The Visceral Politics of V for Vendetta: On Politica Affect in Cinema

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

My initial reaction to the film was of utter shock at the brutally raw reality of the film. Upon reflection and commentary from other sources, the film’s simple yet vastly effective filmmaking techniques of developing the explicit and implicit meaning of the film. The explicit meaning, as

“The most powerful way to reach an audience is through the characters' emotions” (Alderson). Sometimes a producer’s toughest job is to appeal to his or her audience to gain their interest in a film. Two of the movies we watched in class came to mind when I think of this. ‘Three Idiots’ along with ‘A Bronx Tale’ are fantastic examples of how a producer can reach the emotions of an audience. However, I felt that one film was more powerful than the other. Although ‘A Bronx tale’ is a well written story with talented actors, the feel for the viewer throughout the movie is almost a sort of low key melancholy as the drama unfolds. ‘A Bronx Tale’ deals with more complex issues such as the mafia, murder and even racism but the producer almost always gives us what we expect next. Conversely, the lower budget film ‘Three idiots’ with little know actors leads the audience through

The film I focused on for this essay, V for Vendetta, was filmed and produced in 2006 by Warner Brothers.

Bloom, Harold. "Introduction." Jan. 2004. EBSCO. Literary Reference Center. Paul VI, Fairfax. 23 Mar. 2009 <http://search.ebscohost.com/login.aspx?direct=true&db=lfh&AN=16379126&site=lrc-live>.

In the novel 1984 and the film “V for Vendetta”, the protagonist for both stories are captured while performing various acts of rebellion against the totalitarian government, of which is controlling their city. In punishment, the government tortures them with harsh, inhumane methods that are similar to those used in dictatorships during the 1900s like the USSR under Stalin’s rule. However, both protagonists are tortured by different sides, and by people from completely opposite ends of the political ladder: one a government agent, the other a rebel. Although the themes disclosed in relation to the purpose and meanings of torture are similar, the overall message and final opinion that is expressed and conveyed to the recipients are complete

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

In his essay “E Unibus Pluram” David Foster Wallace critiques the fast-cutting tropes of contemporary cinema and television as meretriciously catering to our desire to transcend our average daily lives. These hysterical collages are, in his words, “unsubtle in their whispers that, somewhere, life is quicker, denser, more interesting… more lively.” We leave these films dazzled, punching the air, ready to do combat with a gang of bad guys or lose a pursuer in a car chase, but enjoy none of the edifying potential that Leo Tolstoy and other early theorizers of cinema’s potential saw in the fledgling art form. Contemporary independent cinema often works in stubborn self-conscious contrast to the transcendence aesthetic, but too

History is a widely sought-after subject for movies, and historical films are enjoyed by audiences of all kinds. Being extremely popular as they are, historical films have the ability to be very diverse in the way that history is recreated or used in the adaptation. These films often face criticism, however, of the fact that historical accuracy often gives way to anachronisms in the name of entertainment. Zack Snyder 's adaptation of the graphic novel 300, and James McTeigue 's adaptation of V for Vendetta are no exceptions to criticisms of historical accuracy. However, while Zack Snyder 's 300 is an attempt to recreate history, and does so in a dramatic, stylized, exaggerated, and biased fashion, V for Vendetta echoes history and uses it as a way to enhance the story.

For those who frequently watch movies, it is only an unsaid fact that they develop a strong liking for a particular genre or genres of films. And once this bond is structured in one’s mind with a specific type of movie, one often expects to get the same kind of emotional fruit from the movie apart from being entertained in general, obviously. But it can be hard when a movie is chosen and it does not exactly delivers up to one’s expectations in terms of an emotional ride.

In the film “V for Vendetta” directed by James McTeigue it is evident that “People shouldn't be afraid of their government. Governments should be afraid of their people.” This is seen through several characters in the film. In the first place, the government is made up of people, most of them elected by the citizens of the country. As an illustration, midway through V for Vendetta, the character V surmises that Sutler’s career began as “a deeply religious man and a member of the conservative party. He’s completely single-minded and has no regard for political process. The more power he obtains the more obvious his zealotry, and the more aggressive his supporters become.” This shows as the number of his supporter increased and became more aggressive,

To film theorist, film is an art and therefore its construction is what makes it beautiful. Many film theorists intend to look at film for its construction and how the construction contributes to how it is interpreted. These film theorists then become embarrassed when that same film evokes an emotional or bodily response that has nothing to do with how the film was constructed but everything to do with what the film is showing. This causes skewed results in what is good cinema and it rises the question: “Is this film great because of how it was constructed, or is it great because of how it made me feel.” The argument about how it made you feel has no factual basis and therefore cannot be argued because it is an

The film, V for Vendetta directed by James McTeigue tells the story of Evey Hammond who dwells in a dysfunctional society controlled by the dictatorship Norsefire Party. McTeigue explores many different ideas through the theme that symbols can inspire hope and confidence within individuals and give them the courage to stand up for what they believe is right. McTeigue shows this through his effective use of characterization, dialogue, language features and camera angles. This teaches the viewer that belief, hope and confidence is needed in order to bring about change.

Movies, they are constantly made and constantly watched, its one of America’s favorite pastimes. But every time someone watches a film or reads a book or article everyone has something to say about it, a different opinion on it, different literary analysis or critiques. Here we view three critiques on three different movies, Halloween, 300: Rise of an Empire, and Frozen all critiqued through different ways from gender criticism, to visual and aesthetic critique, and even psychoanalytic criticism.

Close Viewing Essay: In the film V for Vendetta, the director, James McTeigue transport the viewers into a dystopian future where England is under tyrannical rule. McTeigue uses a range of film techniques such as Cinematography and dialogue to help illustrate the themes and messages of hope of a better future. This was seen in the two scenes the Domino effect and the marching scene.