The Subversion of Human Freedom in ‘V for Vendetta’ by Alan Moore. A Futuristic Approach and Comparative Analysis in Contemporary Modern Societies

2020 ◽  
Author(s):  
Gilbert Ndutu Munywoki
Keyword(s):  
Comparative Analysis ◽  
Human Freedom ◽  
Alan Moore ◽  
V For Vendetta

scholarly journals (Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by "V for Vendetta"

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Miloš Zarić
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Individual Level ◽  
Semiotic Model ◽  
The Individual ◽  
Semantic Dimension ◽  
Alan Moore ◽  
The Way ◽  
V For Vendetta

The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

Revisionism and the British Invasion (1981–1993)

2017 ◽  
Author(s):  
Chris Murray
Keyword(s):  
Alan Moore ◽  
V For Vendetta

This chapter examines the development of the revisionist trend in British comics as well as the so-called British Invasion of American comics and its afermath during the period 1981–1993. It argues that revisionism was a continuation and refocusing of the satirical reaction to the superhero genre that has been in evidence in British comics for decades. The chapter first considers Captain Britain, written by Alan Moore for Marvel UK, before discussing Marvelman and V for Vendetta, also created by Moore, this time for Warrior. It then turns to Watchmen (1986) by Moore and Dave Gibbons, one of the most influential superhero comics of all time; Paradax, a character introduced in 1985 by Eclipse Comics in Strange Days #3; Zenith (1987); and the satire Marshal Law (1987). It also analyzes publications that parody the superhero genre, including How to Be a Superhero (1990) and 1963 (1993).

Villain Becomes Hero

2019 ◽  
pp. 137-144
Author(s):  
Allan Metcalf
Keyword(s):  
Young Woman ◽  
19Th Century ◽  
21St Century ◽  
Role Model ◽  
Graphic Novel ◽  
Fascist Regime ◽  
Alan Moore ◽  
Second Coming ◽  
V For Vendetta

Another diversion is necessary to acknowledge the return of Guy Fawkes in the present day. No, it’s not his Second Coming, but there is awareness of Guy Fawkes as a role model for modern-day activists and protesters. It has come particularly from Alan Moore and David Lloyd, creators of the graphic novel “V for Vendetta,” a serial first published as a book in 1988. It imagines a ruthless Fascist regime in England in the 1990s, opposed by a lone rebel who calls himself simply V, and who always wears a mask that is a simplified adaptation of the sketches of Guy Fawkes back in the 1600s, but with a smile. The resemblance to Fawkes is emphasized at the very beginning, where unlike Fawkes he casually blows up the houses of Parliament after reciting “Remember, remember, the fifth of December” to a young woman he has just rescued from the police. The story became a movie with Hugo Weaving as V and Natalie Portman as the rescued girl Evey. The masks were used by Occupy protesters and others early in the 21st century. Rather than an arch-villain, V and the mask now signal opposition to government tyranny. This chapter briefly cites Guy Fawkes’s 19th-century adaptations and references, including the beginning of Thomas Hardy’s 1888 novel, Return of the Native.

‘Sparks of Meaning’: Comics, Music and Alan Moore

2015 ◽  
Vol 140 (1) ◽  
pp. 121-162
Author(s):  
Tim Summers
Keyword(s):  
Popular Culture ◽  
Case Studies ◽  
Comic Books ◽  
Musical Theatre ◽  
Significant Part ◽  
Literary Texts ◽  
Musical Culture ◽  
Alan Moore ◽  
V For Vendetta

ABSTRACTComics have become a significant part of modern popular culture. This article examines the ways in which music is involved with comics, and develops methods for analysing musical moments in comic books. The output of the writer Alan Moore (b. 1953) is used as the domain for examining music and comics. This popular author's works are notable for their sophisticated use of music and their interaction with wider musical culture. Using case studies from the comic books V for Vendetta (1982–9), Watchmen (1986–7) and the second and third volumes of The League of Extraordinary Gentlemen (2002–12), the article demonstrates that the comic can be a musically significant medium (even to the point of becoming a piece of virtual musical theatre), and argues that music in comics serves to encourage readers to engage in hermeneutic criticism of musical and musical-literary texts.

scholarly journals “It is to be a punishment or a pardon is granted” or Whether the Criminal Code of Ukraine needs to have incentive norms about the crimes against human freedom, honor and dignity

2018 ◽  
Vol 70 (3) ◽  
pp. 22-26
Author(s):  
Ya. H. Lyzohub
Keyword(s):  
Comparative Analysis ◽  
Criminal Law ◽  
Criminal Liability ◽  
Criminal Activity ◽  
Criminal Code ◽  
Human Freedom ◽  
Negative Consequences ◽  
Wide Range ◽  
Scientific Arguments

The paper is focused on the analysis of the stimulatory norms expediency in the criminal law of Ukraine. The objective of the paper is to reveal the significance of legal encouraging of an offender to stop his further criminal activity. Especially, it is necessary in conditions of Ukraine’s movement from a previous Soviet heritage to modern punishment standards, where criminal liability is not only punishment, but it is also a strategy to prevent a crime. According to the author’s opinion, a pardon occasionally is much more effective than a sanction, since for some cases it allows giving up a criminal act and can prevent negative consequences for an object of encroachment in such a way. Thus, there is sometimes no need to punish an offender, who is able to get a correction out of a prison. However, there should be a concrete norm to do that, inasmuch as the Criminal Code does not have sufficient extent of such norms. As it is known, a punishment is able to be effective only when an offender both got a penalty, and was pursuing his better path. By conducting a comparative analysis, the author provides scientific arguments and facts of wide range application of encouragement in the conditions of stopping a crime. There author of the paper has analyzed different viewpoints of scholars, related to the issues provided. Herewith, the author has revealed different strategies regarding the improvement of Ukrainian criminal law and practice with the incentive norms.

scholarly journals Who translates the translation? (Re)traduire les héros marginaux d'Alan Moore

2016 ◽  
Vol 8 (2) ◽  
pp. 42
Author(s):  
Alice RAY
Keyword(s):  
United States ◽  
Comparative Analysis ◽  
Visual System ◽  
Comic Books ◽  
Comic Book ◽  
Literary Work ◽  
The United States ◽  
French Translation ◽  
Translation Process ◽  
Alan Moore

The retranslation phenomenon is essential to the translation process. It is considered as the logical progression of this process which allows the translated literary work to regenerate in a restless cultural and language space. To a lesser extent, we can observe the same phenomenon in the translation of comics. However, this specific translation requires other competencies and a translating approach somehow different from the ones required to translate fiction literature, especially because of the presence of the visual system of drawings which is strongly bound to its own culture and the endless mutations it goes through. The comic book Watchmen (Les Gardiens, in the first French translation) by Alan Moore and Dave Gibbons, is known in the whole world as the comic which had not only remodeled the vision we had of super-heroes, but had also given the comic books another voice. Watchmen was published between 1986 and 1987 in the United States and translated in French from 1987 to 1988. Fifteen years after this first translation by Jean-Patrick Manchette, Panini publishing decided to retranslate this famous comic in 2007. However, if the reviews of the first translation were laudatory, the retranslation did not enjoy a great reception from the readers or from the reviewers. This paper proposes a comparative analysis of both these translations and of their original version as well as an experiment on the readers, comic books readers or not, in order to establish why the first translation was a success and the retranslation a failure. Thus, we could withdraw the elements which allow us to understand the reception of comic translation.

scholarly journals TEMAS E TROPOS: A EXTRAORDINÁRIA OBRA DE ALAN MOORE

2017 ◽  
Vol 1 (54) ◽  
pp. 206
Author(s):  
Leonardo Poglia Vidal
Keyword(s):  
Alan Moore ◽  
V For Vendetta

O artigo busca, através de uma revisão comparativa entre as tramas de várias das obras mais significativas de Alan Moore, bem como várias declarações do autor em entrevistas e biografias, identificar temas e tropos pervasivos em sua ficção, relacionando assim sua produção com sua biografia e filosofia pessoal. Para tal fim se realizará uma busca por características recorrentes em obras como The Bojjeffries Saga, Roscoe Moscow, The Stars my Degradation, The Ballad of Halo Jones, Miracleman/Marvelman, Swamp Thing, V for Vendetta, Promethea, Lost Girls, Watchmen, The League of Extraordinary Gentlemen, From Hell, Tom Strong, Watchmen e Supreme, aqui consideradas relevantes e representativas da ficção do autor.

Alan Moore and Anarchist Praxis in Form

2018 ◽  
pp. 94-125
Author(s):  
James Gifford ◽  
Orion Ussner Kidder
Keyword(s):  
Alan Moore ◽  
V For Vendetta

By privileging anarchism as a movement, a philosophy, and a methodology, these scholars extend its operation as an organizational concept across Alan Moore’s oeuvre, particularly to his later works, which often do not contain explicit anarchist content or for which critical consensus has been elusive. Moving from V for Vendetta to League of Extraordinary Gentlemen: The Black Dossier both demonstrates the continuity of anarchist thought in Moore’s work and emphasizes a shift from explicit thematic contents to implicit formal and stylistic traits.

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