"The Dalek Invasion of Earth" (1965) marked a turning point in the series. Not only did it see the first change to the line-up of regular characters (Susan Foreman, played by Carole Ann Ford, left at the conclusion of the story) but it was the first to feature material filmed on location. Up until this point, all episodes had been filmed entirely within the confines of a studio.
This paper will examine the relationships and effects between narratives, production techniques and technology in this studio-bound era; how the programme makers told stories that in terms of direction, reach, and geography, far outstripped the limiting four walls of the studio space.
In addition, the paper will discuss how production techniques developed to allow creativity to flourish in order to escape the trappings of the studio. Techniques such as forced perspective, front and back projection, and lighting will be discussed, along with how they’ve been employed to assist the telling of the story in a number of Doctor Who episodes, including "An Unearthly Child", "The Daleks", "Marco Polo," and "The Keys of Marinus".
The central question to be explored is the idea that there is an inverse relationship between television production technology, and the creativity and ambition of geography in the narratives. While one grows, the other dies. Whilst television has become more technically adept, what has been lost? On what levels has moving beyond the studio been to the detriment of the medium
