The 2005 James McTeigue and Wachowski Brothers film V for Vendetta represents a postmodern pastiche, a collection of fragments pasted together from the original Moore and Lloyd graphic novel of the same name, along with numerous allusions to literature, history, cinema, music, art, politics, and medicine. Paralleling the graphic novel, the film simultaneously reflects a range of authorial contributions and influences. This work examines in detail the intersecting texts of V for Vendetta. Subjects include the alternative dimensions of the cinematic narrative, represented in the film s conspicuous placement of the painting The Lady of Shalott in V s home; the film s overt allusions to the AIDS panic of the 1980s; and the ways in which antecedent narratives such as Terry Gilliam s Brazil, Huxley s Brave New World, and Bradbury s Fahrenheit 451 represent shadow texts frequently crossing through the overall V for Vendetta narrative.
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About the Author
James R. Keller is a professor and chair of the English and Theatre Department at Eastern Kentucky University in Richmond, Kentucky. He is the author of Food, Film and Culture (2006), Queer (Un)Friendly Film and Television (2002) and Anne Rice and Sexual Politics (2000). With Leslie Stratyner he is coeditor of Fantasy Fiction into Film (2007), The New Queer Aesthetic on Television (2006) and Almost Shakespeare (2004).
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18 of 21 people found the following review helpful:
2.0 out of 5 stars
Disappointing look at V FOR VENDETTA,
By Robert Markham "R. Markham" (Chicago, IL USA) - See all my reviews
This review is from: V For Vendetta As Cultural Pastiche: A Critical Study of the Graphic Novel and Film (Paperback)
Jame R. Keller's V FOR VENDETTA AS CULTURAL PASTICHE is, sadly, not a particularly insightful read. And what a shame that is. It's always wonderful to see critical looks at some of the more neglected pieces of work, and the work of Alan Moore is always worth a look.
But despite the title and his opening comments in the text, Keller predominantly analyzes the Wachowski/McTeigue film adaptation, and leaves Moore's graphic novel pretty neglected. This is a rather poor choice, given that the Wachowski's film is so heavy-handed, obvious and shallow so that Keller has to strain for insights beyond what is immediately observable. It's a shame, since there is a wealth of idea and analysis just waiting to be done on the graphic novel's rather complex narrative. It would have made for a far interesting critical study if Moore's graphic novel had been the focus, and not the Wachowski/McTeigue film.
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