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Carretero González, Margarita: "Sympathy for the Devil. The Hero is a Terrorist in V for Vendetta." In: Nancy Billias (Hrsg.): Promoting and Producing Evil. (At the Interface, Probing the Boundaries, 63.) Amsterdam [etc.]: Rodopi, 2010, S. 207–218. 
Added by: joachim (06 Apr 2014 11:16:31 UTC)   Last edited by: joachim (06 Apr 2014 13:53:29 UTC)
Resource type: Book Article
Languages: englisch
BibTeX citation key: CarreteroGonzlez2010
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Categories: General
Keywords: "V for Vendetta", Adaption, Comic-Verfilmung, Großbritannien, Lloyd. David, Moore. Alan, Religion, Terrorismus
Creators: Billias, Carretero González
Publisher: Rodopi (Amsterdam [etc.])
Collection: Promoting and Producing Evil
Views: 3/180
Views index: 5%
Popularity index: 1.25%
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Abstract
Based on the comic book series published in the eighties, co-authored by Alan Moore and David Lloyd, V for Vendetta did not go unnoticed when it was released on spring 2006. Whether we take the view that the film constitutes an apology for terrorism or that it offers a warning about the shape of things to come, this political thriller cannot leave the post- 9/11, 3/11, 7/7 viewer indifferent, even if the central theme of the story revolves around the old tale of coldly served revenge. In this paper I will be looking at the way V for Vendetta problematises such a sensitive issue as terrorism in a dystopian setting that, however exaggerated, bears striking similarities with our world at the beginning of the 21st century, where fear of terror is impelling governments to take drastic measures to increase safety, while jeopardizing freedom and, on some occasions, even trespassing basic human rights. The story is not new: Zamyatin, Huxley and Orwell are among those who warned us about the dangers of totalitarian regimes; their heroes, however, were only victims of the system, not terrorists who actively fought against it. V’s intentions are honourable, directed to give the power back to the people, but he is moved by a personal vendetta that prevents us from agreeing with some of his methods, especially when they involve the deaths of people who, like him, are just victims. The paper will deal with the way the film’s structure invites the characters – and the viewer – to establish a dialogical relationship with the other, while launching a series of questions, which are left for the spectator to answer.
  
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