George Orwell, author of “1984,” depicts a dystopian nation focused on despair to warn his readers against communist governments. Michael Radford, director and screenwriter, film adaptation of the fictional story, successfully captures the cinematography that Orwell presented to the reader throughout the three sections of his novel. The industry influences the marketing of tiny topics like sexual affairs to increase viewership and diminish the true horrors depicted by Orwell. Many Hollywood adaptations of novels focus on marketing topics like sex to attract viewers (Seger 4). When it comes to the theme of cinematography in “1984,” most of us will readily agree that director Michael Radford perfectly captured the dystopian nation of Oceania described by Orwell. But where this deal usually ends is on the issue of embedded commercialism to increase ticket sales. While some are convinced, the restriction of personal and sexual relationships engages and captures the viewer's perception of the dangers of a totalitarian government. On the other hand, other scholars argue that the constant focus on sexual matters in films distracts from the content that Orwell was more concerned with. Paul Attanasio, a film scholar and critic, says that "the atmosphere is so unfailingly oppressive that the characters resist"...The scenes have the same stark, washed-out quality as the preceding scenes. Even though no one realistically can transcend totalitarianism, people think they can” (Attanasio). He implies that Radford has captured the true essence of the dystopian city, Oceania. One implication of Radford's treatment of Winston and Julia is that he wanted them to get caught. During the film, Winst...... middle of paper ...... this should actually concern anyone who cares about the role a government can play in society and the devastating effects of a totalitarian government. Works Cited Attanasio, Paul. “1984: clever but empty. » Distribute. University of Suffolk. Boston, Massachusetts. 1985. Print. Ebert, Roger. “1984”. Distribute. University of Suffolk. Boston, Massachusetts. February 1, 1985. Print. Elliot, David. "Whether '1984' is past or future, it's depressing." Distribute. University of Suffolk. Boston, Massachusetts. 1985. Print. Graff, Gerald and Cathy Birkenstein. They say/I say: the moves that matter in academic writing. New York: WW Norton &, 2010. Print.Orwell, George. Animal Farm and 1984. Orlando: Houghton Mifflin Harcourt, 2003. Print. Seger, Linda. “Introduction: Transforming reality and fiction into film.” The art of adaptation: transforming reality and fiction into film. New York: H. Holt and, 1992. 1-10. Print.