By James R. Keller
This paintings examines intimately the intersecting texts of V for Vendetta. matters comprise the choice dimensions of the cinematic narrative, represented within the film’s conspicuous placement of the portray The girl of Shalott in V’s domestic; the film’s overt allusions to the AIDS panic of the Eighties; and the ways that antecedent narratives similar to Terry Gilliam’s Brazil, Huxley’s Brave New World, and Bradbury’s Fahrenheit 451 characterize shadow texts usually crossing during the total V for Vendetta narrative.
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