William Gaddis stated that power does not corrupt the people. People corrupt the power. This is a statement that describes perfectly how power affects man. George Orwell’s prose book, 1984, and James McTeigues’ theatrical film V for Vendetta both show how power can be abused to achieve dominance. The texts may differ in terms of textual style and perspective, but both are dystopian fictions and juvenalian parodies of authoritarian leaders, portraying their protagonists as victims. Both texts are commentary on the effects of abuse of powers. This is done through the themes of cult, culture, hegemony, fear, doubt and revolt. Both texts are essentially a reflection of the creators’ fears, expressing their views on how power could be corrupted. Orwell suggests that a society that is autocratic can overcome the obstacles it faces after taking all necessary measures. McTeigue says that abusers of authority can be brought down by giving them hope.
Orwell’s antagonist, Big Brother, is the face of The Party who promote their political agendas through mass media. McTeigue also establishes a similar cult in his characters to illustrate how it is an inherent element of power abuse. Orwell’s Big Brother is The Party through the mass media. Citizens “[break] into rhythmic chants of ‘B B!'” during the ‘Two Minutes Hate. . . . B-B! . . . B-B !’–again and again”, is a ritual of loyalty that is a testament to Big Brother’s loyalty. Winston describes him in a figurative way as a “man about forty five, with heavy black moustache a ruggedly beautiful feature”, an allusion made to Joseph Stalin. Stalin was famous for his personality cult. The play on words in his name is intended to heighten the satire. McTeigue also uses paintings of the German Chancellor to dominate scenes in which the public appears. McTeigue’s pessimistic, colorless tone is similar to Orwells detached, matter of fact tone. Both creators use religious references to make their antagonists seem like gods, in order to further cement their cult-like personality. Big Brothers’s presence is quite ostensible. McTeigue’s role in Chancellor Adam is more visible, which allows the audience a visual association with his name. Orwell used the Big Brothers motif to reinforce this image.
The narratives of both authors explore cultural hegemony, which is at the core their oligarchical cultures. Orwell & McTeigue show a society shaped by the government’s values, achieved in part through the use of a red-herring enemy to distract attention from their real enemy – themselves. Orwell’s ‘Two Minutes Hate,’ is a uniformity tool, in which they manipulate hate to hate Goldstein. In V for Vendetta, is it any different? Prothero broadcasts “immigrants and Muslims” as “diseased degenerates”. McTeigue highlights this by increasing the intensity of the scene’s non-diegetic sounds, as well the zooming-in of Prothero. McTeigue has used desaturated colours to enhance the influence of Norsefire on the population. This is combined together with a ‘Newspeak. They are conspiring to corrupt people’s senses and their commonsense by limiting the ability to communicate. Orwell shows its effect in his book by juxtaposing Winston’s internal monologue with a limited-omniscient third person narration. Orwell uses the phrase “For how else can we know that 2 + 2 = 4?”
Through their respective protagonists, both authors explore how fear is a driving force in repressive cultures. Orwell uses limited narration from a third-person omniscient point of view to expose the readers to Oceania’s fear, in which “you never knew if you were under surveillance at any time”. In order to convey the level of fear Oceanians feel, Orwell uses the metaphor, “In far distance, an helicopter skimmed through the rooftops, hovered briefly like a Bluebottle”, which compares Thought Police to jellyfish bluebottles. McTeigue also uses the caliginous, underexposed atmosphere to represent the fear of London. McTeigue, in his bildungsroman Evey’s story, explores how fear is a culture that needs to be abolished as a tool for freedom. Evey is initially depicted in the film as a passive individual who is afraid of everything. But a close up shot shows that Evey wishes she was not so fearful. This revelation is the catalyst for her personal growth. The audience watches Evey get baptized under the rain in a cross-cutting style, which is similar to V emerging from Larkhill’s Resettlement Center. The two scenes, V surrounded in fire symbolizing the beginning of vengeance, and Evey surrounded in rain, represent the washing of fear away. Orwell, like McTeigue leaves little room for happiness in his society. McTeigue on the other hand, illustrates how the mind can be used to achieve freedom.
As demonstrated by the endings of 1984 and V For Vendetta, the inevitable result of oppression is rebellion. Winston’s initial rebellion was caused by his “overwhelming want to possess a [book]” and he complemented this metaphor with “Winston remained glued to the telescreen”. V placing the face mask on himself is the beginning of his revolt. It denies the audience the opportunity to understand V from an emotional or psychological perspective. Winston’s varicose acne is a metaphor for his subversive thought against The Party which he was aware were detrimental. It is similar to knowing that scratching an ulcer would be detrimental, but still doing it anyway. The resolution of 1984 shows Winston’s complete submission to Big Brother. “He loved Big Brother” is the allude. The word ‘love,’ used in the storyline to create tragedy, makes readers realize that Winston hated him. V, on the other hand, succeeds at sparking a revolution as seen by the community’s widespread support for blowing up parliament house. McTeigue frees the audience’s eyes to see wide, deep-focus shots at the end of the movie. The dominoes are a visual representation that pushing a single domino has no effect. However, pressing multiple dominoes causes a flurry of movement. Both artists illustrate a distinct pursuit of rebelliousness that began only when doubts were cast on the government regimes.
Orwell & McTeigue demonstrate the significance of doubt, as a flaw fatal to an autocratic pursuit, by contrasting the narratives. Both 1984 and V for Vendetta are based on the same conflict, which is the character versus the society conflict that arises at the start of both texts. Orwell uses the metaphor of Orwell’s vulcose acne to illustrate how conflict can create dramatic tension. McTeigue also intensifies non-diegetic musical compositions as the country begins to realize the truth about the government. The climax to 1984 shows Winston’s ambitious plans failing as the Party creates an environment that is impervious to internal destruction. The Party uses the oxymoron, “ignorance, strength” in order to suggest that doubt is impossible with ignorance. In a similar way, Chancellor acknowledges the importance of doubt in his statement, “to fail would be to cast doubt on everything we believed, everything we fought for.” V’s assertion of doubt awakens the nation to their government’s atrocities. 1984 shows us how the suppression of any doubt results in complete conformity. V For Vendetta, on the other hand, shows us how doubts can bring about an idea’s demise.
Orwell’s and McTeigue’s narratives clearly reflect their views on autocratic governments through their characterisation, setting and conflict. The modal differences between Orwell and McTeigue are not as important as the idea they share: power leads to corruption. The idea of cause-and-effect is evident when power is held and corrupted. If you abuse power with a cult of personalities, cultural hegemony, and a fear culture then it will create resentment. Orwell’s fear of what will happen to any political movement which embraces authoritarianism is expressed in the novel 1984 and V for Vendetta. It is a warning tale about the possible consequences of abuses of power.
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