V for Vendetta
Student Workbook
Language B English Diploma
V for Vendetta
Historical and social context of the original novel
In order to understand and appreciate the meaning of the novel you need to be
aware of the context in which the novel was written. You should also consider
the aims of the writers.
Work in groups to research the following information:
1.
2.
3.
4.
5.
6.
The Inspiration
The themes and concepts – anarchy
Portrayal of the fascists
Style of V –
Find out about the author and in particular his political views
Find out about the context – what events in the 1980s shaped the
setting and context
Sources
Refer to pages 272 – 274 of the novel to start your research
http://www.youtube.com/watch?v=QX7ehbE1vc0 - BBC interview with Alan
Moore who talks about V for Vendetta
http://www.youtube.com/watch?v=FumNSfY7SfI - interview with Moore by
Channel 4 news
Supplementary internet sites to research
http://www.youtube.com/watch?v=RTOQUnvI3CA and
http://www.youtube.com/watch?v=1AF1Rofcf3k&feature=youtu.be
- musical videos by Frankie Goes to Hollywood and Sting highlighting
the nuclear threat posed by the Cold War relations between Soviet
Union and the USA.
Find definitions for the following types of ideology
1.
Totalitarianism
2.
Fascism
3.
Anarchy
V for Vendetta
Summary – Chris Muise – Quick guide
V for Vendetta is divided into three books, each with several chapters, all of
which have titles featuring words that begin with the letter “V’.
The story is set in a dystopian future 1997, where nuclear war has destroyed
much of the world. Britain, however, survives under the cold, watchful eye of the
Norsefire government, a fascist regime that took control amidst the chaos and
confusion after the war. Norsefire undertook a campaign of ethnic and social
cleansing, and keeps the populace in line through brutal punishment and
constant observation through the omnipresent “Fate” computer system. No one
dares oppose the Norsefire government, except one; a mysterious person fifted
with enhanced strength, speed, and intelligence. He always wears a Guy Fawkes
mask and identifies himself only as “V.”
V comes across a meek 16 year old girl named Evey Hammond one night, whom
he saves from members of the Norsefire secret police that she naively tried to
proposition. V takes Evey under his wing, and forces her live in his secret base,
the Shadow Gallery, as he systematically strikes at key members of the Norsefire
party.
It is revealed that V was likely the result of medical tests performed on his an an
inmate of Larkhill Resettlement Camp that gave him enhanced physicality but
also drove him insane. V escaped, and four years later, he targets his former
captors and symbols of government oppression until all who could have
identified him are dead. However, his vendetta is not merely a simple matter of
revenge – he means to completely destroy Norsefire and free the people of
London.
Every is content living a carefree life with V, even though she is essentially his
prisoner. Sensing potential in Evey that must be awakened, V fakes her capture
at the hands of Norsefire and tortures her as he had been tortured, and slips her
the notes of a former inmate of Larkhill that insprired his crusade. She becomes
inspired as well and, when given the option to choose between her principles
and her life, she chooses to die. V reveals the charade to Evey. He did this to free
her from the confines of her own fear, and to prepare her to embrace his guiding
principle: anarchy. V means to plunge all of London into anarchy by helping the
people to find their voice again and topple their masters. All the while, V grooms
Evey to become his replacement.
Through increasingly bolder means, V cripples the government’s means of
control, giving the citizenry the change to oppose the government themselves.
However, most of the party’s undoing does not come at the hands of V directly,
but rather the people his actions have affected and influenced. The party tears
itself apart from the inside over plans of multiple coups, and the leader of
Norsefire is assassinated by the disgraced widow of a high-ranking party
member killed by V. Eventually, the entire city turns against its leaders and the
city succumbs to chaos. In the final climax, however, V is killed, and Evey adopts
his identity, ready to guide the people of London to rebuild their world anew.
Literary analysis and discussion
Book One – Europe after the Reign
Allusion and Foreshadowing
Allusion is the indirect reference to some other object, place, person or event.
Foreshadowing is a technique that gives an indication of what may be presented
in the text
The following literature, events, people are mentioned or alluded to in Book One.
Working in groups you should find information on the author or book or artist or
event. Explain why you think Moore included the work or author or event in V
for Vendetta
1.
Title of Book One Europe after the Reign - Max Ernst – painting
Europe after the Rains
2.
Page 9,1,1 – Guy Fawkes Day 5th November
3.
Page 9,7, – Movie Poster of Murders in the Rue Morgue
4.
Page 9,7 – White Heat (movie poster)
5.
Page 11, 10 – line from Shakespeare’s MacBeth
6.
Page 54, 5 – Opening lines from Sympathy for the Devil by the Rolling
Stones.
Find out meanings for the following
4.
Totalitarianism
5.
Fascism
6.
Anarchy
Features of graphic novels
The dialogue of the entire preface is the radio broadcast. What role do the
graphics play in the preface? Refer to the features below when considering
their role
Frames/Panels – panels refer to the framed image. It offers the readers a
perspective or point of view on the subjects also known as the camera angle.
Gutters – Frames are clearly divided with gaps between the panels. These gaps
which may or may not include white space are openly exposed. Readers tend to
fill in the blanks and imagine what happens between panels.
Fragmented – through Gutters and frames the graphic novel mimics the
processes of memory, recollection and story-telling where we piece together
disparate elements and attempt to provide a whole narrative but where gaps
always remain.
Collapsed time and space – the frames of a graphic novel can convey multiple
time periods on a single page simultaneously. One frame or panel may be in the
present while that to the left is in the future and that below is in the past.
Analyzing bias
News broadcasts are useful examples of the ways in which bias, persuasive
language and propaganda are used to influence viewers/members of the public.
Reasons for bias in writing
1.
Political motive
2.
Address a controversial issue
3.
Maintain control over someone
4.
Supporting a cause or a person
5.
Feel a grievance
Recognizing bias
The following is the entire radio broadcast from the preface. Analyze the script
using the following prompts:
What is the purpose?
(inform/persuade/criticize)
Who is the author?
Who is the audience?
The reason for the bias.
Identify the language
choices that shape the bias.
Consider the following:-
emotive words
exaggerations
humour
repetition
use of adjectives
building tension –
how is this created?
Quotations
Language associated
with a particular
genre
The radio broadcast from the Prelude
Good evening London. It’s nine o’clock and this is the voice of Fate broadcasting
on 275 and 285 in the medium wave. It is the fifth of the eleventh, nineteen
ninety-seven. The weather will be fine until 12.07 am when a shower will
commence, lasting until 1.30a.m. The temperature will vary between 13 and 14
degrees centigrade throughout the night.
The people of London are advised that the Brixton and Streatham areas are
quarantine zones as of today. It is suggested that these areas be avoided for
reasons of health and safety.
Productivity reports from Herefordshire indicate a possible end to meat
rationing starting from mid-February 1998. The good news follows similar
announcements concerning the increased production of both eggs and potatoes.
Police raided seventeen homes in the Birmingham area early this morning,
uncovering what is believed to be a major terrorist ring. Twenty people, eight of
them women, are currently in detention awaiting trial.
Queen Zara today appeared at the opening of a new waste-reclamation plant in
Plaistow. This was the Queen’s first public appearance since her sixteenth
birthday in June. The Queen was wearing a suit of peach silk created specially
for the occasion by the royal couturier.
In a speech today Mr Adrian Karel, Party Minister for industry stated that
Britain’s industrial prospects are brighter than at any time since the last war.
Mr. Karel went on to say that it is the duty of every man in this country to seize
the initiative and make Britain great again.
And that is the face of London tonight. We remind you that tomorrow is the final
date for the completion of your census forms and the target date for the
conclusion of the Deptford marsh clearance project. This is the voice of fate
signing off. Have a pleasant evening.
The key themes of the novel include:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Power and control
Political and personal freedom
Free speech verses censorship
Art and Literature’s power to lift the human spirit
Totalitarianism
Justice and revenge
Personal Accountability, Happiness
Identity, Individuality and the Idea
Moral Ambiguity
Anarchy v Fascism
Which themes can you find in the radio broadcast? Support your answer with
examples.
As you read the novel, make notes of any examples of the themes above.
Book One – chapter five - Versions
1. Imagine you are V writing a broadcast about blowing up the statue of justice
OR
Imagine you are Chancellor Adam Susan – write a broadcast to support your
beliefs
2. Imagine you are V writing a radio broadcast about the events he has described
including the concentration camp and the roles played by Dr. Surridge, the
Archbishop and Lewis.
Book Two – This Vicious Cabaret
Reminder of key themes
The key themes of the novel include:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Power and control
Political and personal freedom
Free speech verses censorship
Art and Literature’s power to lift the human spirit
Totalitarianism
Justice and revenge
Personal accountability and Happiness
Identity, Individuality and the Idea
Moral Ambiguity
Anarchy v fascism
Find examples that support the development of the key themes above.
Speech writing - p112 from the graphic novel
Example 1 - V goes on TV and makes a broadcast - speech (p112) introduction to conventions of speech writing
I thought it time we had a little talk
Are you sitting comfortably? Then I'll begin (telling a story)
I suppose you're wondering why I've called you here this evening
Well, you see, I'm not entirely satisfied with your performance lately…
I'm afraid your work's been slipping and…
and..well, I'm afraid we've been thinking about letting you go
Oh, I know, I know.
You've been with the company a long time now. Almost…let me see. Almost
ten thousand years!
My word, doesn't time fly?
It seems like only yesterday…
I remember the day you commenced your employment,
swinging down from the trees, fresh-faced and nervous,
a bone clasped in your bristling fist…
'Where do I start, sir?' You asked, plaintively.
I recall my exact words: 'There's a pile of dinosaur eggs over there,
youngster,' I said
smiling paternally the while.
'Get sucking.'
Well, we've certainly come a long way since then, haven't we?
And yes, yes, you're right, in all that time you haven't missed a day
Well done, thou good and faithful servant.
Also, please don't think I've forgotten about your outstanding service record,
or about
all of the invaluable contributions that you've made to the company…
But…well, to be frank,
we've had our problems, too.
There's no getting away from it
Do you know what I think a lot of it stems from?
I'll tell you…
It's your basic unwillingness to get on within the company.
You don't seem to want to face up to any real responsibility,
or to be your own boss
Lord knows , you've been given plenty of opportunities
We've offered you promotion time and time again, and
each time you've turned us down
'I couldn't handle the work, guv'nor,'
you wheedled.
'I know my place.'
To be frank you're not trying, are you?
You see you've been standing still for far too long
and it's starting to show in your work…
And I might add, in your general standard of behaviour.
The constant bickering on the factory floor has not escaped my attention…
nor the recent bouts of rowdiness in the staff canteen.
Then, of course there's…
hmmm.. well, I didn't really want to have to bring this up, but
well, you see, I've been hearing some disturbing rumours about your personal
life.
No, never you mind who told me, no names, no pack drill
I understand that you are unable to get on with your spouse. I hear that you
argue. I am told that you shout. Violence has been mentioned.
I am reliably informed that you always hurt the one you love
the one you shouldn't hurt at all.
Example 2: Alliteration - speech
•
Voila! In view, a humble vaudevillian veteran, cast vicariously as both
victim and villain by the vicissitudes of fate. This visage, no more veneer
of vanity, is a vestige of the vox pupuli, now vacant, vanished. However,
this valorous visitation of a bygone vexation stands vivified, and has
vowed to vanquish these venal and virulent vermin vanguarding vice and
vouchsafing the violently vicious and voracious violation of volition. The
only verdict is vengeance; a vendetta held as a votive, not in vain, for the
value and veracity of such shall one day vindicate the vigilant and the
virtuous. Verily, this vichyssoise of verbiage veers most verbose vis-à-vis
an intrdouction, so let me simply add that it’s my very goo d honour to
meet you and you may call me V. see extract from film:
http://www.youtube.com/watch?v=IQyqx1K495U
Example 4: The Revolutionary speech from the film
http://www.youtube.com/watch?v=KKvvOFIHs4kSo
Political relevance
Book Three
We learn more about V’s views on Anarchy and Chaos. Consider – is he
right?
Moore himself wrote:
“I actually don't think it's right to kill people. So I made it very, very morally ambiguous. And
the central question is, is this guy right? Or is he mad? What do you, the reader, think about
this? Which struck me as a properly anarchist solution. I didn't want to tell people what to
think, I just wanted to tell people to think, and consider some of these admittedly extreme
little elements, which nevertheless do recur fairly regularly throughout human history."
(Moore)
V for Vendetta: Political resonance – fiction resonating in reality
The social implications of the story remain compelling – and not as
unambiguous as you might assume
Sam Jordison
theguardian.com,
Protesters wearing Guy Fawkes masks gather outside St Paul Cathedral in
London. Photograph: Ben Stansall/AFP/Getty Images
When V for Vendetta was announced as the subject of this month's Reading
group, a reader called Sunburst called it "The finest, most intelligent and most
relevant British novel of the last 25 years".
. V for Vendetta: New Edition
. by Alan Moore, David Lloyd
.
. Buy the book
All of that is, of course, debatable (right down to timescale: in fact, some of the
book is more than 25 years old). Yet there's truth in what he says. It is a good
book, it is smart, and there's no doubt that it remains relevant – as
TheOldRedDog pointed out:
"The thing I'd be most interested to see in the comments from the group is the
reaction to the fact that when Alan Moore wrote V for Vendetta, he was
working to the logical extension of the then-Thatcherite world and creating an
all too prosaic and realistic portrayal of 'what could be'. Now that we have
another Tory administration in power and the financial crisis has shown us
that the powers that be back then never really went away, are the resonances
simply déja-vu, or something else?"
Many other commenters noted that TheOldRedDog isn't strictly correct.
Moore actually assumed the Tories were going to lose the 1983 election, and
that Labour would remove nuclear weapons from British soil – thus paving
the way for the avoidance of nuclear catastrophe that engulfs the rest of his
unhappy world. (He has since readily admitted that such predictions were
"naive".) But even so, there's no doubt that the evils of the British Tory party
and Thatcherism were preying on Moore's and Lloyd's minds when they
created the book – as they've both often confirmed in interviews. Here is
Moore in conversation with a comic fan around the time of the release of the V
for Vendetta film:
"They were talking less about annihilating whichever minority they happened
to find disfavour with and more about free market forces and market choice
and all of these other kind of glib terms, which tended to have the same results
as an awful lot of the kind of fascist causes back in the 1930s, but with a bit
more spin put upon them. The friendly face of fascism."
Make of that what you will, but there's no denying that much of V for Vendetta
cuts close to the bone, especially now we're enjoying a bout of Conservative
rule. The excellent TheOldRedDog again:
"I think it is this that Alan Moore was trying to get to – it doesn't take much to
pierce the thin veneer of civilisation, and once we do we won't necessarily find
mindless barbarism, but something far more insidious."
City bonuses, closing libraries, Nadine Dorries. It rings true, all right. But as
TheOldRedDog's comment also suggests, there's far more to the book than
anti-Thatcher allegory. MadameDeath said:
"In my humble opinion, V is a book about satanism and anarchism. Most
readers miss that point, but V's actions certainly point to that area, which
Moore is more than familiar with. Makes it all the more entertaining when you
see thousands of protesters wearing the V mask."
Quite a few people disagreed with MadameDeath about the satanism, but it
seemed an influence to me, too. Especially thanks to the repeated quotations
from Aleister Crowley ("Do What Thou Wilt Shall Be The Whole of The Law")
and that odd moment when V grows horns …
The anarchy, meanwhile, is undeniable – and that undoubtedly adds a certain
something to the current use of the V mask as a symbol of protest. Of course,
there's every chance that plenty of protesters don't know what the mask was
originally about, but I think it would be wrong to assume too much ignorance.
Certainly, the Anonymous movement seems to have borrowed more from V
for Vendetta than just a cool symbol. Their videos, for a start, seem to
replicate V's speech patterns – not to mention the staging used for similar
transmissions in the book and the film. The many-headed nature of
Anonymous – where the end result is more important than the individual
bringing it about – also chimes with the denouement of V for Vendetta, as
does their apparent desire to change world institutions by spreading a little
well-aimed chaos and fear.
Apparently, Alan Moore himself is pleased. He told Entertainment Weekly: "I
was also quite heartened the other day when watching the news to see that
there were demonstrations outside the Scientology headquarters over here,
and that they suddenly flashed to a clip showing all these demonstrators
wearing V for Vendetta masks. That gave me a warm little glow." But my
favourite soundbite comes from an interview with David Lloyd carried out by
the Comics Alliance.
"What does it feel like," they asked him, "to have been part of creating a
character that, years later, still stands as a symbol of rebellion?"
He replied simply: "Good."
Which brings us back to Sunburst's original comment. The book is
still relevant. It has as much to say about our times as it does the
1980s. What did it say to you?