All posts tagged control

One of the most meaningful pieces of propaganda in both the book and movie adaptation of The Hunger Games, was the Treaty of Treason. It was orated in the book by the mayor of district 12, but shown in a video in the movie adaptation. However, in both instances the premise of the Treaty was identical, it “gave [the districts] new laws to guarantee peace and, [was their] yearly reminder that the Dark Days must never be repeated (Collins 18).

The effectiveness of the propaganda is due to the language and visuals provided by the Treaty. In the book the mayor “lists the disasters, the droughts, the storms, the fires, the encroaching seas that swallowed up so much of the land, [and] the brutal war for what little sustenance remained” (18). In accordance with the book, the video demonstrates visuals of violent war and helpless citizens. Using visual language, makes the Treaty a constant reminder of the terror of the Dark Days and is an effective scare tactic by the Capitol. Reminding the districts of such horrors of war and death creates an environment of fear and vulnerability, which allows the Capitol to control the people of Panem.

The most effective form of propaganda, as taught by my high school economics teacher, is one that provides a solution to the target audience’s problems. One of the examples he would bring up in class was the infamous Lyndon B. Johnson campaign ad featuring a little girl and an atomic bomb. The video is very similar to the Treaty of Treason video as each video utilizes children and the thought of war. Scare tactics are effective, but only when a solution or an “out” is provided to the viewer. In order to avoid nuclear war, the public was instructed to vote for President Johnson in the upcoming election cycle. In the same manner to avoid another Dark Days, “each of the twelve districts must provide one girl and one boy, called tributes, to participate [in the Hunger Games]” (18). As voting for President Johnson would provide a sense of hope for the people of Panem, there would be one victor of the Games. Using persuasive language and emotional stimulators, the Treaty of Treason is a very effective means of control for the Capitol.

Works Cited:

Collins, Suzanne. The Hunger Games. Scholastic Press, 2008.

Dystopias, as a genre, contain a huge amount of content. They consider all that is in a society, and pushes them to the extreme. A dystopia represents a stratified socio-political state that exercises total (or near-total) control at the price of their subjects’ individual rights, and uses deceptive appeals in the form of slogans and propaganda to maintain order according to a corruptive governing doctrine.

(1) Organized Division

The atmosphere of a dystopian world is characterized by the presence of a caste or divisive mandate.  In the Divergent series, we see that to maintain order and control, hope is only placed on the “ones that know” and have a place in society. We witness a division of friends and even family members, based on character and individual qualities, into four groups that accentuate an individuals primary trait (knowledge, bravery, selflessness, honesty, kindness). This separating and hierarchical influence is also established in the in-class text The Hunger Games in which Panem is divided into 12 districts that have distinct cultures, customs, and commodities, while only interacting with one another through the televised bloodshed between their tributes.  Both texts show how divisive measures are placed on the populaces in efforts to maintain order, and, in other ways, limit communication.

The 12 Districts of Panem illustrating dystopian division. (

(2) Control

Dystopias are NOT societies run per the govern. These are communities that have essentially given up on human nature, and therefore do not trust the decisions made by their citizens. In dystopias, this control is presented as security and protection from the unpredictable flaws of human nature. This heavy hand has its grasp on every facet of an individual’s interactions. Individual rights do not exist in a dystopian society, and if they do, they are limited or an item of deception. Dystopian control also extends further to surveillance and forced uniformity. In dystopian text like  The Giver, everyone is denied knowledge, sexual relationship, and even to see visual color. This “sameness” illustrates the control that is relinquished by the individual to the “betterment” of a society.

Quote from The Giver on the topic of “sameness”. (

(3) Doctrines and Deception

Dystopias are also a socio-political entity, and are run by a governing doctrine. Looking through the eyes of a radical socialist, one would see many similarities. Dystopias often thrive on exaggeration. A slogan is often the core of the verbiage within these society doubling as the source of deception. These doctrines and mandate are usually contradictory to their method of execution. For example, in The Hunger Games, in efforts to maintain peace, the Capital established violent gladiatorial combat between teenagers while simultaneously pinning the 12 districts against one another. Even looking at a classic dystopian text like 1984, we are presented with a term called “double think” which is the act of holding two contradictory opinions at once and simultaneously believing in both of them, which is said to be a talent every Party member was required to possess.

1984 Party Slogan (

These are just three core principle that go into defining a dystopia, but there are many more. Dystopias are fluid concepts, and, depending on what is exaggerated, can appear in many different forms.


Work Cited (Books):

  • Collins, Suzanne. The Hunger Games. New York: Scholastic Press, 2008. Print.
  • Lowry, Lois. The Giver.Houghton Mifflin Harcourt, 1993.
  • Roth, Veronica. Divergent.HarperCollins, 2011.
  • Orwell, Georgia. 1984.Harvill Secker.1949