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Not Even Past

Prisoners of the Cold War

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I grew up watching reruns of The Prisoner, a classic sixties television series created and produced by the famously eccentric TV icon Patrick McGoohan. McGoohan also stars in the series, playing a disillusioned British spy struggling to escape his allotted role in the Cold War. A striking opening montage sets the plot in motion. McGoohan’s spy is shown storming into his boss’ office, where, after a ferocious argument, he resigns from his job. Immediately thereafter, he jumps into his sleek Lotus sportscar (this is, after all, the age of Bond) and heads for home. But danger is hot on his heels: two unidentified thugs, disguised as undertakers and driving a hearse, surreptitiously pursue the Lotus across central London. The hearse arrives at the spy’s townhouse; the thugs emerge and flood the house with gas; the spy, in the parlor, is knocked unconscious. Sometime later, he reawakens in what initially looks like the same room. But a glance out the window reveals otherwise. The spy has been kidnapped, and his captors have transported him . . . not to a cell block, but to a picturesque seaside resort town.

A contemporary photograph of Portmeiron, Wales, the seaside resort town used to portray the fictitious "Village" in The Prisoner
A contemporary photograph of Portmeiron, Wales, the seaside resort town used to portray the fictitious “Village” in The Prisoner. Source: Wikimedia Commons.

At first glance, “The Village,” whose outwardly cheerful inhabitants go by numbers instead of names, appears to be a harmonious, democratic utopia. But McGoohan’s character, rechristened “Number Six” upon arrival, quickly discovers that his new home is actually a prison for spies. Real power is concentrated in the hands of Number Two, a sinister Village grandee who torments, brainwashes, and interrogates residents on behalf of a mysterious, unseen Number One. To this treatment, Number Six refuses to submit. “I am not a Number!” he declares at the beginning of every Prisoner episode. “I am a free man!” The statement becomes a sort of motto for the show, which revolves around Number Six’s attempts escape from the Village and expose Number One.

A bust of Patrick McGoohan on display in Portmeiron
A bust of Patrick McGoohan on display in Portmeiron. Source: Wikimedia Commons.

Over the course of sixteen episodes, the Village keeps Six engaged in a deadly game of cat and mouse, always managing to prevent him from slipping out of its grasp. But in The Prisoner’s seventeenth and final installment, McGoohan’s character manages to turn the tables with help from a couple of unlikely allies. The first, a young man referred to by the Villagers as Number Forty-Eight, embodies the defiant weirdness of late sixties counterculture, communicating exclusively by means of hip, irreverent, but also basically incomprehensible slang. The second ally, in a twist, is Number Two, who has become just as dissatisfied with his role as Number Six.

Suddenly, the well-ordered Village has to contend with what one of its leaders describes as “two forms of revolt. The first—uncoordinated youth rebelling against nothing it can define. The second—an established, successful, secure member of the Establishment turning upon and biting the hand that feeds him.” The Villagers respond by staging a show trial, charging Forty-Eight and Two with a series of absurd and revealing “crimes” (“unhealthy habits of speech and dress not in accordance with general practice”; “betraying the trust of the Establishment”; “going over to the Other Side”; and so on). However, the trial descends into chaos, giving Number Six and the two defendants a chance to make their escape. Arming themselves, they shoot their way out of the Village, hijack a van, and flee to London.

It’s a moment of triumph—or, at least, it should be. Yet something remains indefinably but very definitely wrong. The clues are everywhere. At one point, McGoohan’s Six confronts a cloaked figure whom he believes to be Number One, only to discover his own doppelganger concealed beneath the cloak. Later, after the escapees reach London, Number Two quietly joins a throng of officials entering the Houses of Parliament, calling into question his rebellion against the “Establishment.” Most alarming of all, though, are the recurring suggestions that Number Six is still under Village control, even though he believes himself to be living freely back in London. The Prisoner’s enigmatic final scenes raise a disturbing possibility: maybe the Village itself is more than just a physical location; maybe, instead, it’s a system of people and ideas, a system apparently capable of extending itself throughout the world.

As a child, I watched The Prisoner as a straightforward (if unusual) espionage thriller. Recently, I tried rewatching it—and discovered not a thriller but a prescient political allegory. The power struggle that plays out in the Village, pitting jaded elites and rebellious “free men” against an increasingly repressive and reactionary “Establishment,” reproduces in miniature the one historian Jeremi Suri has described in Power and Protest, his prize-winning book on the origins of détente during the Cold War. Unlike The Prisoner, Power and Protest is not designed to entertain: Suri’s book is serious, scholarly, and challenging. But it is packed with bold claims which make it a must-read for anyone interested in international relations. It also sheds light on the development and political significance of sixties counterculture—the same counterculture Patrick McGoohan channeled to create The Prisoner.

book cover for Jeremi Suri's book, power and protest

Suri’s narrative begins in the 1950s when rising East-West tensions and the threat of nuclear destruction placed new strains on political systems the world over. In response, frustrated statesmen in China (Mao Zedong), France (Charles De Gaulle), the Soviet Union (Nikita Khrushchev), and the United States (John F. Kennedy) experimented with new, charismatic styles of politics designed to transcend the deadlocked Cold War. At the same time, an international “language of dissent” invented by anti-establishment writers took root on university campuses on both sides of the Iron Curtain. Young people rejected the logic of the Cold War and denounced the overblown, usually unfulfilled promises of charismatic politicians. They also “grew visibly more violent” until, in 1968, their “rebellion produced revolution.” Challenges from above and below, from the Village elite and their restive, unruly prisoners, pushed the international system to the breaking point.

However, as the rest of Suri’s book shows, the international system fought back. In order to defeat the global “revolution” of 1968, a new fraternity of world leaders—led by West Germany’s Willy Brandt, the Soviet Union’s Leonid Brezhnev, U. S. president Richard Nixon, and a chastened, more conservative Mao—“colluded to stabilize their societies and preserve their authority.” Détente, the programmed de-escalation of the Cold War, helped repair their damaged reputations and allowed them to prioritize social welfare instead of military preparedness. Unfortunately, the new politics of peace and well-being was also “profoundly conservative” and deeply manipulative. “The promise of detente,” Suri explains, “became a stick with which to beat domestic critics. . . . It made the sacrifices of the Cold War appear ‘normal,’ and it further isolated policymakers from their publics. In this way, detente contributed to the pervasive skepticism of our postmodern age.”

Richard Nixon and Leonid Brezhnev conversing during Brezhnev's 1973 visit to the United States
Richard Nixon and Leonid Brezhnev conversing during Brezhnev’s 1973 visit to the United States. Source: National Archives.

Power and Protest thus narrates the prehistory of the “post-truth” world we live in today. It also reveals that The Prisoner, produced on the eve of revolution in 1967–68, was both remarkably insightful and ultimately blind to the limitations of its own anti-establishment critique. In an early episode, Number Six asks Number Two “which side” of the Iron Curtain Number One and his henchmen stand on. Two’s response speaks volumes. “It doesn’t matter which side runs the Village,” he tells Six. “[B]oth sides are becoming identical. What has been created is an international community, a blueprint for world order. When both sides realize they’re the same, they’ll see this is the pattern for the future.” Like the revolutionaries of 1968, Six chooses to rebel against this dystopian vision of a peaceful but uniformly repressive international system. But ultimately, neither the Prisoner nor his real-world counterparts were able to realize their desire for freedom. Instead, thanks to the détente they inadvertently catalyzed, they remained prisoners of the Cold War.


John Gleb is a doctoral candidate in the Department of History at the University of Texas at Austin and a Graduate Student Fellow at the Clements Center for National Security.

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Digital Teaching: Behind the Scenes in the Liberal Arts ITS Development Studio

The Liberal Arts Development Studio has served as the production force behind the development of live-streaming and other online courses at The University of Texas at Austin since 2012. The Development Studio is an integrated team of professional and student staff assembled to work with faculty to create rich and effective online courses. Software development professionals create tools to support student/professor interaction online. Audio, video and graphic design experts recruit top-notch UT student staff to create high-quality multi-media experiences for students. Project management professionals work with faculty and technical staff to coordinate the production and delivery of multiple courses each semester, including the summer terms.

 

Credits: 

Interviews conducted by Teaching Assistant Shery Chanis.

Musical intro prepared and performed by Natalie Suri and Zachary Suri.

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Digital Teaching: Behind the Scenes – Students Serving Students

By Marla Gilliland

Jeremi Suri’s HIS 315L course is one of the newest additions to the growing list of online courses that have roots in the Liberal Arts Development Studio. Since its inception, Liberal Arts Instructional Technology Services (LAITS) has employed video, audio and graphic design Student Technology Assistants (STAs) as a key part of its organizational model, which continues to be the cornerstone to cost-effective delivery of online courses as well as other digital learning projects.

STAs are involved in every part of the broadcast production; behind cameras, video signal switchers, graphics computers, stage managing, lighting, audio and tech support, according to Daniel Garza, LAITS’ Manager of Media Production Services. “Our students ensure that each class will have a consistent presentation of the expectations of the professor’s class experience, while the students working on these courses also gain invaluable practical experience.”

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Video STA Bryce Seifert greatly appreciates the enthusiasm Dr. Suri brings to the course. “The class takes place at 8:00 in the morning, so (we) are there early, setting up the studio. As soon as Dr. Suri enters the room he is always ready to go, has a smile on his face, greets everyone by name and is excited about teaching history. I think this enthusiasm resonates not only with the crew, but as he teaches in front of the camera.”

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Video STA A.J. Ahmad wears many hats. Ahmad acts as the floor manager for Dr. Suri’s course, where he makes sure that everything is set up and ready prior to going live at 8 a.m. and ensures that the class runs on schedule. “I (also) technical direct an Economics class, I help edit classes and complete walk-in jobs, including off-site shoots LAITS is hired to do, and I help to maintain, build out, or readjust the production studios for LAITS.” Says Ahmad about the STA position, “I came in simply wanting to help edit some classes or operate the cameras, but I’ve come away with an understanding of how to run a small, but growing, production studio. I feel like I’m part of a small TV station,” says Ahmad. “I’ve learned far more than I ever thought I would.”

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Video STA Peter Northrup is the technical director for Suri’s class and also serves as camera operator, floor manager, graphics operator and editor on other courses, but his favorite title is that of self-proclaimed “Lord Vacuumer of the studio.” Northrup says he has “gained a much better understanding of a “broadcast” environment and of the importance of procedure when many people work on a project.”

“Suri makes history more enjoyable for me that than it ever was (in class), and I like history.” Northrup enjoys the team production environment at LAITS and believes this camaraderie carries over to the on-air style of Dr. Suri. His favorite moments in HIS 315L are when “Suri pokes fun at the TAs. It’s great to see the TAs’ laughter and reactions.”

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Samantha Skinner, recent UT graduate and former audio STA, is currently acting as audio engineer for Dr. Suri’s live online broadcast. She handles “everything-audio”, from playlists to in-class audio stings to mixing the professor/TA banter, while making sure the students receive high quality audio for every class.

Skinner credits her time as a STA for providing her with a real world production experience. “I learned to perform multi-channel mixes in a fast-paced environment and to deliver quality work to a high volume of students. I pushed myself to learn and do my best work every day; a sentiment I believe the professors and fellow co-workers in LAITS all share.“ Samantha appreciates the enthusiasm of the HIS 315L teaching assistants and Dr. Suri. “His sincere excitement to teach is definitely infectious to the production crew, not to mention very helpful for our 7 a.m. call times.”

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STAs also play a central role in the post-production process. STA Bryce Seifert is the editor for Suri’s HIS 315L video-on-demand, which means that after each live broadcast he puts together the final video for students to review. The timeframe for this turnaround is very demanding so he must work quickly and accurately to ensure that students have what they need to review for the next class or exam. He also acts as a technical director, camera operator and editor for other online courses. Seifert notes that his work on HIS 315L and others will serve him well as he pursues opportunities after graduation this year. “I have gained many hours of real-world production experience that has allowed me to better understand the technical aspects behind the video production of a live event.”

Media Manager Mike Heidenreich has recruited, trained and worked with many student assistants during his tenure with LAITS. According to Heidenreich, the students play a critical role in the online courses, because their talents are called upon during all portions of production.  “Whenever we need a light adjusted, a new graphic logo created, a video edited, or a multi-channel audio recording mixed and mastered, you will likely find a student handling the job.”

But Heidenreich stresses that it is not just the work of the students that helps make LAITS successful, as he feels that the energy they bring to projects inspires the full-time staff.  “We are only able to accomplish our large volume of work due to the professionalism of our student assistants. We depend on them and they consistently deliver work that far exceeds their years. Because they view each project as a new opportunity to improve their skills, working alongside them reminds us of why we do what we do and why it is so critical to deliver the best work possible.”

Dr. Suri will be teaching an on-demand version of the course in the first Summer session in order to accommodate students both in and outside of Austin. For more information about this and other upcoming UT Summer and Fall online courses, please visit http://www.laits.utexas.edu/tower/online/courses/.

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Marla Gilliland is a Senior Project Manager in Liberal Arts ITS, working with LAITS’ professional and student staff, UT faculty and graduate students to assist in the delivery of courses online. In addition to having a background in systems support, service and project management, she is an educator and a parent of two college students.

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All images courtesy of the author.

Digital Teaching: Worth Getting Out of Bed For

Every year thousands of students take introductory courses in U.S. History at UT Austin. This spring Prof Jeremi Suri is experimenting with an online version of the U.S. History since 1865 survey course. He and his students will blog about the experience of digital teaching for readers of Not Even Past.

By Asаad Lutfi

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It’s not easy to wake up at eight in the morning especially with a cozy blanket over you and a comfy pillow under your head – I’m sure we all put up quite a fight. What astonishes me every time I wake up for my history class with Dr. Suri, is that unlike my previous morning classes, the web based class promotes interaction at a time when only birds can be heard chirping.

Having lived the greater part of my life getting spoiled in private schools in Pakistan, I have had the privilege of experiencing a variety of teaching and learning methods. The subcontinent, India and Pakistan, having been under the British rule for hundreds of years, is unfortunately still very dependent on the British when it comes to education. Though at the grassroots we are forming our own curriculum, higher education is still totally dependent on British Educational Boards. Pakistani education is characterized by private tutoring and personalized attention leading to a system of teacher-dependent learning. I came to America two years ago and I still have a lot to learn before I get accustomed to the teacher-independent learning system, as I will call it, that is prevalent in universities here.

One may argue for and against both, but what amuses me as I wake up every morning for my history class, is this new form of online education that never fails to captivate me. We are fortunate enough to be part of a generation that has seen the rise of technology that has transformed the world within the past 20 years. Not only do we not use paper maps anymore, we have gone so far as to replace human interaction with text and emails. But can we go far enough to say that online classes will revolutionize the learning experience by providing instant, low cost education designed for convenience? Attending a class in bed is something we would all love to do but what about the distractions at home? Do we actually learn as much as when we go to class? YES.

The class chat between the students and the teaching assistants leads to many fruitful discussions that are uncommon in a normal class setting. Not only that, it also helps people who are intimidated by the thought of speaking out in front of 300 other students. I believe that asking questions is the key to learning. The online class platform not only promotes discussion between the students, it also allows the teaching assistants and the teacher to have a better idea of the mentality and direction the students are heading.

The self-based learning system not only captivates its audience, it also promotes independent learning and research. Being only a click away, students can look up any event and topic they want to learn about within minutes without the fear of the professor’s disapproval. My former history teacher did not let us use any electronic devices in class. In contrast, the online platform, in my experience, promotes web surfing and research. This makes the online class a whole new experience for me. It alters my learning strategies and makes me focus on something I would like to do much more than I do in my classes — research.

I think the online learning platform can help raise the literacy rates and promote education through online means in third world countries like Pakistan. I would also note that, it could be the key to promoting learning for girls in Pakistan who are from families that are against sending their daughters to school. I believe that with affordable electronic devices or even a library that lends out laptops or tablets in the rural areas of Pakistan, we can solve the huge problem of education for women in the rural areas of Pakistan. I think a more educated Pakistan along with other third world countries would resolve a lot of broader problems.

It is certainly a big step to move away from the classroom but with the online classes at our disposal, I think it is about time that we should acknowledge the beginning of a new era of education and give it a try.

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Digital Teaching: From the Other Side of the Screen: A Student’s View

By Abigail Griffin

When most college students think of online courses, they often imagine basic, boring classes that are convenient and easy A’s. Online classes often require little effort and minimal time commitment, while still satisfying a graduation requirement. So, students drudge aimlessly through the mandatory course, get their completion grades, and move on with their lives, without actually gaining anything from the experience. Dr. Suri’s online course, however, is so much more than a mark off of an undergraduate’s to-do list. Professor Suri revolutionizes this old, bland style of online coursework and provides a unique and active learning experience to students anywhere—from the comfort of their own beds to a quaint coffee shop down the street to the studio classroom in Mezes.

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Going into the course, I was skeptical. Not because I didn’t have full faith in Professor Suri’s ability to make the course the best it could be, but because I was worried that even the best online class could not beat traditional, classroom-style learning. I had been unimpressed by the reputation of online classes in the past, and I never previously had the desire to take one. I always preferred a classroom setting because it just seemed more “right.” But boy, was I wrong.

Not only is Professor Suri an incredibly energetic and knowledgeable professor, but he makes his lectures engaging, informative, and entertaining. The online setting does not take away from the education at all, in fact, I think it enhances the learning environment. Students are more willing to participate in class through applications like “Class Chat” and “Ask the Professor,” and the TA’s and Prof. Suri actively respond to their comments, which would be nearly impossible in a huge lecture hall. When students take an active role in their learning like this, they benefit significantly more from the lecture. I know from experience that there is practically no class participation in a 300-500 person lecture hall, but having the same class size online encourages significantly more student involvement.

For example, Dr. Suri uses images in his lecture every class period, and the pictures pop up on our video screens so we can easily see them. When he asks us to comment on the images, students begin contributing to the discussion in a matter of seconds. In a normal classroom setting with the same number of students, almost no one responds to the professor’s questions, and never that quickly and eagerly. So the online forum actually makes the lecture easier for the students, the professor, and his assistants. It is also wonderful because the slides and images that come up on our screen are clear and easy to understand and interpret, whereas, it would be more difficult for some of the students to evaluate the images in a lecture hall.

Overall, I am incredibly impressed by what Dr. Suri has done with his online course. Obviously, it isn’t perfect. Sometimes the technology doesn’t work correctly or people get off track in the class chat. But as a whole, the class is a lot of fun. I think that the online and in-person office hour options are great, the class pings ensure that students are paying attention (and are super easy participation points), and the lectures are always interesting.

Plus, I have never been a morning person, so it’s great to be able to wake up 5 minutes before class and still make it on time.

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Abigail Griffin is a second-year Plan II Honors and Government double-major with a minor in Arabic. She graduated high school in St. Louis and her family currently resides in Elizabethtown, KY. She is an Arabic Flagship and Forty Acres scholar at UT , an Agency Co-Director within Student Government, and a Camp Texas counselor to incoming freshman. Abigail also volunteers as a KIPP tutor and as an AISD tutor to Arabic-speaking students. Additionally, she is passionate about sports and has played on the Women’s Club Soccer team In the future, she intends to pursue a career in foreign service and counterterrorism. 

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Digital Teaching: Ping! Are you listening? Taking Digital Attendance

Every year thousands of students take introductory courses in U.S. History at UT Austin. This spring Prof Jeremi Suri is experimenting with an online version of the U.S. History since 1865 survey course. He and his teaching assistants, Cali Slair, Carl Forsberg, Shery Chanis, and Emily Whalen will blog about the experience of digital teaching for readers of Not Even Past.

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By Carl Forsberg

How do you know if students are actually watching a live-streaming online lecture? Excellent question!

Carl Forsberg. Courtesy of Joan Neuberger.

Carl Forsberg. Courtesy of Joan Neuberger.

Online courses offer a number of tools to counter the potential distractions that accompany online formats.  Our class uses the “ping” to keep students accountable and engaged, supplementing the chat function that Emily described in last week’s blog post.

During each lecture, one of the teaching assistants sends three randomly spaced ping questions to every student in the real-time audience.  Students see a multiple choice question pop onto their screen, and have two minutes to answer before it disappears.

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Screen shot of a comprehension question ping.

If you are surfing the web or answering e-mails during lecture – beware!  You might miss your ping and your chance to prove you were tuned-in to the lecture.  Pings are intended to motivate students to stay engaged in lecture.  You might think of them as a kinder, gentler, form of the cold-call!

They also offer several labor saving functions. Teaching Assistants can easily calculate attendance grades by pulling up a log of students’ ping answers, eliminating the need to keep and compile a separate attendance roster each week.

Pings serve a pedagogical function as well.  Rather than testing students on whether they caught a passing reference to a date or name in the course of a lecture, a well-crafted ping question can reinforce Professor Suri’s conceptual points.

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Screenshot of the results to a ping question.

TAs get immediate feedback on how the class has answered the ping question, allowing them to see when a large number of students didn’t grasp an important point, and providing an opportunity to clarify. Pings can also be used to allay students’ confusion about logistics: for example, a poll question might ask students what time their weekly reading responses are due, after Professor Suri covers the point.

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Screenshot of a logistical ping question.

For the TAs, crafting multiple choice answers for our pings provides an enjoyable exercise in pedagogical creativity, as we aim for questions that are not too obscure, drive home key points, and maybe even add a little levity.

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With the exception of the first image, all images are courtesy of the author.

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