Imagery In 1984 Quotes

The paperweight was the room he was in, and the coral was Julia's life and his own, fixed in a sort of eternity at the heart of the crystal.

We assume Orwell’s 1984 dystopian nightmare can’t happen here, yet we’ve been narcotized into a more ominous Orwellian somnambulism. We’re inebriated on our own mythology, priapic at our military supremacy, and malleable via our ionic imagery, whether it’s Jesus or the flag. Jacked up on Adderall, Red Bull and patriotism, we only unite in war, tragedy and the Super Bowl. We’ve become style over substance, image over reality, propaganda over truth, and symbol over meaning. We claim to value education, yet mistrust intelligence. Immune to facts, frightened of change, we think magically; magic potions that will heal us, magic diets that will shrink us, and magic beliefs that will save us. And we think all this behavior has been blessed by a big daddy in the sky who lovingly placed us here for profit, guns, and heterosexual marriage. Perhaps evolution is a myth, in that we seem to be devolving. The

When ad legend Lee Clow took the imagery from George Orwell’s 1984 to create the most iconic TV commercial of all time, almost no one watching Apple’s Super Bowl ad understood all of the references. (They’d read the book in high school, but if you want to impact a hundred million beer-drinking sports fans, an assigned high school book is not a good place to start.) But the media-savvy talking heads instantly understood, and they took the bait and talked about it. And the nerds did, and they eagerly lined up to go first. The lesson: Apple’s ad team only needed a million people to care. And so they sent a signal to them, and ignored everyone else. It took thirty years for the idea to spread from the million to everyone, thirty years to build hundreds of billions of dollars of market cap. But it happened because of the brilliant use of semiotics, not technology. At every turn, Apple sent signals, and they sent them in just edgy enough words, fonts, and design that the right people heard the message.

With the film V for Vendetta, whose imagery borrows heavily from Nazi Germany's Third Reich and George Orwell's 1984, we come full circle. The corporate state in Vconducts mass surveillance on its citizens, helped along by closed-circuit televisions. Also, London is under yellow-coded curfew alerts, similar to the American government's color-coded Homeland Security Advisory System.