Many Hollywood adaptations of novels focus on commercializing topics like sex to get viewers (Seger 4). When it comes to the topic of cinematography in “1984,” most of us will readily agree that the director Michael Radford perfectly captured the dystopian nation Oceania described by Orwell. Where this agreement usually ends, however, is on the question of commercialism incorporated to increase ticket sales. Whereas some are convinced, the restriction of personal and sexual relationships engages and captures the viewer’s perception of the dangers of a totalitarian government. On the other hand, other scholars contend that the constant concentration of sexual affairs in the movies takes away from the content Orwell was more concerned with.
Movie scholar and critic, Paul Attanasio contends, the “atmosphere is so unfailingly oppressive that the characters’ resistant…the scenes have the same dour, washed-out quality of the scenes that came before. Even if no one, realistically, can transcend totalitarianism, people think they can” (Attanasio). He is implying that Radford captured the true essence of the dystopian city, Oceania.
One implication of Radford’s treatment of Winston and Julia is that he wanted them to get caught. During the film, Winst...
... middle of paper ...
... it should in fact concern anyone who cares about the role a government can play in society and the devastating effects of a totalitarian government.
Attanasio, Paul. “1984: Artful but Empty.” Hand Out. Suffolk University. Boston, MA. 1985. Print.
Ebert, Roger. “1984.” Hand Out. Suffolk University. Boston, MA. February 1, 1985. Print.
Elliot, David. “Whether ‘1984’ is Past or Future, it is depressing.” Hand Out. Suffolk University. Boston, MA. 1985. Print.
Graff, Gerald, and Cathy Birkenstein. They Say / I Say: The Moves That Matter in Academic Writing. New York: W.W. Norton &, 2010. Print.
Orwell, George. Animal Farm and 1984. Orlando: Houghton Mifflin Harcourt, 2003. Print.
Seger, Linda. "Introduction: Turning Fact and Fiction into Film." The Art of Adaptation: Turning Fact and Fiction into Film. New York: H. Holt and, 1992. 1-10. Print.
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