Goldstein's Book: Time As Theme And Structure In Dystopian Satire '

Annotated Bibliography
Gottlieb, Erika. "The Function Of Goldstein 's Book: Time As Theme And Structure In Dystopian Satire." Utopian Studies 2.3 (1991): 12-19. Literary Reference Center. Web. 19 Mar. 2016. In "The Function of Goldstein 's Book: Time as Theme and Structure in Dystopian Satire," Erika Gottlieb asserts that Goldstein 's book establishes Nineteen Eighty-Four by George Orwell as a dystopian satire. She juxtaposes Goldstein 's book with the propaganda version given to the children, the Children 's History Book. The stereotypes and inaccuracies about the capitalists in the History book represent the "crude, childish oversimplification of Marxist interpretations of history" (Gottlieb 13). This claim is furthered by the "straight-jacket"
In Nineteen Eighty-Four, cinema, mainly in the form of telescreens, is used as a form of repression rather than entertainment, the original purpose of cinema. The only time telescreens are partially used for entertainment is in the Proles, but even then, the Party only allows this to satisfy the Proles ' sexual desire and prevent an uprising. Typically, telescreens are only used as political propaganda used to manipulate public opinion. As shown by Varricchio, this is most poignantly demonstrated during the Two Minutes of Hate and Hate Week. During the Two Minutes, Goldstein, the Enemy of the People, is attributed with a "screeching sound" and "a bleating voice" (Orwell qtd in Varricchio 104). When contrasted against Big Brother who epitomizes calmness and serenity, Goldstein is demonized by the telescreen while Big Brother is venerated, hence persuading the public to see Big Brother as good and Goldstein as evil. Additionally, Varricchio asserts that the telescreen oppresses the public through its constant scrutiny of the public. With telescreens located everywhere in the Party, everyone must constantly show "an expression of serene optimism to the screen," or an expression that shows their submission to the party (Orwell qtd in Varricchio 105). Varricchio finally argues that the role of the telescreen is not only confined to transmitting and receiving but also acting. It responds to others, yelling when someone doesn 't exercise and responding with information when requested. To Varricchio, Nineteen Eighty-Four serves as a grim warning to the use of cinema and television as a form of repression in the