Psychoanalytic Theory Thesis: V is conflicted: he cannot reconcile his need for vengeance with his appreciation for proper moral behaviour. It is only when he finds Evey, his “other half” that he is able to achieve balance

Depictions of his fractured psychological state: Mirror imagery in the opening scene: he’s looking in a mirror. Mirrors signify “introspection” – looking inward, but because he wears the mask, he can’t know himself; he can only see the one dimensional image he’s crafted (the destroyer).

The imagery of the 2 sided-mask (black and white; macabre but smiling) suggests he has 2 dimensions (good/evil) but they lack authenticity because he cannot alter them – their implied duality is merely an illusion.

The imagery of the knives signify the dominance of the two principal ID impulses: the death/aggression impulse and, with their phallic implication, the sex drive. He does not have the ability or inclination to constrain his ID. The black cloak etc. that are part of his disguise link him to darkness, like a predator.

Camera work The camera work suggests his is an incomplete personality – although he doesn’t know it for some time, he needs her to make himself “complete” Pairing them with camera work: her dressing, him dressing; her shoes on, his shoes on etc; Opening shot of him full on, then side angle, then her side angle, then her full on = evolutionary cycle that connects them: 2 halves of a whole cycle/circle.

Later she is baptised in rain; he’s baptised in fire. The implication is that not only is she different than he, but she can “put out the fire that torments him”.

Narrative Detail His dreams and desires are characterized by a God-complex. Consider his fascination with the Count of Monte Cristo, a character whose quest for vengeance causes him to develop a God complex, meting out life and death. Consider the image of him at the destruction of the justice building, imposing the order of music over the chaos of the destruction, and the body language of the concert-master making it all happen.

V’s recognition that he needs Evey in order to be “whole”: He depicts himself as the hero, rescuing the town (and later the damsel) from the terrors of the governing body - the Norsefire party. Ultimately, though, he concedes that he needs Evey to complete his task. In this the final dance, they are united, before he heads off to battle and certain death. He empowers the endangered damsel and leaves her to defeat the “dragon”.

Miscellaneous other stuff I noticed yesterday… 1.The images of books and objects in his house are important: since a house is an archetypal representation of the mind, it’s clear that V values, and is trying to fill his mind with ideas and beauty. 2.Re: Shakespeare allusions: recall the Jungian idea that people seek balance so their partner must “complete” them. At first V quotes Hamlet, remarking that we can “o’er sugar the devil himself” with careful attention to putting on a good appearance. Any such person would be both devil, and seemingly good person. V himself is conflicted because his pursuit of justice necessarily obliges him to behave immorally. Later, Evey tells him she plays Viola in 12 th Night. Viola’s character is in disguise, but both “versions” of her are good – there is no “o’er sugared devil” but her disguise is as a man: the paired opposite is literal.

V wears gloves. Given that hands represent culpability and responsibility for our actions, by wearing gloves V is implying that he wants to obscure/hide the indications of his own responsibility for his actions: it is other people’s fault. When he is making her breakfast, he has his gloves off – he is becoming less conflicted, and accepting responsibility for his actions. Filming hues/tints: notice that when V and Evey are filmed, the tinting is warm colours: they are alive, “burning”; (by contrast, the police are filmed with blue hues because they are sterile and lifeless, chasing others but themselves not vital/growing. Suttler et al are filmed in very black settings, with obvious connotations)