The first distinguishing characteristic of dystopian literature is the enforced acceptance of an imperfect or flawed state as an ideal by the population of the state in question. James McTeigue’s 2006 film V for Vendetta (based upon a series of graphic novels by the same title) is the prime example of this trait. Set in Britain in the year 2020, the film portrays a totalitarian regime reminiscent of Nazi Germany. The extremist policies of “The Party”, such as the vilification of Muslims, homosexuals and “foreigners” (anyone not of English heritage) are accepted by a population force-fed propaganda by the state-owned television network BTN, and any dissidence is quickly and ruthlessly suppressed by the secret police force known as “the fingermen”.
The use of propaganda to gain support for the flawed state is common throughout many dystopian works, and directly parallels its use...
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...mic practice throughout the dystopian narrative.
Thus the Dystopian genre is highly effective in conveying the social commentary of its composers, and McTeigue’s V for Vendetta, Colfer’s The Supernaturalist and LeGuin’s The Ones Who Walk Away from Omelas are prime examples of this capacity, with through their allegorical criticisms of human rights abuses, totalitarianism and mass consumerism represented through the medium of the structural characteristics of the dystopian genre.
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