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PDF | On Feb 1, , Cathy Leogrande and others published Alan Moore and David Lloyd's V for Vendetta. Stabliste. Buch. Andy Wachowski. Larry Wachowski, nach dem Comic von Alan Moore und David Lloyd. Kamera. Adrian Biddle. Schnitt. Martin Walsh. Ton. A study of V for Vendetta and its extent provided by translation. Dissertation sintomático, V for Vendetta, de Alan Moore, traduzido para o português brasileiro terney.info, em.
At the time when Moore was writing V for Vendetta, the Cold War was still a reality, and was, in many ways, still escalating. Although it would end only two years after the graphic novel was published. Their competition took many forms, and perhaps the most notorious was the stockpiling of nuclear missiles. For nearly thirty years, both the U.
There was widespread fear that the arms race between the U. The premise of V for Vendetta is that this war has occurred: both Russia and America have been destroyed, along with Africa.
Another important event to which V for Vendetta responds is the rise of conservatism in both the U. The AIDS virus killed millions of people during the s, most of them homosexuals.
One final historical event to which V for Vendetta alludes is the Gunpowder Plot of A group of radical Catholics, including Guy Fawkes, plotted to assassinate James I, the Protestant ruler of England at the time, by blowing up the Houses of Parliament, the center of the English government.
On the 5th of November, Fawkes was caught beneath the Houses of Parliament, surrounded by barrels of gunpowder. Although Fawkes was tortured for his act of treason, he committed suicide before English soldiers could execute him.
Other Books Related to V for Vendetta A full list of the books to which V alludes is impossible: there are simply too many of them. Moore has acknowledged his debt to such important authors of dystopian fiction as George Orwell, author of , and Aldous Huxley, author of Brave New World. As in these two novels, England in the future is a highly repressive society, in which people are constantly being watched by an all-powerful government.
It is an early taste of how V will be presented--also a terrorist, also a hero--and of the moral and political idiocies to come. Moore's comic envisioned a fascist British government that had come to power in the wake of a nuclear war.
The film, released on video today, updates this scenario for contemporary and American audiences in two ways: First, the event that precipitated the descent into dictatorship was a biological attack on English soil; and second, though allegedly the work of terrorists, the attack was in fact conducted by the British government itself, as a pretext for exerting vast, police-state powers over the lives of its citizens.
The resonance with critiques of the Bush administration's political use of the war on terror are hard to miss and entirely intentional. Whether or not one believes that governments manufacture crises and invent enemies in this way, there's one group clearly guilty of the accusation: Hollywood filmmakers.
What do movies do, after all, if not spin fictions intended to manipulate our emotions?
A villain is conceived and given loathsome qualities in order that we will thrill when the hero dispatches him. Creating such imaginary foes is an innocent enough device when it comes to entertainment--a necessary one, even--but it is to some degree a fascist one, and as such an awkward fit for a film, like V for Vendetta, that wants to lecture us about the horrors of fascism.
We're meant to hate the movie's imaginary dictatorship for its violent means; so much so that, by the end, we will find V's flamboyant violence against the dictatorship good and just and emotionally satisfying.
The whole movie builds toward this bloody catharsis. It opens with young Evey Hammond Natalie Portman setting out into the London streets at night, on her way to an appointment.
She is accosted, however, by plainclothes policemen who inform her that it is past curfew and declare their intention, by way of punishment, to rape her. They are interrupted by the appearance of "V" Hugo Weaving , a clown-masked, knife-wielding champion with a tiresome fondness for iambic pentameter and words beginning with his own initial.
After dispatching Evey's tormentors, V invites her to a nearby rooftop to witness the culmination of a pet project of his--specifically, the explosive demolition of the Old Bailey courthouse. And what a display it is: Though he may be a terrorist, V is a showman too: He leads up to his big bang by blaring the Overture from speakers all around the city, and he follows it with a professional-grade fireworks show.
If this opening sounds astonishingly silly, that's because it is.
But, while there are plenty of embarrassing moments still to come--when, for instance, V brings Evey to his art-strewn secret lair and declares, "It's my home.
I call it the Shadow Gallery"--the film gradually acquires considerable narrative texture and weight. V conducts a series of vendettas against individual enemies that are staged with style and sophistication. Evey leaves and reunites with V more than once, at one point hiding out with her kindly boss Stephen Fry , who proves to be a secret subversive--a gay art collector who uses his TV variety show to poke fun at the government. At least, that is, until said government breaks into his house and beats him to death.
And a sympathetic policeman named Finch Stephen Rhea , himself something of an outsider thanks to his Irish heritage, tries to piece together V's history, which seems connected to a secret government prison camp long since abandoned.
Fry and Rhea both bring a dose of nuance and humanity to the proceedings, and thank goodness. The villains of the film are for the most part one-dimensional monsters: a pedophile priest, a bullyboy talk-show host, a dead-eyed chief of the secret police, and John Hurt as the "Chancellor," a ranting, goateed tyrant whose towering countenance berates his underlings from what appears to be an Imax screen.
It's an enjoyable if obvious reversal of his casting as Winston Smith in V, too, is an inevitably distant, inhuman figure, expressionless and indistinct in his jester's mask.
At times Weaving's dialogue, which was re-dubbed after filming, seems utterly disconnected from V's grinning visage, as if it were the voice of a disembodied narrator. Indeed, it's not even consistently Weaving behind the mask; in addition to stunt doubles, there are still some scenes that feature James Purefoy, who was initially cast as V, but left after a few weeks of filming.
As Evey, Portman is the film's intended star, but she carries it only intermittently.
I've written before about the actress's disconcerting girlishness , and while it is less problematic here than in other recent performances with the exception of an all-too-convincing scene in which she dresses up as teenage pedophile-bait , she still fails to command the camera's attention. As a result, the scenes between Evey and V are frequently the least compelling in the film. The supporting performances by Fry and Rhea and also Sinead Cusack, as a repentant villainess are equally crucial as a counterpoint to the otherwise pitiless politics of the film: They suggest the possibility of reconciliation, of a middle ground between the government jackboot and V's violent resistance.
There is a period in the latter half of the movie, when the filmmakers show signs of recognizing V to be a mirror image of the very dictators he seeks to depose: He uses torture toward dubious ends; he foments disorder, culminating in a little girl's death, in order to rouse the public to his cause. For a while, it seems even Evey, the movie's conscience, may abandon V's retributive plan.
Alas, she doesn't. In the end, the moral ambiguities are cast aside, as if the inadvertent missteps of a film that has exceeded its creators' grasp. V is once again the hero--a role the movie still inanely imagines he shares with Fawkes--and we are meant to cheer not one but two violent climaxes.