Quotation Test

1.
For each of the following, identify the speaker and the situation. Explain the significance.
I can't feel anything anymore!
2. I have not come for what you hoped to do. I've come for what you did.
3. He used to say that artists use lies to tell the truth, while politicians use them to cover the truth up.
4. The moral of the story is: Good guys win. Bad guys lose.
5. I, like God, do not play with dice and do not believe in coincidence.
6. When you're at this as long as I've been, you stop believing in coincidence
7. A revolution without dancing is a revolution not worth having!
8. I just want a chance to talk to her before she disappears into one of Creedy's black bags.
9. You wear a mask for so long, you forget who you were beneath it.
10. He is a man seemingly without a conscience; for whom the ends always justify the means
11. Of course, he was right, wasn't he? There is something wrong with this country.
12. Because he cared more about revenge than he did about her.
13. That the world needs more than just a building right now. It needs hope.
14. A more perfect stage could not be asked for.
15. But I'd only told them the truth. Was that so selfish?
16. No one escapes their past. No one escapes Judgement.
17. Spare us your professional annotations, Mr ___. They are irrelevant.
18. I suspect if they do find this place, a few bits of art will be the least of my worries.
19. Violence can be used for good.
20. By the power of truth, I, while living, have conquered the universe.
21. Pucker up. Here comes the Finger.
22. If the government searched my house, you would be the least of my problems.
23. For three years I had roses, and apologised to no one.
24. What you want – what you really need – is a story.
25. But again, truth be told, if you're looking for the guilty you need only look into a mirror.
Match Up Quiz
 On the line next to the description, write the name from the list below.
1. High Chancellor
2. scientist/doctor at Larkhill
3. city coroner
4. senior police officer
5. head of the propaganda branch of the government
6. Bishop of England
7. police officer
8. head of visual surveillance
9. head of security
10. Commandant at Larkhill
11. head of audio surveillance
12. a TV host
13. an aspiring actress
14. head of the armed forces
15. former head of the Detention Programme
16. Valerie's girl friend
17. Sutler's political party
18. a secret government laboratory
19. V's home
20. a man in search of revenge
Ackroyd, Adam Sutler, Creedy, Dascomb, Delia Surridge, Dominc, Dr Stanton, Edmond
Dantés, Etheridge, Finch, Gordon Deitrich, Heyer, Larkhill, Lilliman, Major Wilson,
Norsefire, Prothero, Ruth, Shadow Gallery, Valerie
The Road to Dystopia
Brave new worlds from We to V: A brief history of political future shocks
It might have taken a while, but the dystopian movie our political miasma has been demanding for six years
has arrived: V for Vendetta. Despite being directed by an ex-A.D. newbie, based on a 1980s comic series, and
oversold with inspired Langian poster art, the movie looks from here to be nothing less than a hot meteor landing
in the neo-imperialist swimming pool. Could this be the first anarchist blockbuster, embodying the essential
contradictions of mass-culture capitalism by spending at least $70 million (including promotion costs) on a
celebration of righteous insurrection and terrorism? Such is the scar tissue created by 9/11 that two years ago V
for Vendetta would've died on the deal table; today, after the Bush administration has propaned the fields for
WWIII, it's almost politically correct.
Anti-utopian fiction might be the baldest, most high-octane form of political protest our cultures have ever
devised; comparatively (not that they don't share DNA), satire, absurdism, historical dramas, and invasion
thrillers are wimpy competitors. A quick look at the history, however, reveals that it is a brand-spanking-new
genre, created by the 20th century's distinctive nexus of industrialised life, rising corporate power, truly global
reach, and heretofore unseen military destruction. Apparently, the notion of battling a future state that exercises
ideological control over its citizenry had not occurred to anyone before WWI – the centuries-old class system still
cogged, most workers drudged with at least a memory of self-sustenance lingering in their family brains, and
culturati like H.G. Wells and William Morris were busy conceptualising positive utopias that would solve
mankind's innate conflicts.
Still, in the first two decades of the century, the dystopian idea birthed itself in reaction to two such utopianpower manifestations, in essential philosophical combat but otherwise indistinguishable: Marxism, which however
persuasive about battling capitalistic alienation and materialism still seemed to be a monolithic attempt to deindividualize each of us, and Walter Lippmann's American revolution in population control via public relations,
which convinced the nation en masse to waste itself on the war, and has convinced it to condone and pay for
scores of other cataclysms, iniquities, and profiteering since.
Force from above squeezes out the juice. The Soviets provided the first and best model, and so novelist
Yevgeny Zamyatin's We (1920) became the genre's first full-on pioneer work, a portrait of a mechanised society
living in transparent glass, where it is believed that happiness is incompatible with freedom, and where life's
actions are prescribed down to the minute, even the pace and rhythm of chewing food. Completely censored in
Russia during Zamyatin's lifetime, We inspired the European speculations of quasi-Stalinist totalitarian
homogenization that followed: Fritz Lang and Thea von Harbou's Metropolis (1927), Huxley's Brave New World
(1932), Rand's Anthem (1938), Koestler's Darkness at Noon (1940), and Orwell's 1984 (1949).
Since then, dystopias have been primarily popular in and enabled by times of imperial stress, not counting
the Brit film version of 1984 (1956), produced and sanitised by the CIA. If the Cold War was an otherwise fallow
period, the Vietnam hellfire heated things up in European cinema, which spawned Alphaville (1965), The Tenth
Victim (1965), The Year of the Cannibals (1970), I Love You, I Kill You (1971), etc. Eventually, the Brits
assembled a year-bound remake of 1984 (1984) that did not require the CIA's intervention to summon a
rebellious sprig of hope.
The Soviet paradigm fore-fronted a fear of ideas –as in Ray Bradbury's Fahrenheit 451 (1953), filmed by
François Truffaut in 1966. But in the U.S., whose casualties in Southeast Asia were tallied on the evening news
each day, the madness of social oppression was usually exercised over more concrete matters – self-advancing
technology (novelists Robert Heinlein, Philip K. Dick, et al.), overpopulation (Harry Harrison's 1966 novel Make
Room! Make Room!, filmed as Soylent Green in 1973, and the parental-angst movie Z.P.G., released in 1971),
generation-gap rancour (1968's Wild in the Streets), blood-sport as distraction (1975's Rollerball, among others),
etc. Ironically, it may have been George Lucas, with THX 1138 (1971), who painted the most crystallised vision
of crushed dehumanisation since Zamyatin, a market mistake the emperor-to-be would not make again.
International loner prince of the hellacious social scenario, Peter Watkins pounded away on the global system
Lippmann helped create in a trilogy of unsparing films – Privilege (1967), The Peace Game (1969), and
Punishment Park (1971) – that were so savage in their critiques that even the Nixon and Harold Wilson
administrations couldn't get them sold at the peak of counterculture activism.
In the years since, of course, Marx's system failed and became irrelevant as speculative fiction. But the
accompanying escalation of Western complacency and "manufactured consent," and the lack of high-flying antiauthoritarian parables, have only indicated Lippmann's success. (We did see lingering Orwellianisms like Terry
Gilliam's Brazil and Margaret Atwood's The Handmaid's Tale, both 1985; the parodic 1997 Heinlein adaptation
Starship Troopers; and Andrew Niccol's '97 genetic anxiety attack Gattaca.) With our president's approval
ratings at Nixon-during-Watergate levels, could V for Vendetta be a bomb-happy trendsetter, a high-profile
reconnoiterer for the new underground? A new age of dystopian fervour could be dawning: Dick's A Scanner
Darkly and Next are due this year and in 2007, respectively, and a remake of Fahrenheit 451 has been
announced. Ideas, as Vendetta's masked avenger puts it, are bullet-proof.
by Michael Atkinson, The Village Voice
Useful Quotations
V:
[Quoting Polonius from Hamlet, III,i] "We are oft to blame in this, - / 'Tis too much proved - that with devotion's
visage/ And pious action we do sugar o'er/ The devil himself."
3
V:
I, like God, do not play with dice and do not believe in coincidence.
3
V:
A more perfect stage could not be asked for.
4
Evey: I don't see any instruments.
V:
Your powers of observation continue to serve you well.
4
V:
It is to Madame Justice that I dedicate this concerto. Tell me Evey, do you know what day it is?
Evey: November 4.
V:
[Big Ben starts to chime] Not anymore. Remember, remember the 5th of November. The gunpowder, treason,
and plot. I know of no reason why the gunpowder treason should ever be forgot.
4
Sutler: Spare us your professional annotations, Mr Finch. They are irrelevant.
5
Sutler: Gentlemen, I want this terrorist found... and I want him to understand what terror really means.
5
Dascomb: Our job is to report the news, not fabricate it. That's the government's job.
6
BTN Worker: Do you believe that load of bollocks? There was no demolition. I saw the whole thing.
6
Finch: I just want a chance to talk to her before she disappears into one of Creedy's black bags.
11
Dascomb: Do you have any idea how long it would take to rebuild this facility?
Finch:
Do you have any idea what you're doing?
14
BTN News: Now, this is only an initial report, but at this time, it's believed that during this heroic raid, the terrorist was
shot and killed.
Little Glasses Girl: Bollocks.
15
Evey: Where did you get all this stuff?
V:
Oh, here and there, mostly from the Ministry of Objectionable Materials.
Evey: You stole them?
V:
Oh, heavens, no. Stealing implies ownership. You can't steal from the censor; I merely reclaimed them.
Evey: God, if they ever find this place...
V:
I suspect if they do find this place, a few bits of art will be the least of my worries.
17
Evey: It's delicious! God, I haven't had real butter since I was a little girl! Where did you get it?
V:
A government supply train on its way to Chancellor Sutler.
Evey: You stole this from Chancellor Sutler?
V:
Yes.
Evey: You're insane!
19
V:
[Quoting Macbeth from Macbeth I, vii] "I dare do all that may become a man; Who dares do more is none."
19
V:
People should not be afraid of their governments. Governments should be afraid of their people.
19
V:
The building is a symbol, as is the act of destroying it. Symbols are given power by people. Alone, a symbol is
meaningless, but with enough people, blowing up a building can change the world.
19
V:
There's no certainty – only opportunity.
19
Prothero: The moral of the story is: Good guys win. Bad guys lose. And as always: England prevails.
20
Prothero: You... it is you!
20
V:
"The Ghost of Christmas Past."
Evey: Does it have a happy ending?
V:
As only celluloid can deliver.
23
Finch: When you're at this as long as I've been, you stop believing in coincidence.
24
V:
Evey:
V:
Evey:
[as The Count of Monte Cristo ends] Did you like it?
Yeah. But it made me feel sorry for Mercedes.
Why?
Because he cared more about revenge than he did about her.
25
V:
Evey:
V:
Evey:
V:
Violence can be used for good.
What are you talking about?
Justice.
Oh. And are you going to kill more people?
Yes.
25
Evey: My father was a writer. You would've liked him. He used to say that artists use lies to tell the truth, while
politicians use them to cover the truth up.
V:
A man after my own heart.
28
Evey: I wish I wasn't afraid all the time, but... I am.
28
Finch: One thing is true of all governments - their most reliable records are tax records.
29
Evey: [reads] Vi Veri Veniversum Vivus Vici.
V:
[translates] By the power of truth, I, while living, have conquered the universe.
Evey: Personal motto?
V:
From Faust.
30
Evey: That's about trying to cheat the devil, isn't it?
V:
It is.
V:
[to the Bishop]: "And thus I clothe my naked villainy / With old odd ends stolen forth from holy writ/And seem a
saint when most I play the devil."
[quoting Shakespeare's Richard III, I,iii]
33
Lilliman: Oh please, have mercy!
V:
Oh, not tonight, Bishop... not tonight!
33
Evey: Are you a Muslim?
Deitrich: No. I'm in television.
36
Deitrich: You see, we're both fugitives in our own way. … The truth is, after so many years, you begin to lose more
than just your appetite. You wear a mask for so long, you forget who you were beneath it.
36
Dr Surridge: Oppenheimer was able to change more than the course of a war. He changed the entire course of human
history. Is it wrong to hold on to that kind of hope?
V:
I have not come for what you hoped to do. I've come for what you did.
41
V:
41
There are no coincidences, Delia... only the illusion of coincidence.
Finch: If our own government was responsible for the deaths of almost 100,000 people... would you really want to
know?
45
Evey:
Is everything a joke to you, Gordon?
Deitrich: Only the things that matter.
48
Guard: It's time.
Evey: I'm ready.
Guard: Look all they want is one little piece of information. Just give them something, anything.
Evey: Thank you, but I'd rather die behind the chemical sheds.
51
Guard: Then you have no fear any more. You're completely free.
Evey: You got to me? You did this to me? You cut my hair? You tortured me? You tortured me! Why?
V:
You said you wanted to live without fear. I wish there'd been an easier way, but there wasn't.
52
Evey: Shut up! I don't want to hear your lies!
V:
Your own father said that artists use lies to tell the truth. Yes, I created a lie. But because you believed it, you
found something true about yourself.
52
Evey: I can't feel anything anymore!
52
V:
What was done to me was monstrous.
Evey: And they created a monster.
54
Sutler: What we need right now is a clear message to the people of this country. This message must be read in every
newspaper, heard on every radio, seen on every television... I want this country to realise that we stand on the
edge of oblivion. I want everyone to remember why they need us!
55
V: [Disguised as William Rookwood] Our story begins, as these stories often do, with a young up-and-coming politician.
He's a deeply religious man and a member of the Conservative Party. He is completely single-minded and has no
regard for the political process. Eventually, his party launches a special project in the name of 'national security'.
At first, it is believed to be a search for biological weapons and it is pursued regardless of its cost. However, the
true goal of the project is power, complete and total hegemonic domination. The project, however, ends violently...
but the efforts of those involved are not in vain, for a new ability to wage war is born from the blood of one of their
victims. Imagine a virus - the most terrifying virus you can, and then imagine that you and you alone have the cure.
But if you're ultimate goal is power, how best to use such a weapon? It is at this point in our story that along comes
a spider. He is a man seemingly without a conscience; for whom the ends always justify the means and it is he
who suggests that their target should not be an enemy of the country but rather the country itself. Three targets are
chosen to maximize the effect of the attack: a school, a tube station, and a water-treatment plant. Several hundred
die within the first few weeks. Until at last the true goal comes into view. Before the St. Mary's crisis, no one would
have predicted the outcome of the elections. No one. But after the election, lo and behold, a miracle. Some
believed that it was the work of God himself, but it was a pharmaceutical company controlled by certain party
members made them all obscenely rich. But the true genius of the plan was the fear. A year later, several
extremists are tried, found guilty, and executed while a memorial is built – erected to canonise their victims. Fear
became the ultimate tool of this government. And through it our politician was ultimately appointed to the newly
created position of High Chancellor. The rest, as they say, is history.
58
Finch: Rookwood. Why didn't you come forward earlier? What were you waiting for?
V:
For you, Inspector. I needed you.
58
Sutler: [shouts] We are being buried under the avalanche of your inadequacies, Mr Creedy!
63
Finch: The problem is, he knows us better than we know ourselves.
65
V:
May I enquire as to how you have avoided detection?
Evey: A fake ID works better than a Guy Fawkes mask.
68
V:
Would you... dance with me?
Evey: Now? On the eve of your revolution?
V:
A revolution without dancing is a revolution not worth having!
68
V:
70
[Quoting Viola from Twelfth Night, I,ii] "Conceal me what I am, and be my aid / For such disguise as haply shall
become / The form of my intent."
Dominic: What do you think will happen?
Finch: What usually happens when people without guns stand up to people with guns.
71
V:
72
The time has come for me to meet my maker and to repay him in kind for all that he's done.
Creedy: Defiant to the end, huh? You won't cry like him, will you? You're not afraid of death. You're like me.
V:
The only thing that you and I have in common, Mr Creedy, is we're both about to die.
73
Creedy: Die! Die! Why won't you die? Why won't you die?
V:
Beneath this mask there is more than flesh. Beneath this mask there is an idea, Mr Creedy, and ideas are
bullet-proof.
73
Finch: Why are you doing this?
Evey: Because he was right.
Finch: About what?
Evey: That the world needs more than just a building right now. It needs hope.
78
Evey: Tell me... do you like music, Mr Finch?
79
Finch: Who was he?
Evey: He was Edmond Dantés... and he was my father. And my mother... my brother... my friend. He was you... and
me. He was all of us.
80
Lighting
Lighting is one of the major elements in a film and is basically responsible for the
fact that we see any image on the screen at all. But, in more specific ways, lighting is
responsible for both the quality of the images and for much of the film's dramatic
effect. The Director of Photography is chiefly responsible for the film's lighting, but
s/he works out each scene's illumination with the director and often with the
production designer, and this is put into operation by the gaffer.
In general, there are two basic types of luminaires for motion-picture production:
the floodlight, which gives a large area of diffuse illumination, and the spot-light, from
which a beam can be focused to light or highlight a specific area. Various pieces of
ancillary equipment help to create the desired lighting effects. 'Barn doors' placed in
front of the lamp cut off illumination from certain areas of the set; shutters, scrims, nets, and various kinds of
diffusers determine the intensity of light; 'cookies' and 'gobos' create shadows; filters control the colour of light
rays; and portable reflectors soften and diffuse light.
Lighting is responsible for significant effects in each scene. The composition of the mise-en-scène can be
reinforced by the unity that lighting gives certain scenic elements, by the attention it can draw to major areas of
interest, and by its interplay with dark areas. At the same time, lighting can give depth to a scene, while also
bringing out texture and detail in setting, decor, and clothing. Lighting affects the appearance of a character,
defining or diminishing facial characteristics and making faces appear attractive or unattractive. And lighting is
responsible for the mood and atmosphere of individual scenes as well as the entire film.
One can basically distinguish between hard and soft light: the former, generally coming from a spotlight,
clearly illuminates areas, sharply outlines and illuminates characters, brings out detail and texture, and markedly
separates light and shadows; while the latter covers a wider area with a more diffuse light, diminishes outline and
clarity of characters, minimizes shadow, and reduces modelling of detail and texture.
Terms commonly used in describing the dominant style of lighting for a scene are 'high key' and 'low key'.
High-key lighting indicates a brightly lit scene with a minimum of shadows and a key light that is bright and
dominant; low-key lighting indicates a scene where the lighting is more towards the greyer and darker scale,
where there is a good deal of shadow, and where the key light is less bright and does not dominate. A scene,
however, with strong contrast between bright light and shadow, with a small amount of in-between grey scale, is
called 'high-contrast' lighting.
In general, a preponderance of bright, clear, even illumination creates a sense of sunniness, joy, and
security, and is therefore frequently used for comedy. More diffuse, greyer lighting can convey inclement
weather and communicate the more sombre and unhappy spirit of a serious drama; greyer light with more
shadows is effective in mystery films, film noir, or horror films; high-contrast lighting can be effective in drama or a
mystery film. Dramatic contrasts in light and shade (chiaroscuro) are often used to heighten tension or an
atmosphere of fear or threat.
The key light is the major luminaire that illuminates the subject of the image and is normally placed to the
front and side of the subject. The fill light is generally placed on the opposite side and fills in the shadows of the
subject. The third luminaire in this traditional configuration is the back light, which highlights the edges of the
subject and separates it from the background. There are numerous variations of this basic kind of lighting;
sometimes two key lights (the 'double key') may be used to highlight two subjects of interest or more than one fill
light employed to illuminate shadowy areas. Frequently a foundation light is also used to give a general, diffuse
illumination to the entire scene. A background or set light might also be employed to illuminate the rear part of a
scene; a modelling or accent light to bring out form and texture in any part of the scene; a rim or edge light to
highlight a character's outline; an eye light next to the camera to highlight a subject's eyes; a clothes light to
bring out texture in clothing; and an effects light to create, in a special area, the light from a fire or lamp.
Two general schools in cinematography have been referred to as 'naturalism' and 'pictorialism'. The first
favours a key light that seems to come from a source in the scene or from a natural outside source; the second
favours any placement of the key light that gives the most striking visual image. The general effect of a
character's appearance is significantly determined by the angle or direction of the key light. Front lighting flattens
out the face, diminishes contour and detail, and softens or even blurs the features – such lighting can diminish
the appearance of aging or make a person more attractive, but it can also make the face somewhat
characterless. Back lighting does not bring out details in the face, but highlights the edges of a character,
creating a kind of rim or halo around the head and especially the hair while separating the individual from the
background – as a result it tends to make the character more angelic or ethereal. Top lighting bathes the
character in light, as if the illumination were coming from heaven, giving them an angelic or spiritual appearance;
while bottom lighting shadows and distorts the face, making it appear sinister, threatening, or evil. Finally, side
lighting, if angled carefully, can model the face and bring out detail; but it can also highlight only half the face,
leaving the other half relatively undefined or in shadow, thus suggesting a two-sided or mysterious personality.
 Into which of the above schools – naturalism or pictorialism –
does the lighting of this film fit? Give specific examples to
justify your answer.
 Identify examples in the film of each of the following:

high key

hard lighting

natural light

warm lighting

soft lighting

noir lighting

cool lighting

side lighting

colour filters

spot lighting

back lighting

dramatic or beautiful
effects
Plot Summary
Evey Hammond, out after _____________, is rescued from the
____________________ by a vigilante in a __________________ mask, who tells
her his name is "V". He takes her to a rooftop location to witness his
____________________ of the ___________________. Later that day –
______________________ – V takes over the state-run ______________
_______________ Network and __________________ a message urging the
people of Britain to __________ and stand with him at ________________
_______________ on November ____ of the _________________ year, implying
he will ________________ up.
Evey, who works at the BTN, helps __________________. V takes Evey
_____________ ________________ where he tells her she must
_______________________ for her own __________________. Learning that V is
killing ___________________________, she is ___________________ and
__________________. Determined to __________________, she tells him about
her __________________ and offers her __________________. He uses her to get
to a __________________ bishop; Evey asks the bishop ______________ but he
does not __________________ her.
She escapes to the home of one of her superiors at BTN,
__________________________, whom she discovers to be a
_____________________________________ and, like V, a collector of
____________________________. When __________________ broadcasts a
programme satirising the __________________, he is __________________ and
__________________.
Evey is captured, __________________ and __________________, finding
___________ only in the __________________ from another prisoner named
_____________________, persecuted for being a __________________. Told that
she will be __________________ unless she reveals V's __________________,
Evey declares that she would ___________ ___________, and is suddenly
__________________. Evey discovers that her imprisonment was
____________________ by V. By forcing her to __________________ something
similar to what he and __________________ had gone through at the
__________________ Detention Centre, V hoped that Evey would
__________________ that __________________ – "the very last ________ of us" –
is more ________________ than our __________________. Evey comes to realise
that the __________________ has enabled her to live without
__________________; she leaves V, but promises to
_____________________________ _______.
Meanwhile, Chief Inspector __________________, searching for V and Evey, learns
that the __________________ attack that brought the __________________ party
to power was __________________ by its __________________. The virus had
been created through __________________ on 'social _____________________
and political __________________ at __________________. V, the only
__________________ among the subjects of the experiment, was instead endowed
with near-superhuman __________________ and __________________ abilities.
He escaped the centre by
_________________________________________________ _____.
As November 5 nears, the government's power is __________________ as the
people come to __________________ with V and question the
__________________ they live under. Finch visits the __________________ site,
and there recognises there is a __________________ to all that has happened and
__________happen. He predicts __________________ and anarchy.
On the eve of November 5, Evey returns to visit V; he shows her a
__________________ filled with __________________ that will destroy
________________________________ via the abandoned London
__________________. He delegates the _________________ to Evey, saying that
the decision should not come from him, but rather from a member of the
__________________ he is trying to __________________.
V departs to meet Security head __________________, who – fearing Chancellor
Sutler will make him the __________________ for any failure – has agreed to
deliver __________________ to V in exchange for V's __________________.
Creedy shoots the whimpering __________________ in front of V, but V does not
_____________________, instead killing Creedy and his men. Mortally
__________________, he returns to Evey. She puts his __________________ on
the __________________ with the __________________.
Evey is about to send the train down the track when __________________ arrives.
Now knowing the hideous secret behind the Norsefire regime, Finch
____________________ ___________________. Because Creedy and the
Chancellor fail to give orders, the military ____________________ in the face of a
_______________________________.
The ________________________________ are destroyed by a series of
explosions, watched by thousands of __________________ Londoners, as well as
Evey and Finch.
Evey tells Finch that V was all __________________ oppressed by the dictatorship.
And among the crowd of Londoners watching are some of those killed by the regime,
such as __________________ and __________________.
Voilà! In view, a humble vaudevillian
There you are!
veteran, cast vicariously as both victim and villain by the
second hand / delegated – i.e. without any say in it
music hall performer expert
vicissitudes of fate. This visage, no mere veneer of
vacant, misfortunes; variations
face
vanity, is a vestige of the vox populi, now
surface/covering conceit
trace
voice of the
people empty
vanished. However, this valorous visitation of a bygone vexation stands vivified, and has vowed to
vanquish
gone
brave appearance
past annoyance*
brought to life
sworn
defeat
these venal and virulent
corrupt
vermin vanguarding
infectious pests
leading; fronting
vice and
vouchsafing the violently
immorality; wickedness
granting, promising
vicious and
voracious
violation of
volition! The only verdict is vengeance; a vendetta
cruel, brutal
greedy
infringement
wish, will, desire
decision
revenge
feud,
dispute
held as a votive, not
in vain, for the value and veracity of such shall one day vindicate
promise, undertaking
uselessly
truth
prove right,
justify
the vigilant and the virtuous. Verily, this vichyssoise of verbiage veers most
verbose, so let me
simply
watchful
good
Truly,
soup
words
changes course
talkative
add that it's my very good honour to meet you and you may call me V.
Methods of Story-telling
 For each of the listed methods, cite one or more examples from the film. Give specific details.
Note the scene number for each example (though you won't use these numbers in answers.)
conventional
filming
montage
computer
screens
TV screens
newspaper
archives
voice-over
letter
journal
flashback
flash
forward
tax returns
telling a
story
closed
circuit TV
surveillance
cameras