Susanne Collins’ trilogy The Hunger Games presents a dystopian world grounded upon the power of images. The controlling government uses visual eloquence to determine and project an accepted conception of the real and of its subjects’ identity. Its main instrument is represented by “The Hunger Games”, an annual event in which two tributes are selected in each of the 12 districts of Panem to compete in a brutal fight to death until one victor remains. This acts as a punishment and a memento for the huge uprising of the past. Within this context, tributes Katniss Everdeen and Peeta Mellark engage in a visual and narrative counterposition against the government to reclaim the articulation of their identities and disrupting the hyperreal dystopia of power.
Dystopian Images of Law and Visual Performances of Identity in Suzanne Collins’ The Hunger Games
Fiorato
2022-01-01
Abstract
Susanne Collins’ trilogy The Hunger Games presents a dystopian world grounded upon the power of images. The controlling government uses visual eloquence to determine and project an accepted conception of the real and of its subjects’ identity. Its main instrument is represented by “The Hunger Games”, an annual event in which two tributes are selected in each of the 12 districts of Panem to compete in a brutal fight to death until one victor remains. This acts as a punishment and a memento for the huge uprising of the past. Within this context, tributes Katniss Everdeen and Peeta Mellark engage in a visual and narrative counterposition against the government to reclaim the articulation of their identities and disrupting the hyperreal dystopia of power.
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