A is for Anarchy, V is for Vendetta: Images of Guy Fawkes and the Creation of Post-Modern Anarchism
This article describes the symbolic roles the Guy Fawkes mask and the word "guy" play in Moore's treatment of anarchy in V for Vendetta and in popular culture. It begins with a brief historical summary of Guy Fawkes' plot to blow up parliament and continues to describe the parallel, underground anarchist history not mentioned in textbook renditions, supporting the idea that V and the Guy Fawkes mask are a free floating signifier. Since the Guy Fawkes mask and V persona are not nailed to any particular person, they are a powerful, fluid concept that is easily adopted and spread. This article would be useful in assessing Alan Moore's social influence, as it deals much more with the piece's context in history than its imagery and text. Further historical details on Guy Fawkes Day also provide a useful context from which to interpret Moore's use of its symbols.
Call, Lewis. (2008). A is for anarchy, v is for vendetta: Images of Guy Fawkes and the creation of post-modern anarchism. Anarchist Studies 16(2), 154-172.
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Call, Lewis. (2008). A is for anarchy, v is for vendetta: Images of Guy Fawkes and the creation of post-modern anarchism. Anarchist Studies 16(2), 154-172.
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The Human stain: Chaos and the Rage for Order in Watchmen.
This article compares Alan Moore's treatment of humanity and death in Watchmen with the great authors of the past, particularly Walt Whitman. It draws a comparison between both authors' use of imagery relating to mortality and the role of humans in the intricate and ever changing structure of mankind. This article contains multiple spoilers, so those who wish to read Watchmen without knowing the plot ahead of time should start elsewhere.
Dietrich, B. D. (2009). The human stain: Chaos and the rage for order in watchmen. Extrapolation (University of Texas at Brownsville), 50(1), 120-144.
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Dietrich, B. D. (2009). The human stain: Chaos and the rage for order in watchmen. Extrapolation (University of Texas at Brownsville), 50(1), 120-144.
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Holding Out for a Hero: Reaganism, ComicBook Vigilantes, and Captain America
This article describes the role of the hero in 1980s American political and comic book culture, with an extensive assessment of both Frank Miller's 1986 The Dark Knight Returns and Alan Moore's 1988 Watchmen, drawing comparisons on both novels' treatments of vigilantes in dystopian urban America. This article provides insight into Moore's American political perspective, whereas many others provide mainly British perspectives. The article also contains multiple spoilers, so those who wish to read Watchmen without knowing the plot ahead of time should start elsewhere.
Du, M. S. (2007). Holding out for a hero: Reaganism, comic book vigilantes, and Captain America. Journal of Popular Culture, 40(6), 915-935.
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Du, M. S. (2007). Holding out for a hero: Reaganism, comic book vigilantes, and Captain America. Journal of Popular Culture, 40(6), 915-935.
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Victoria-Arcana and the Misogynistic Poetics of Resistance in Iain Sinclair's White Chappell Scarlet Tracings and Alan Moore's From Hell
This article offers a feminist critique of Alan Moore's From Hell, finding fault with its misogynistic tendencies and tracing this inclination to the overtly suspicious and conspiracy-laden mythology of the New Historicism movement (a genre Alan Moore frequents in other novels as well.)
Ferguson, C. (2009). Victoria-arcana and the misogynistic poetics of resistance in iain sinclair's white chappell scarlet tracings and alan moore's from hell. LIT: Literature Interpretation Theory, 20(1), 45-64.
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Ferguson, C. (2009). Victoria-arcana and the misogynistic poetics of resistance in iain sinclair's white chappell scarlet tracings and alan moore's from hell. LIT: Literature Interpretation Theory, 20(1), 45-64.
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Postimperial Landscapes: "Psychology" and Englishness in Alan Moore's Graphic Novel From Hell: A Melodrama in Sixteen Parts
This article describes the treatment of Englishness, historicity, and the role precedence plays in contemporary national identity in Moore's graphic novel From Hell. It theorizes that the character of Jack the Ripper was resurrected at this point in time due to the fact that English national identity was in a state of reinvention. A brief history of the Whitechapel murders is provided, noting that most original suspects were not English, (since "no Englishman could have perpetrated such a horrible crime,") in spite of the fact that Jack the Ripper is now considered a quintessential character in British history and a "specifically English fantasy." Moore's graphic novel questions the role of Queen Victoria as a symbol of English greatness and thereby also criticizes the Victorian values mentality of politics under Margaret Thatcher at the time the novel was written. This article is a good source for political undertones and criticism in Alan Moore's work.
Ho, Elizabeth. (2006). Postimperial landscapes: "Psychology" and Englishness in Alan Moore's graphic novel From Hell: A melodrama in sixteen parts. Cultural Critique 63, 99-119.
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Ho, Elizabeth. (2006). Postimperial landscapes: "Psychology" and Englishness in Alan Moore's graphic novel From Hell: A melodrama in sixteen parts. Cultural Critique 63, 99-119.
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The League of Extraordinary Gentlmen
This article discusses the character development in Moore's League of Extraordinary Gentlemen, comparing the original graphic novels to the 2003 film version, finding fault with the film's flat characters and reliance on action film tropes.
Oxoby, Marc. (2003). The league of extraordinary gentlemen. Film & History 33(2), 77-78.
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