1984: Semiotics, Gang Culture and Speeches

Semiotics:

-          Use of light and dark during scenes to illustrate Winston’s struggle for truth in a world of ‘Untruth’. Light is used to emphasise the loveliness of the fields and nature but is also seen to be used deceptively through the constant uncomfortable light in the torture rooms.

-          Crossing arms over their heads, a symbol for Oceania, shows their conformity.

-          In the announcements the Party use a “cancer” metaphor for Goldstein and the Brotherhood

-          Big Brother’s face is present in nearly every scene either on the telescreens or as a poster and intimates the oppressive nature of ‘His’ regime. He is made almost God-like through the repetition of his image.

-          Eyes watching are a symbol seen throughout the film. Either they hint at the rebellion of certain characters, connecting them because eyes cannot lie or to highlight the constant surveillance. There is even a POV shot looking out of the telescreen to impress this.

-          The monotonous grey and dilapidated buildings have implications of jails/prisons and can be seen as a metaphor for the character’s imprisonment.

-          The red ‘V’ for Victory is the symbol of Ingsoc., The Party, and can be seen on posters, flags and gin bottles, constantly presenting a false ideology to the society.

-          Glasses, worn by principal characters O’Brien and Winston, are supposed to make you see clearly. This idea presents the debate as to which of these characters sees the truth as they act as foils for one another.

-          There is a motif of mortality, introduced and repeated by Winston who signs his first diary entry “from a dead man”. This foreshadowing is used to create tension but could also imply that the characters are not alive, not living, they merely exist in the world (although O’Brien believes that even that is not the case).

-          The numerous ‘Newspeak Dictionaries’ should be enhancing communication but actually it is being reducing it because of the Party’s sinister motive of reducing words.

-          Acts to dehumanise can be seen and heard presented through announcements, for example control of natural impulses like sex. This then becomes an act of anarchy.

-          Julia’s handwritten note and Winston’s diary highlighting their wish to communicate and connect. They are also symbols of rebellion of thought and feeling.

-          The coral paperweight, which is an object meant just for beauty alludes to the perception of the beauty of the past (before Big Brother). The coral is suspended, unchanging in glass, potentially a metaphor for Julia and Winston’s fragile state as they try to exist outside of the Party. Nothing about the ‘new’ world is real, but the old object Winston explores is presented through the senses and makes them seem more real to him. This interest in the ‘Old’ world is a form of rebellion and so in some ways the coral is a symbol of this rebellion. Later in the film it is smashed when Julia and Winston are caught.

-          There is a Chess board around which Winston sees those who are already beaten by society sitting around it (later he would find himself in that very place. This highlights the unwinnable nature of the game the Party plays and that all the characters are just pawns with no actual control.

Anarchy and rebellion are not overtly seen in ‘1984’ because it is not particularly physical; the battle for freedom is mainly on an emotional and psychological level.

Gang culture and graffiti:

-          There is a mob mentality displayed by the masses due to their indoctrinated of hateful ideas leaving them incapable of free thought.

-          One moment the crowds are riled into hate – shouting and displaying violent emotions, almost animalistic in their actions and then, the next they are chanting in rapture the word “Big”, praising Big Brother (cultish). These extremes of emotion are dictated by the speeches.

-          The unity of the masses is highlighted visually by the timed marching and uniform dress code which further presents the oppression.

-          There is not graffiti despite the dilapidated appearance of the city but Big Brother’s posters appear everywhere.

Speeches:

-          There is constant radio and screen announcements used to incite hatred (It is even named the ‘2 Minute Hate’. The main aim of these speeches and, indeed, the telescreens are to show propaganda videos and inspire love for Big Brother and patriotism.

'1984' Film Deconstruction

1984 (1984)     Director: Michael Radford     Genre: Drama, Romance, Sci-Fi

 ‘1984’ is the film adaptation of George Orwell's novel of “a totalitarian future society in which a man whose daily work is rewriting history tries to rebel by falling in love”. The government of the totalitarian society in Oceania, Ingsoc., has perfect the means of retaining power, absolute power, for eternity. Love, Peace, Trust, Freedom, Worship and Humanity have all been distorted in the novel, all that is left is a cruel and endless hierarchy imposing poverty, fear and immorality –in short a society built on hatred where even family no longer matters. The eradication and manipulation of the past and the brutality of the Thought Police creates a horrifying dystopia, and looming over this horrific world is the face of Big Brother: ruler, dictator, idol. The audience follows Winston Smith who attempts to take back a part of his freedom and humanity by allowing himself to feel. (Click here to read about the novel)

Title:
- ‘1984’ is the year the protagonist, Winston Smith, believes he lives in –therefore it is the year the film is set in.
- Orwell’s suggestion?
if the totalitarian model of government wasn't discredited and abandoned, the world might look this way in 1984.
- Original novel was written in 1948, idea came from flipping the last two numbers.
- The original title for the novel was ‘The Last Man in Europe’, ‘Nineteen Eighty-Four’ was more enigmatic.
- Potentially an allusion to the poem ‘End of the Century, 1984’ by Eileen O’Shaughnessy who was Orwell’s first wife.

Due to the success of this novel the phrase ‘Orwellian’ has come to describe a totalitarian dystopia characterised by government control and subjugation of the people.

Tagline: 
‘Big Brother is watching…’
- motif of posters  throughout the film of Big Brother which bear the inscription “Big Brother is Watching You”.
- The idea of being watched creates an element of uneasiness and a pervading sense of fear.
- Epitomises the film =  the quest to allude being seen, yet it is also a core ‘truth’ in the film’s society.

The term ‘Big Brother’ has become synonymous with the idea of abuse of government power, often at the expense of civil liberty, particularly relating to mass surveillance.

Characters:

Big Brother is the embodiment of The Party who rule Oceania and is at the top of this social hierarchy. In both the novel and film it is not clear whether Big Brother is alive or dead, or even existed – some comments allude to him being merely a fictional character created to personify the Party, and used a substitute for a God or idol.
- The Party claim that he was one of the original founding members of the Party
- devotion is shown through the ‘Two Minutes Hate’ depicted in a cultish way.
Love for Big Brother is controlled and created by the three ministries: the Ministry of Peace – which deals with war,
the Ministry of Love – which is to do with surveillance and torture and
the Ministry of Truth – where propaganda and subversion of history occurs.

Costume: Big Brother’s clothing is never actually seen. His face fills the telescreen in an intimidating manner and he is only a dominating presence throughout the film and book -never met in the flesh.

Type-casting:

Big Brother has slicked back hair and a clipped moustache.

Appearance - bears a resemblance with some infamous European dictators such as Stalin and Hitler.

Age - difficult to gauge because of his features but also because his intense eyes draw the audiences’ gaze in an almost hypnotic way. He is an imposing character and, on sight, one to be feared.

It is believed that the film version Big Brother was partially inspired by the WW1 Lord Kitchener poster.

Winston is the protagonist of the film and it is through his eyes that we discover the world of 1984.
- appears to have strong moral values 
- a man of belief although he is unsure in what exactly he believes in.
- In Winston Orwell explores the concept of humanity and human instinct, whether it is inherent or whether it must be sought and through Winston’s description as the ‘last man in Europe’ the society is presented as lacking this sense of humanity and duty to one another.

Winston records his awakening to the disturbing present he lives in and the audience sees as he verbalizes and finally takes action to rebel against oppression and hatred.
Winston is revealed to be a very noble and selfless hero as he takes these life endangering steps without hope that he will live to see the change he fights for and also without knowing if anyone else will.
He struggles to be human in an environment that is designed to dehumanize. He gives up his life and eventually his soul and spirit so that he can live and think, even for a short time, as a human being, emphasising that the struggle in itself is valuable.
It is his love for Julia that allows him to have this courage and despite being isolated and broken he still believes in his own truth.

Costume: Winston
- a dirty, blue, generic jumpsuit,
- synonymous with physical labour.
- In some ways ironic, Winston strives to be different from everyone else by reclaiming his humanity and control over his feelings yet he is dressed exactly the same.
- His dress also alludes to the poverty endured by the nation.
- Whilst under torture, both physically and mentally, he is denied the human right of clean clothes in order to degrade and humiliate him.

Type-casting: John Hurt, who plays Winston, is middle-aged –fitting the description in the book, and is made to look neither ugly nor handsome.
- aligned with an everyman.
His haircut is eerily similar to George Orwell’s in the photo used for the trailer, perhaps to subtly allude to the author throughout the film.

Julia is a complex character.
- On the surface a true advocator of the Party and their principles
- underneath she rebels and rages at the injustices of the society although not on the intellectual level that Winston does.
- confident,
- sensual and
- athletic character all of which draw Winston to her, initially due to hatred because she is unattainable, at the start of their love affair.
- Her way of rebelling is by reclaiming the right to her own body and experiencing the feelings of intimacy through companionship.
- She lives the rebellion in her present and tries to convince Winston to make the most of their one life without worry about the future.
- Her feelings of self-preservation and self-confidence are greater than Winston’s, making her better adapted to active rebellion in a way that he does not have the capacity for, albeit through minor crimes.
- Both Winston and Julia believe that their hearts cannot be broken by the Party and they cling together to protect their human selves.

Costume: Julia
-  the same blue jumpsuit as Winston,
-  hers is cleaner highlighting that she hasn’t been broken by the society yet, as he has.
- no makeup
- a red sash, worn around her waist. It is, ironically, to show her ‘abstinence and celibacy’; however, red is the colour of passion, love and lust.
- Winston and Julia's sexual relationship mean that they are often shown naked together. The clothes, then, become symbolic of them shedding the oppression of the society.


Type-casting: Julia
- dark hair 
- pale skin,
- just as Winston could be any man, she could be any woman.
- her youth and vitality which makes her desirable and beautiful to Winston. - Her hair is usually neatly pinned back, another way of reducing individuality and highlighting how society imposes on even the smallest details of the character’s lives.

References:

http://www.itiscannizzaro.net/Ianni/booksweb/sito1984/papers/characters.htm

http://en.wikipedia.org/wiki/Nineteen_Eighty-Four#History_and_title

http://www.imdb.com/title/tt0087803/

http://callcenterpurgatory.blogspot.com/2004/11/winstons-struggle.html

'1984' Key shots

These are stills of shots that we were inspired by taken from the 1984 film of ‘1984’.

A. The implication of monotony through the replication of working areas is used to show the oppression and conformity imposed by the government. The dull colours reinforce the drab monotony and highlight a reduced quality of life.

B. The use of light and dark, and of only a screen illuminating a character’s face is something that really interested us because it reflects the theme of conflict with the narrative, often between ‘good’ and ‘evil’, as well as including the technological advancement of the futuristic society. Also the view of only the side of the face creates mystery about the character.

C. A Close Up on the protagonists face is crucial within a teaser trailer as it introduces the key character and often is used to show the predominant emotion of the film, here it is suspicion which creates a tense ambiance for the trailer.

D. An image or use of the sound of something smashing is highly effective in creating a jump or a sense of panic. Here the object was used almost as a symbol of hope, which when broken has metaphorical connotations. The sound of smashing glass is violent and can be used to break a peaceful atmosphere and change it, as happens in ‘1984’.

'1984' Trailer Deconstruction

Hooks of this 1984 film trailer for ‘1984':
- the integrity of the novel which, published in 1949, had long since been regarded a classic or as the trailer states “the biggest selling futuristic novel of our time”, with a previous 1954 TV film adaptation to its name. - The trailer begins with a black and white photo of the famous author, George Orwell. “In 1984 this man had a vision…” the voiceover begins, which will last throughout the 2minute 39 trailer.
- Orwell’s image creates credibility and gravitas for the film, the implication is that this film has stuck closely to the book and if someone liked the book they should be interested in the film. - Big stars, “a cast to match its stature”, also act as a major attraction and the actors playing the four major characters of the narrative are introduced individually and their names are then recapped at the end as well.
- Today concepts like ‘Big Brother’ and ‘Room 101’ are almost as iconic as the novel itself.

Voiceover: 
-  sets up the complex narrative and is heard throughout.
- phrases such as “A haunting and terrifying vision of what the world might become before the end of the twentieth century…” which highlights that for Orwell this novel was a futuristic narrative of a dystopian society “in the grip of fear”, “conformity”, “continuous surveillance” and “ceaseless war”.
- emphasises the shocking and frightening world of the film
- links the disjointed images, which show visuals of what the voiceover comments on. - introduces the main characters

Characters:
                        Winston Smith “solitary rebel against a merciless state, a classic hero” = familiarity with the characters
          = Winston gains audience sympathy
          = intrigue with their roles
          = his dialogue introduces the theme  of ‘truth’ in the film
                    
                     Julia “whose love for Winston transforms his secret dreams into vivid dangerous reality…”
           = love interest - affection between them,            
           = the provocateur of the relationship and the catalyst for the events of the novel
           = importance
           = contrast with the “hatred” of the society
           = their doomed existence/relationship, always under threat

 Transitions:

- Fades - creating a sinister slowness to the opening of the trailer 
- cut-to-black edits or straight cut edits are used to increase the pace.

Motif of eyes throughout the trailer:
- constantly being watched creates a chilling ambiance on screen but also would make the audience also feel nervous and on edge.
- Big Brother’s face on the telescreen is a repeated image (also the final image of the trailer)
- he appears to be staring out, not just at the characters within the film world but also, at the audience.

Music:
- contrapuntal music - which is slow to begin with like a ballroom dance, orchestral sound, played at a low pitch, makes the images seem more disturbing.
- The corruption of the ‘future’ government is connoted to, “language and history are being systematically destroyed” by them to solidify their position in absolute power.

Genre:
Sci-Fi - images of poverty, conformity and oppression, through fear and violence, aims to shock the audience by highlighting the horror of this ‘possible’ future.
- Large crowd scenes of generic people, dirty and thin, emphasises the low quality of life and the power of Big Brother over them is that they cannot show passion, only “hatred”.

‘Thriller’ - secrets or hidden inner thoughts,
- the threat of torture and Room 101 and
- the ideas of rebellion against the corrupt
- ominous and tense atmosphere created.

- Quick shots of Winston in confinement or hiding in the dark from authorities all allude to mysteries and illegality of his actions, the audience is, by being placed next to Winston as the protagonist, rooting for him to succeed against the odds.
- Anticipation and excitement, as well as nervousness, are created through this desire.

- Enigma’s and mystery 
- very little narrative content is revealed 
- if any key moments are shown the deep, often confusing, and philosophical content of the film still leaves a large amount of questions at the end,
- enticing the audience to view the film.
- eg. "Room 101 is the worst thing in the world.” = complicated puzzles are integral to the appeal and suspense of the plot.

Romance 
- Human relationships are the central interest  of any narrative 
- the love between Julia and Winston is juxtaposed with the rest of the society and
- creates hope for the audience.

 

‘Action’
-highlights the destructive nature of the government in power and the dangers of the society,
- constant war eg. Explosions and fire create tension and fear.
In one shot the protagonist, Winston, is shown to be thrown over by the force of a nearby explosion.
- Close up images, where the fire is in the fore-front of the screen and use of increased volume  are contrasted with the stillness of the rest of the trailer and the dramatic edits to black create mystery, and fear for the lives of the characters.

Title:
- repeated twice in the trailer for memorability
- highlights its significance. 
- The titular year was the year of release of the film (some scenes were even shot on the days noted in Winston’s diary in the book!).
- “The Film of the Book of the Year” uses a dual meaning of ‘of the year’ which is a term usually associated with awards or praise but also alluding to the film’s “perfect timing”.

Anchorage:
- red, bold and angular typography with black outline
- creates the idea of a rigid structure and conformity which is apparent in the society of the film,
- red as the signifier of danger.
- The title either  fades in or zooms in, synchronous with an increase in music volume, for dramatic effect, filling the screen over an image of the dilapidated and grey world of the film in that year.