Daleks

The article discusses how the emerging genre of American and British science fiction symbolised and expressed Cold War anxieties after 1949. 
It begins by briefly showing how a popular Western symbolised the Berlin Airlift, then considers how several new Sci Fi novels, including "The Martian Chronicles," "The Day of the Triffids," "I am Legend," and "The Bodysnatchers" each respond more precisely to changing Soviet aggression. 
The chief writers explored are Ray Bradbury, Robert Heinlein, John Wyndham, Richard Matheson, Jack Finney, and the television writer Terry Nation.  Connections are drawn between key science fiction novels and public concerns about possible atomic war, espionage fears, future Soviet invasion, and the Cuban Missile Crisis.
It then suggests a shift in meaning affecting British science fiction from the mid-1950s, with rising fears about the demise of empire, and concerns that European civilisation is waning.  The chief writers discussed in this regard are John Christopher, whose work is linked with the Suez Crisis, & J.G. Ballard's "The Drowned World."  Strong links are also established between several British science fiction novels and William Golding's "Lord of the Flies."
9pp.

This chapter deals with a commonly-drawn, but little-understood, parallel in the Whoniverse: the notion that the Daleks are – and always have been – stand-ins for the Nazis. Examining the representation of the Daleks across the Classic (1963-1989) and revived series (2005-the present), the chapter seeks to clarify to what extent this is true, as well as to observe the extent to which the series has sought to deal with Nazism in any meaningful, critical sense (rather than employing it as a handy touchstone for the ultimate ‘evil’). Ultimately, the limitations inherent in Doctor Who, as primarily a work of entertaining television science-fiction – and not purely a work of historical inquiry – as well as its need to cater for audience preconceptions in order to advance a narrative, have played a far greater role in determining the way Nazism has been presented in the programme than any engagement with more detailed historical understandings.