![]() Likewise, in V for Vendetta¸ “immigrants, Muslims, homosexuals, terrorists” are broadcasted as “disease-ridden degenerates” by Lewis Prothero which McTeigue emphasizes through the heightened intensity of the non-diegetic sound in the scene and the increased zooming in of Prothero. Orwell implements the ‘Two Minutes Hate’ as an instrument of uniformity, where they indoctrinate hate, through manipulation, to hate Goldstein. Orwell and McTeigue depict a society conformed to the values of their government, achieved primarily by using the red herring of an enemy to detract attention from the real enemy, that is, themselves. To add to Big Brothers ubiquitous image, Orwell uses the motif of Big Brothers face where “the black-moustachio’d face gazed down from every commanding corner”.Īt the heart of their oligarchical societies lies cultural hegemony which both creators explore through the orientation of the narrative. Although McTeigue takes a more tangible role with Chancellor Adam, allowing the audience to visually associate an image to his name. Big Brothers presence is very much ostensible. To further forge their antagonist’s cult of personality, both creators present them as god-like, inserting many religious connotations in their characterisation. McTeigue also uses a pessimistic, colourless tone just as Orwell’s dispassionate, matter-of-fact tone to add to Winstons discourse. Similarly, in scenes showing the public, McTeigue places paintings of the Chancellor in the frames to establish the Chancellors presence as dominate. His name itself is a play on verbal irony, a travesty of a brother figure which heightens the satire of the novel. Winston describes him as “a man of about forty-five, with a heavy black moustache and ruggedly handsome feature”, a figurative allusion to Joseph Stalin who was known for his cult of personality. B-B!’-over and over again”, a ritual of devotion acting as a testament to the loyalty held for Big Brother. During the ‘Two Minutes Hate’, citizens “ into a deep, slow, rhythmic chant of ‘B-B!. Orwell’s antagonist, Big Brother is the face of The Party who advocates their political agendas through mass media. Orwell submits that an autocratic society, after taking the necessary measures, can transcend obstruction whilst McTeigue suggests that when given hope, abusers of power can be overthrown.īoth Orwell and McTeigue establish a cult of personality for their antagonists, presented through characterisation, to demonstrate it as an innate element of abuse of power. The themes of both texts essentially reflect the apprehensions of both creators, communicating their ideas on how power can be corrupted. The commentary at play by both creators on the attributes that arise as a result of abuse of power are contrived through the themes of cult of personality, cultural hegemony, culture of fear, doubt as the downfall of an idea and rebellion where they are emanated through the characterisation, orientation, conflict and climax of their stories. They differ in textual form and perspectives however at their core, both texts are works of dystopian fiction and juvenalian satire against authoritarian style leaderships, depicting their respective protagonists as victims of repressed societies. George Orwell’s prose novel, 1984, and James McTeigue’s theatrical film, V for Vendetta, are such quintessences of power abused by those in pursuit of reaching authoritative domination. ![]() ![]() William Gaddis once said, “power doesn’t corrupt people, people corrupt power” a truth that perfectly articulates the relationship between man and power. ![]()
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