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Danielle Burning

    I'm not sure what I really want to focus on yet, but I do know that I definitely want to write about "V for Vendetta." I have three different ideas and haven't been able to choose between them:

1.)    I was thinking about looking at how the story of "V for Vendetta" changed as it was written for different forms. V was turned not only into a movie, but it was also turned into a "real" novel. I thought it would be interesting to analyze the differences and what it loses and gains.

2.)    Another thing I was thinking I might write about it how the relationship of V and Evey differs between the graphic novel and the movie. And perhaps how V himself differs, but I'm not sure if there would be enough for 15 pages with that topic.

3.)    The last one, which probably interests me the most, is the politics of V (both the graphic novel and the movie). V the comic was a statement Margaret Thatcher  and the movie a statement about the Bush administration.

Those are the ideas I have so far. ☺

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  1. All three of your potential topics ultimately involve dealing with the adaptation(s); it's just that #2 and #3 are beginning to identify a more specific topic that you'll be follwing across the various versions.  In the absence of more information on #2, I guess I'm leaning toward your last topic as having the most possibilities.  Particularly since Moore references Guy Fox so directly, that gives you a way of reaching back toward a much longer tradition of political radicalism/anarchism/revolutionaries/terrorists.  He's drawing upon a specifically English tradition -- Guy Fox, 1984, etc. -- so I'd be interested in your thoughts as whether Americans are processing that.  In fact, having a quick look at Wickipedia I came across a remark by Moore that the film had been "turned into a Bush-era parable by people too timid to set a political satire in their own country... It's a thwarted and frustrated and largely impotent American liberal fantasy of someone with American liberal values standing up against a state run by neoconservatives -- which is not what the comic V for Vendetta was about. It was about fascism, it was about anarchy, it was about England."  Hmm.... Perhaps this throws down a gauntlet for you to pick up -- reconciling Moore's work with a more "homegrown" tradition of anarchism (Thoreau, Emma Goldman, green anarchism).  What the hell are Americans doing with the comic book?  Or watching a big-budget Hollywood movie on the subject?  At what level are we responding?  Hey, you could take a position analogous to Evey's, in a way.... Anyway, hope some of this helps.  I don't want to get in a position where I'm writing the essay.

  2. Unknown User (lb13)

    Each of your ides seems to be quite fascinating. I have seen the move V for Vendetta though I have not read the other adaptations. The one that stands out from my encounter with the movie is the political choice. I find it narrowed down and it seems to deal with the obvious issues within it. Comparing the direction for both the movie and the graphic novel seems like it would be an interesting read. If you do the relationship of V and Evey you could bring in psychology and the different psychological patterns the exhibit or the concept of revenge both in the novel and the movie. Your first choice seems a bit broad, though you can use this comparison in your other two ideas.

  3. Unknown User (mgb4)

    I hope no matter what you analyze, you do attempt to use all three media forms for this, because I think one important them in this course is how different graphic novels can be from a regular novel or a movie.  I think part of this course is understanding how graphic narrative is its own unique literary form, not just a storyboard for a movie or a cartoony version of a novel (consider Alan Moore's refusal to see the movie adapation of Watchmen on the grounds that he chose the graphic novel medium for a specific reason).  The doors opened by using all three representations are indeed vast, but I certainly hope you can use them for the purposes of not just dissection of the story, but of the medium as well.