Tele-Snap
Recoveries |
In the 1950’s and 60’s,
the BBC’s production of it’s own programming was in full swing. Archiving and
keeping old footage was not, and many records of that era sadly do not exist. Domestic
VCR’s and personal camcorders were a good two decades away at least and many
actors, directors and producers now and then wanted a record of what they had
worked on. Enter John Cura.
John Cura, born Alberto Giovanni Curà,
was born on the 9th of April, 1902. A gifted, self-taught individual, his
passion was electronics, so much so that he specified such a profession on his
wedding certificate. After the second world war, during which he changed his
name to Albert John Cura, he because interested in television, and on the 11th
of September, 1947, he wrote to the BBC to offer his services of
"Tele-Snaps". Cura's execution was simple:
a 35mm camera (of his own design) bolted to a tripod a short distance from his
television screen. By taking still photographs at various intervals, John Cura
photographed entire episodes of various shows, from the opening titles to the
closing credits, creating as much as 80 images which he could sell to
prospective clients.
John Cura performed his services in a back room above a grocer's
shop, in Clapham in the south of London. He offered to use his expertise and
experience to professionally photograph video images off a television screen
and sell them to the BBC for a small fee. Later, he would find not only the
BBC, but newspapers, magazines and overseas journalists would be interested in
his images. The BBC were concerned over copyright issues Cura's
work might generate, but by the mid-1950's the BBC's attitude towards Cura had
mellowed, and their own publications of Radio Times and The Listener began
publishing Tele-Snaps.
The arrival of ITV, and later BBC2, created an even greater
workload for Cura, and it is reported that he eventually had various television
receivers set up all over his flat to capture these images. However technology
was expanding, colour was on the horizon and the BBC were
"telerecording" programmes onto 16mm film for later use if so
required. With the ability to archive material, Cura's
services would start to dry up.
As the fee for John’s work came from a specific serial’s
production budget, some production teams opted to pass on this service and
instead focus the money on more important matters (for example, virtually the
entire budget of the William Hartnell story The Web Planet went on set and
costume design). However a majority of Doctor Who stories from the sixties did
get Tele-Snapped, and after the mass destruction that saw much of that era
erased in the 1970’s, these Tele-Snaps would prove to be invaluable.
I should mention at this point that the term 'Tele-Snap' should
only be used in reference to John Cura's work, as
several others offered the same service around the same time. John offered
either contact strips of stills or else people could ask for high-definition
enlargements of certain images they felt were of considerable importance.
Usually for a Doctor Who episode (25 minutes in duration), approximately 60-70
Tele-Snaps would be captured, each being 24mm x 18mm is size. Alternately,
enlargements could be ordered if so required.
It should also be pointed out that contrary to rumour, The Dalek
Master Plan 7 was never Tele-Snapped. However, 20 off-screen images WERE taken,
but by actor Robert Jewell, as he appears in the episode as a clown called Bing
Crosby. Jewell, who is more well know for being a Dalek operator, probably knew
this serial wasn’t being Tele-Snapped and decided to take some himself. These
images are all that remain of that episode, and, much to the delight of fans,
the last image of the small collection features the infamous final scene where
the Doctor turns to the audience and wishes the viewers a happy Christmas. To
view these images, click here.
For more information on Tele-Snaps and John Cura, I highly
recommend getting a hold of the fan-produced magazine 'Nothing at the End of
the Lane' Issue 2, produced by Richard Bignell &
Robert Franks.
The Complete Doctor Who Tele-Snap Collection
Below is a chart that
explains which episodes were Tele-Snapped and which images still survive.
Information has been gathered from various sources and contributions by various
people in the know (special thanks to Derek, Ash & Richard). However, it
should be pointed out that this chart has been created using information and
Tele-Snaps that we know to exist. Should any future documentation or Tele-Snaps
currently listed as missing come to light, this chart will be revised and
updated accordingly.
TELE-SNAPS EXIST,
EXISTING NUMBER SPECIFIED |
TELE-SNAPPED BUT SNAPS
MISSING (TBSM) |
EXISTENCE UNKNOWN (UNK) |
100,000 BC |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Daleks |
76 |
76 |
TBSM |
UNK |
75 |
TBSM |
TBSM |
|
|
|
|
|
Inside The Spaceship |
TBSM |
TBSM |
|
|
|
|
|
|
|
|
|
|
Marco Polo |
72 |
78 |
75 |
TBSM |
70 |
69 |
80 |
|
|
|
|
|
The Keys of Marinus |
TBSM |
TBSM |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
The Aztecs |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Sensorites |
TBSM |
TBSM |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
The Reign of Terror |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
Planet of Giants |
TBSM |
TBSM |
TBSM |
|
|
|
|
|
|
|
|
|
The Dalek Invasion of Earth |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
The Rescue |
78 |
72 |
|
|
|
|
|
|
|
|
|
|
The Romans |
76 |
76 |
76 |
77 |
|
|
|
|
|
|
|
|
The Web Planet |
TBSM |
TBSM |
TBSM |
TBSM |
TBSM |
TBSM |
|
|
|
|
|
|
The Crusade |
?? |
72 |
?? |
67 |
|
|
|
|
|
|
|
|
The Space Museum |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Chase |
TBSM |
TBSM |
TBSM |
TBSM |
TBSM |
TBSM |
|
|
|
|
|
|
The Time Meddler |
?? |
?? |
?? |
?? |
|
|
|
|
|
|
|
|
Galaxy 4 |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
Mission to the Unknown |
UNK |
|
|
|
|
|
|
|
|
|
|
|
The Myth Makers |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Dalek Master Plan |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
The Massacre |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Ark |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Celestial Toymaker |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Gunfighters |
68 |
71 |
72 |
73 |
|
|
|
|
|
|
|
|
The Savages |
70 |
65 |
70 |
73 |
|
|
|
|
|
|
|
|
The War Machines |
69 |
67 |
67 |
75 |
|
|
|
|
|
|
|
|
The Smugglers |
71 |
67 |
71 |
71 |
|
|
|
|
|
|
|
|
The Tenth Planet |
72 |
66 |
67 |
76 |
|
|
|
|
|
|
|
|
The Power of the Daleks |
70 |
69 |
67 |
68 |
66 |
75 |
|
|
|
|
|
|
The Highlanders |
64 |
71 |
71 |
69 |
|
|
|
|
|
|
|
|
The Underwater Menace |
66 |
73 |
72 |
68 |
|
|
|
|
|
|
|
|
The Moonbase |
71 |
71 |
78 |
71 |
|
|
|
|
|
|
|
|
The Macra Terror |
62 |
64 |
64 |
57 |
|
|
|
|
|
|
|
|
The Faceless Ones |
64 |
68 |
62 |
64 |
63 |
61 |
|
|
|
|
|
|
The Evil of the Daleks |
63 |
64 |
61 |
63 |
67 |
65 |
64 |
|
|
|
|
|
The Tomb of the Cybermen |
62 |
63 |
67 |
64 |
|
|
|
|
|
|
|
|
The Abominable Snowmen |
62 |
66 |
60 |
63 |
63 |
59 |
|
|
|
|
|
|
The Ice Warriors |
62 |
64 |
66 |
71 |
63 |
60 |
|
|
|
|
|
|
The Enemy of the World |
64 |
64 |
64 |
UNK |
61 |
63 |
|
|
|
|
|
|
The Web of Fear |
64 |
63 |
59 |
62 |
60 |
62 |
|
|
|
|
|
|
Fury from the Deep |
59 |
63 |
60 |
63 |
60 |
62 |
|
|
|
|
|
|
The Wheel in Space |
60 |
63 |
62 |
62 |
62 |
66 |
|
|
|
|
|
|
The Dominators |
60 |
60 |
60 |
63 |
UNK |
|
|
|
|
|
|
|
The Mind Robber |
62 |
63 |
63 |
UNK |
UNK |
|
|
|
|
|
|
|
The Invasion |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
The Krotons |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
|
|
The Seeds of Death |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
The Space Pirates |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
|
|
|
|
|
|
The War Games |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
UNK |
|
|
Who Discovered What: Marcus Hearn
Marcus Hearn was an
employee of Marvel Comics & a Doctor Who fan, and in 1993 began researching
the production history of show. He visited the Written Archives Centre in
Reading, near London, and started sorting through the paperwork. He was granted
access to documents and files but progress was slow and in the end he asked if
he could see the list of every single file the WAC contained. Upon checking the
register, Marcus spotted the final listing at the bottom of the page read as
follows:
Tele-Snaps :
Series Z-UU
Marcus was surprised and
a little excited; at the time Tele-Snaps weren't supposed to exist. He asked
the assistant to see if he could see these files, and they soon returned with
folders resembling scrapbooks, that contained the valuable images. Marcus
checked and would later find that with four exceptions (The Enemy of the World
4, The Dominators 5 & The Mind Robber 4 5), all episodes from Story Z to
Story UU were present. Marcus immediately contacted Doctor Who Monthly magazine
editor Gary Russell, who both agreed the images should be published as soon as
possible for all of Dr Who fandom to see. At the same time, Stephen James
Walker, a notable Doctor Who author, was researching at the Written Archive
Centre. He had also found the Tele-Snap Scrapbooks, yet didn't have the
resources and contacts that Marcus Hearn did. Despite Marcus' belief that
"Scrapbook One" existed, which supposedly contained all the episodes
pre-The Gunfighters, all documentation found to date says otherwise. It is
accepted that John Cura only Tele-Snapped stories that he was requested (and
paid) to snap, and not just every single story that was produced in the 1960's.
Tele-Snaps founds were The Gunfighters 1 2 3 4, The Savages 1
2 3 4, The War Machines 1 2 3 4, The Smugglers
1 2 3 4, The Tenth Planet 1 2 3 4, The Power of
the Daleks 1 2 3 4 5 6, The Highlanders 1 2 3 4, The Underwater
Menace 1 2 3 4, The Moonbase 1 2 3 4, The Macra
Terror 1 2 3 4, The Faceless
Ones 1 2 3 4 5 6, The Evil of the Daleks 1 2 3 4 5 6 7, The Tomb of
the Cybermen 1 2 3 4, The Abominable Snowmen 1 2 3 4 5 6, The Ice
Warriors 1 2 3 4 5 6, The Enemy of the World 1 2 3 5 6, The Web of
Fear 1 2 3 4 5 6, Fury from the Deep 1 2 3 4 5 6, The Wheel in
Space 1 2 3 4 5 6, The Dominators 1 2 3 4 & The Mind
Robber 1 2 3.
Christopher Barry
Esteemed BBC director
Christopher Barry, in charge of such classics as The Daleks and The Power of
the Daleks, was one of the few directors
to retain the Tele-Snap collections from his stories of Doctor Who. These were
offered to the BFI sometime in the nineties, although had become known about in
fan circles well before this. His collection consisted of The Daleks 1 2 5, The Rescue 1 2, The Romans 1 2 3 4, The Savages 1 2 3 4 &
The Power of the Daleks 1 2 3 4 5 6.
George Gallaccio
In the late nineties,
another set of Tele-Snaps were discovered. DWM reporter Peter
Griffiths spoke to George Gallaccio, one of the
production managers during the Jon Pertwee and Tom Baker eras. George was part
of a team that was cleaning out the production office when a handful of
Tele-Snaps were taken from a cupboard. Just seconds away from being tossed in
the bin, George grabbed them. The collection also included various Tele-Snap
enlargements from The Smugglers, The Tenth Planet, The Highlanders & The
Underwater Menace. While the Tele-Snaps for the latter four stories were either
already existing or the episodes themselves had already been recovered, the
Tele-Snaps for The Crusade were a prize find, as the story was missing two of
it's episodes.
The collection
consisted of The Crusade 1 2 3 4, The Time
Meddler 1 2 3 4, The Tenth Planet 1 2 3 4, The
Moonbase 1 2 3 & The Evil of the Daleks 3
4 5 7.
Derek Handley
In June of 2003, Derek
Handley of Loose Cannon Productions, the
group that make Tele-Snap reconstructions of missing stories, had the chance to
meet the original director of Marco Polo, Waris
Hussein. During the conversation Derek enquired about the Tele-Snaps for the
lost story, to which he got the surprise reply of "I might have
them". Apart from Mission to the Unknown and The Massacre, Marco Polo has
the least surviving evidence of off-screen visuals known to exist, save for
eight photographs from the final episode grabbed by an Australian fan during the
screening in Australia (later published in DWB 57). These photos can be seen here.
In October Hussein confirmed he had the Tele-Snaps, although his collection
didn't include any for Episode Four as that episode was directed by John
Crockett. Unfortunately for Derek, Waris Hussein was
a very busy man and it wouldn't be until February 2004 that Derek would be able
to finally obtain the snaps. Doctor Who Magazine agreed to pay the rights for
use, thus allowing the snaps to be seen by the public for the first time in
almost 40 years. Waris held Marco Polo 1 2 3 5 6 7.
Publishing the Tele-Snaps
I have decided to drop
this section of the article. Please refer to the brilliant Tele-Snap article by
Richard Bignell in 'Nothing at the End of the Lane'
Issue 2 for more information. Tele-Snaps can be viewed online here.
Epitaph
The final episode
Tele-Snapped for Doctor Who was Episode 3 of the Patrick Troughton adventure The Mind Robber, which aired
on the 28th of September, 1968. Cura ended his Tele-Snapping career the same
year, after an impressive 21 years. John Cura passed away on the 21st of April,
1969, at the age of 67, after contracting cancer of the colon. After his death,
his wife Emily attempted to see if the BBC wanted his collection, which stood
at approximately several hundred thousand images. They didn't, and as a result
the entire collection, like the Doctor Who episodes themselves, were destroyed
(a handful of his collection did survive, mainly from the Royal family and the
Beverley Sisters). Doctor Who fans owe a debt of gratitude to him and the
service that he provided for this and other series. Without John Cura, many
Doctor Who memories would be lost forever.
Materialise at…