V for Vendetta institutions

[aswalwell]

Copy out the below information into your institutions sheet

[aswalwell]

Context box
External institutional - Alan Moore

-The writer of the graphic novel 'V for Vendetta'
-Sees himself as an anarchist - has a very anti-authority stance.
-Very uncompromising - refuses to have his name associated with the film as he doesn't like the film adaptations of his books.
-Very highly regarded by comic book fans, including the Wachowskis
-loyal fan-base

Content
-Alan Moore's anti-authority stance shaped the portrayals of the authorities and of V in the original comic. This therefore affects the
representations in the film.
-The Wachowskis being fans meant that they wouldn't want to change the characters or story too much.
-The William Rookwood scene has been affected by the Wachowskis being fans of Alan Moore too. The William Rookwood character (V in disguise talking to Inspector Finch) looks and sounds like Alan Moore

[aswalwell]

And here are languages for the first scene to help you revise


Begins ECU Lewis Prothero, zooming back to show that he is on a TV – he speaks about the desperate state of the “former U.S.A” /Cross-cutting throughout between V’s room and Evey’s. Both are preparing at a dressing table mirror – he putting on his mask, she putting on her make up. Diegetic sound of Prothero ranting acts as soundbridge. /Other shots show a mirroring of what Even and V doing too – MCUs of shoes being put on/Several shots of the TV, whether in the background of a LS or in CU. / Diegetic sound of Prothero talking of ‘godlessness,’ ‘judgement’ and asserting that the U.S.A has fallen. He delivers a tirade against “muslims” and homosexuals, as you see his snarling, brightly lit and shiny face. A jump cut is used in the TV footage we see. /MCU Evey looks at the TV as if reacting. /Low angled medium shot EVEY switching off TV after saying “that’s enough of that, thank you very much”

CU loudspeaker/diegetic sound of the curfew being announced/ Low, sinister violin music (non-diegetic). /CU Evey’s feet and CU V’s feet again/ LS dark, shadowy street, built up on both sides, Evey small in the frame. Cuts to MS Evey, hands in pocket, worried look on face (performance) looks over her shoulder. / LS Evey and fingermen seen in patch of light at end of dark smaller street. Wet cobbles, grimy walls, tattered poster with a government slogan / MCU Willy – greasy, combed over hair, dirty jacket, extremely shadowed eyes – “bollocks.” /After they are realised to be fingermen, Evey shown in high angle, turning head from one side to another and apologising. Other fingerman shown in Low-angle MCU threatening Evey and calling her a “piece of arse” making reference to violently raping her /MCU Evey held from behind by third fingerman, baton at her neck – pleading to be let off. / Cuts to MCU willy, “spare the rod spoil the child,” as he adjusts the belt of the trousers then advances on Evey. (he makes vulgar sexual innuendoes throughout)

V introduced to the scene in a CU, quoting Shakespeare and referring to “villainies.” / LS V framed in archway, parts of the fingermen framed in the front of shot. V in black from head to toe, hat and cloak (costume)/LS fingermen clustered round Evey, diegetic sound of them saying “bugger off” and the metallic sound of V’s long knife being opened. It is visible across the bottom of the shot, foregrounded. / fast paced fight sequence – quick edits/ A series of close ups used to show V cutting through Willy’s belt and his trousers falling to his ankles / V has a sword fighting style and makes fancy flourishes, whirling his knife for effect before attacking./ V repeat back the fingerman’s words before killing him (“spare the rod”). Willy shown in low angle shot whimpering and pleading

[aswalwell]

And this is Evey crossing the threshold scene

Shadow Gallery – diegetic sound and mise en scene make clear that V is cultured – piles of book everywhere, old classic song (Ella Fitzgerald) – world that has been lost, with so many art works banned.

Evey – close up pepper spraying the policeman – pivotal moment, no going back. Underlined in the next, very brief scene, by Finch pointing out to his colleague that she is now “stuck” with V. Cuts to Evey waking up in V’s home, the “shadow gallery.” Evey’s performance makes clear that she has crossed into a new world – MS - walks slowly as if unsure, knitted brows as if puzzled, MCU eyes flicking everywhere as if astonished by what she sees – paintings by famous artists shown; paintings that have clearly been banned in this dystopian world. Camera pans across various artefacts to make clear the astonishing surroundings. Doesn’t want to stay, still nervous – MCU - looks down, says “I shoud go…” Not yet accepting V’s way.

[aswalwell]

And two useful scenes for the representations of the authorities

Larkhill flashback – Celia’s diary

Sutler on screen demanding Finch not to act on or even think about the diary he has been given, which gives details of the illegal Larkhill detention center. Finch in MCU agreeing but eyes look downwards and cut to diary. Finch represented as inquisitive about the truth. Cuts to him driving, pouring rain highlights the darkness of the scene, with VO of Celia reading the diary aloud begins a flashback to the center. ECU of the compound – Larkhill detention center established.
Representation of the authorities as brutal throughout this scene. Shots of victims strongly evoke the holocaust. MCU Valerie, half undressed and scared, being sheparded out of truck they have been transported in like cattle. Prothero shown when he was commander and oversaw the center. Costume very reminiscent of SS uniform, represents him as brutal and oppressive. Camera pans over queue of victims being injected by Celia and others. Heads hang dejectedly as Celia derides them as weak and pathetic. Represents her as cruel and cold, them as tragic victims. LS suited workers flinging dead body into a pit – callous. LS bodies in pit – horrendous and very much imagery associated with the NAZI concentration camps. Celia’s VO focuses on disappointment about the scientific experiments not going well – cold and uncaring about the suffering. Dark, low violin music plays throughout – darkness in the scene and events.
Cuts to Finch pouring whisky and tilts up to his face, deep in thought – disturbed by what he has read – he is represented as having a conscience, in contrast to the other authority figures. This is, of course, why he later switches allegiances and helps bring down the government.


Rise to power scene – meeting with the mysterious informant
Finch’s meeting with Rookwood shows that he will pursue the truth, even if it is not in Sutler’s interest. Rookwood narrates the rise of Sutler – the story of how he gained power. MCU at political rally. Leather clad fists in the air, shouting from a podium – face stern and grimacing unappealingly. Black, white and red logo behind him. Throughout, iconography is deeply reminiscent of Nazism – LS black white and red flags being marched past, MS uniformed and scowling soldiers with guns marching, MCU leather boots. LS the stage he is orating from with crowd in foreground, fist raised in salute and cheering as VO talks of ‘zealotry and aggression.’ Larkhill then shown again. Again rain used to show the misery it brought, together with night-time setting to make the scene dark. MS dead victim being casually removed on a trolley. MS of leather boots (revealed to be Prothero’s) which are tracked as they walk past clear cubicles holding prisoners. Bags on head, naked otherwise filthy glass and blood leaking from some of the cubicles – horrifying images – portrays the authorities as completely barbaric. MCU Prothero walking with a slow swing and a loof of boredom on his face.
Rookwood then explains that the virus developed at this center is then released onto the wider population in order to generate a panic that will let Sutler gain power, when it appears that he can provide a treatment for this virus. MS slow motion – children running happily out of school. Highlights the lengths this corrupt government will go to. MS pans over small child in hospital bed, tubes and beeping machines – highly emotive.

[aswalwell]

And this is the ending of the film. We looked in detail at Evey making her decision, but I've included the whole scene to remind you what happens

Authoritarian attempts to regain control – cuts from one television to another, with the effect of a jump cut – bombardment from Sutler. Stern and unsmiling, flags and logo prominent (party minded) in a suit behind a desk (authority). Talks of punishment – oppressive. Cross-cutting with V meeting with Sutler’s men who have betrayed him and are delivering him to V. Next shots of Sutler are from further back, now showing us that the televisions are playing to empty rooms – Sutler lost power – nobody listening now. The broadcast continues while we see Sutler given to V. MS with Sutler, bagged and in foreground on his knees, V in facing him at back of shot, standing – composition shows V’s power now. Darkly lit scene, echoey footsteps – a dingy, abandoned location representing the idea of this shady transaction. Camera zooms in towards the TV Sutler, as he promises justice, then cuts immediately to the present Sutler, who is shown entirely powerless (terrified performance of sound of heavy breathing, blood on his face, two black leather gloves on his shoulder, holding him down). CU up V and Sutler, Sutler wheezing and grimacing in terror – represented as weak and cowardly now he is no longer hiding behind the television and all the mechanisms of control it represents. Creedy kills him – MLS high-angle shot to show the power he believes he will now keep. Stand off between Creedy and V – a good old fashioned shoot-out. Shot reverse shot, Creedy orders V, V simply replies ‘no.’ V’s eerie power shown – MLS him centre of shot, 2 henchmen approaching him with guns, one on either side. He is completely unmoving – complete confidence and bravery. Quick pace of editing emphasises the lethal speed with which he kills them and all the others who attack him. MLS – V foreground, a large circle of armed villains facing him, with Creedy in the middle – seemingly impossible odds. They all shoot and we see him flailing, followed by a CU his mask in profile, looking downwards as if summoning his last inner strength. CU – head straight on, lifting and saying “my turn” – triumphant. Camera tracks his knives as they move in slow motion across the screen, with diegetic sound of them whirring through the air – skill, lethal violence, stylised. This fight sequence highly stylised (e.g. not reaslistic looking) – slow motion, cape billowing like a super-hero, whirling his knives like some kind of martial arts expert, loud diegetic whirring and clanking sounds. Lines on the screen, where the knives have swooshed – speed, force, but also gives a comic book feel and makes the violence far more stylised and less gritty than the scenes of government violence, which seem to hideous. V spins and whirls, almost like a dance. Music plays, with an insistent drum beat and an ascending choir – triumph. As the fight ends, we cut to a MCU Creedy with gun raised, face terrified, backing away from V, desperately saying ‘die! Die!’ Unusual shot with V framed through the barrel of the gun, still moving towards Creedy – he is unbeatable. “ideas are bulletproof” underlines the fact that V’s cause is idealistic, elevated, a fight for mankind and integrity – lofty.

Cuts to Evey on the underground platform – ELS. She is small, overwhelmed by the decision she must make which we are reminded of by the mise en scene of the train which curves round the shot to her left. Then cuts to MS, she is sitting curled into herself, head hanging – weight of this decision, deep in thought. Cuts to LS of the explosives, reminding us that this is the decision she must make, followed by ECU the clock on Big Ben’s hands to remind us of the looming deadline. Death of V is a typical narrative device – he has been her mentor, but now he hands over the role to her – she must be the heroine. ELS her on the platform with his dead body, diegetic sound of her sobbing and non-diegetic piano and violin music – emotive.

V even more powerful in death – cuts to ELS masses of the people dressed in his image, moving towards the government troops across Trafalgar Square. This shot repeated later, with diegetic sound of their footsteps, emphasising their number and that the people have been inspired by V to overthrow their government. We also see aerial shots of the black dressed crowds swarming through the streets around the houses of parliament – unspeaking and unstoppable. CU V dead, mask marked with signs of his last fight, roses around him and pans up to grief stricken Evey – romantic image. Arrayed like a funeral bier – reminds us of an old warrior. MCU Finch and Evey watch the train which will blow up parliament move off – she set it in motion and he let her – two characters who have become complete rebels. Evey echoes V’s question when they met – ‘do you like music Mr Finch?’ – she has now taken V’s place and Finch has been awakened, much as she was.

The blowing up of parliament presented as a triumphant act – 1812 Overture plays as we see ELS of the houses of parliament exploding, a closer shot as the camera tracks along the building, each section exploding as it goes – spectacular and exultant. The diegetic sounds of the fireworks and the explosions, with the sound of the non-diegetic music all merge together as something not threatening but victorious and aesthetically pleasing, representing this as an heroic, not terrorist act. Evey is asked who V was and lists all those people who V stood for – giving the idea that he represented the oppressed, the people who needed freed. This is underlined by the visuals – several of the masked protestors remove their masks to reveal characters who we have seen killed by the government, as though V has represented their struggle.



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[aswalwell]

I hope that's useful. There are a few scenes I don't have printed notes for, but you should have a lot of notes on these: Sutler in his meeting room (the big screen), Prothero's bathroom/death scene and Evey's inner struggle and reward scene (the prison and then balcony).