V versus Hollywood: a discourse on polemic thievery

Jasmine Hazel Shadrack

Research output: Contribution to JournalArticlepeer-review

Abstract

Given that textual narrative can be infinite and the filmic framework finite, a space is created between the source material and its possible reappropriation, where a choice is made. Do the film executives decide to be true to the original (where the auteur's true meaning possibly rests) or do they bow to fiscal policy and socio-politically risk-free cinema? The adaptation of Alan Moore's V for Vendetta from the original source and how this process evolves through film as a cultural, political and diasporic text is examined, with particular focus on the differing geographic and cultural ideologies that underpin the graphic novel and the filmic representation. This article posits a celebration of the beauty, visceral power and freedom of the graphic novel set against the power and homogeneity of the Hollywood film industry. It is possible to say that graphic novels do not exist as Hollywood's occassional goldmine, but in fact exist as a site of narrative and visual freedom, in and of themselves. The audience or subject position of experiencing the "altered" version of literature, from all its various forms and sources, can be seen to create a spoonfed pre-existant narrative usage via Hollywoodized culture that somehow manages, in this instance, to defuse political vibrancy and vitality and potentially reformat the narrative as mainstream popular culture...or does it?
Original languageEnglish
JournalStudies in Comics: Alan Moore Themed Issue
Volume2
Issue number1
DOIs
Publication statusPublished - 1 Jan 2011

Keywords

  • Hollywood
  • film
  • adaptation
  • V for Vendetta
  • Alan Moore

Fingerprint Dive into the research topics of 'V versus Hollywood: a discourse on polemic thievery'. Together they form a unique fingerprint.

Cite this