and it’s ALL great! Moreover, relevant examples from spin-offs also very welcome.
Anyway, I’m fascinated by the manifold expression of tension in DW stories. From the ‘edge of your seat’ stuff to more character driven, from that sense of escalating threat to a more emotional unease. Narratively? What do script writers do to heighten tension? Aurally? How does music or other ambient noise elevate this? Visually? What about cinematography? Literally, anything that relates to the presentation of tension, it’s escalation and eventual dissipation. I’m genuinely interested.
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As an aside, this brought to mind Hitchcock’s discussion about tension.
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Fantastic! Thank you @monkeyshaver. Now, how does this inform our analysis I wonder? Hmmm, I think this could be a most interesting discussion!
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Hitchcock is right, of course, in that it’s what the audience knows which is key to the creation and escalation of tension. His notional ‘bomb’ could be crystal clear (a threat we can see and fully understand) or could be altogether more nebulous. It is the case, I feel, that Doctor Who often works best with those more nebulous or opaque threats. Consider how many times, in classic Who (and, although to a somewhat lesser extent, in DW 2005+) how often the building tension of a monster is wrecked by the appearance of said monster. The Magma Beast from The Caves of Andozani is a case in point, though it is fortunate that this creature is hardly important to the escalating tension in that story. A story where the creature is far more central would be The Creature from the Pit. Much as I love this story, the reveal of Errato up close and (dare I say?) personal is… hugely underwhelming.
So, how to create a notional ‘bomb’ (or creature) without showing it? How much audience ignorance can you maintain whilst still building tension? Midnight is perhaps the quintessential example of how to do this right. it’s what isn’t seen, but is most definitely felt as a presence throughout. Another good example would have to be Turn Left. The half glimpsed shots of something on Donna’s back are far more effective for me than the clearer shots of the Time Beetle itself. We know it’s there. Donna knows something is there… but precisely what remains a mystery.
Now, as someone who is deeply fond of Listen yet well aware of the fact that others find it much less satisfying, I posit that part of the reason for that lack of satisfaction may just be that the notional ‘bomb’ is never made sufficiently clear. For me, that’s a highlight because the episode is really about the Doctor’s mind, his paranoia. However, I can see why, for others (especially once the end of the episode is reached and we are still no closer to knowing if the posited creature exists at all) this may hugely devalue the episode on rewatch - the ‘bomb’ was never really under the table?
Perhaps I’m rambling. Anyway… I guess we’re up and running!
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Tension does work in different ways in Doctor Who. Back in the Classic era with multi-part stories there were cliffhangers, the audience kept in a state of tension for a week(!) But even within that there are different types of tension, if Doctor Who is in danger the tension is more how will he get out of this not whether he will or not, for supporting characters that is less certain & maybe more perilous.
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One of my all time favourite stories (and I know it’s a common pick) is City of Death. To this day, the plot and dialogue delight me so much. However, on first broadcast I remember being horrified by the episode 1 cliffhanger when Scarlioni rips off his human face to reveal the Jagaroth beneath. Every time I saw Scarlioni (the incomparable Julian Glover) on screen for the remaining three episodes I felt a gnawing horror at the possibility that he might rip his face off again. Every time I saw him, I was reminded of that notional ‘bomb’ (or, in that case, the horror that lay beneath his human visage). Childhood imagination is a wonderful thing, and DW has always been masterful at triggering it.
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Could have called this thread Tension and Related Direction in Stories
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That makes me smile. Decidedly clever.
I admit that I am seduced by the delightful verbal symmetry and childish poetry of “The Dimension of Tension”, however. I’m easily pleased, it seems! 
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The Mind Robber comes to mind.
Early on, not only do we lose the TARDIS, it went to pieces, and we’re in a completely unknown place, with no idea how we’re getting out of it.
Not to mention having Jamie replaced by Hamish Wilson…
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A great example! Yes, I might want to delve deeper into expressions of tension in The Mind Robber. That ep 1 cliffhanger… just YOWZER! Mind bendingly awesome… and the Doctor’s face. Disturbing. A tension arising from taking the familiar and making it feel alien/unsafe. Genius!
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