Examples Of Deceptive Appearances In Dead Poets's Society

The idea that appearances can be deceptive but necessary is reflected in 20th century context. George Orwell’s novel, ‘1984’ and the film, ‘Dead Poet’s Society’, directed by Peter Weir (1989), reveal that society was fearful of rising ideologies after the bomb. The two texts highlight that while propaganda and conformity are societal issues, it is necessary to be critical of totalitarianism, tradition and allow appearances to be deceptive.

Appearances can be deceptive when influenced by propaganda; however, they are necessary when truth threatens to undermine the stability of authority. Orwell's criticism of totalitarian ideologies that emerged after WWII was reflected in the dystopian society of ‘1984’. The deceptive appearance of a state
in control was underpinned by the use of propaganda as a social tool for control. The setting of “Victory Mansions” emits a facade of luxury and surfeited wealth. The nomenclature is ironic to the actuality of “coarse soap and blunt razors and the cold of winter”. Similarly, in ‘Dead Poet’s Society’, the deceptive appearance of the setting, punned as “Hell-ton”, is necessary to contradict its reality. Propaganda existed in 1949, as new ideologies rose and governments felt it necessary to conjure deceiving appearances of opposing totalitarian regimes. The Party’s slogan, “War is peace/Freedom is slavery/Ignorance is strength” is comprised of paradoxes to deceivingly brainwash Oceania’s perception of reality. It is necessary for them to distort the appearance of what is right to gain total control. This reality control manifests in society through the act of “doublethink”, obligatory for the success of totalitarianism. Orwell plays on the contextual fear of nuclear weaponry following the aftermath of WWII. Appropriated from strategic bomber airplanes, “rocket bombs” exploded everyday under the guise of enemy attack. It is implied that the reason for the constant bombing could be “to keep people frightened”. This deception would be part of the Party’s propaganda, necessary to instigate fear and hatred for the enemy.

The propaganda that influences semblance can become more ingrained into the actual values and paradigms of society, creating deceptive appearances for the sake of belonging and acceptance.
‘Dead Poet’s Society’ is set in the conservative Welton Academy in 1959 to depict that encouragement of conformity and the need to create deceptive appearances is established early in life. In the context of the 1950s, the rise of social revolution also led to an opposing ideology: conservatism. The Cold War that arose during the 50s created instability, causing people to turn to institutions that deceivingly propagandised tradition as necessary in society. The wide shot of the uniformed boys grouped together, reciting in unison the four pillars, “tradition”, “honour”, “discipline”, excellence” conveys that even in educational institutions, propaganda was be embedded in to them by authoritarians. This juxtaposes to “travesty”, “horror”, “decadence”, “excrement”, portraying that while the students find it necessary to be deceptive and appear acquiescent, the natural teenage instincts of rebellion could not be controlled. Conversely, in ‘1984’, the Party’s goal was to eliminate the sex instinct could not be achieved, as Winston and Julia’s relationship controverts this. Pressure to live up to restrictive expectations from a young age is an ideal most predominate in the traditional context, though it is still a part of modern day society. The propaganda educated to them that “medicine, law,
business, engineering” are the only noble pursuits is contrasted to the heterodoxy, that “poetry, beauty, romance, love, these are what we stay alive for”. This declaratory statement implies that to experience these emotions in an orthodox institution, it is necessary to always maintain deceptive appearances.

Conformity is fundamental for Big Brother to exercise complete control, yet the perpetual existence of deceptive appearances is a testimony to the human necessity for rebellion.
The mindset that homogenised society was ideal and all anomalies should be subjugated existed in the context of the 40s, under the Nazi dictatorship of Hitler. In ‘1984’, Winston is a subversive protagonist, but despite his instinct to rebel against the Party, it is necessary for prolonged survival that features of his deceptive disguise have unwittingly conformed to the hegemony. The setting of “Room 101” appropriates the horrifying conditions of a concentration camp. The use of a person’s greatest fears to force them in to conformity emphasises that while appearances can be deceptive, there comes a point when the necessity for self-preservation becomes greater than all else, symbolised by the exclamation, “Do it to Julia!” This preservation instinct is parallel to ‘Dead Poet’s Society’, when Cameron says “Let Keating fry… Why ruin our lives?” The final lines, “He had won the victory over himself. He loved Big Brother.” are ironic, as Winston’s attempts to rebel have failed and he has conformed to the like-minded society. However, Big Brother’s facade of being an unquestionably reigning supreme is essentially, a lie. The extent of the Party’s torture on Winston reflect that while it is possible for the mind and heart be broken, the individual has the ability to withstand great lengths, emphasising
how fighting against the deceptively unbreakable appearance of totalitarian rule is necessary.

Deceptive appearances can result from the basic need to maintain face in society. The guise of conformity might be essentially deceptive but optimally necessary. The reality of the Vietnam War was disconcerting for many and they attempted to remain in the traditions of a past era, ignoring the truth until the reality of the Cuban Missile Crisis brought the threat of war to their attention. The English teacher, Keating, characterised as “unorthodox”, challenges the boys’ deceptive disguises, which conformed out of necessity to the context steeped in tradition. When Keating instructs the students to “take a stroll”, the tracking shot of their feet and the rhythmic beat accentuates how they are physically and mentally moulded to conform. “Ask yourselves why you were clapping” symbolises that the individual has deceptively been entrenched with the need to embrace conformity in appearance. This can juxtapose to the “Two Minutes Hate” from ‘1984’, when the totalitarian society mindlessly agree to feel hate just because it is expected of them. The protagonist, Neil, appears to have great potential for success, but this turns out to be deceptive as his unfulfilled need for self-expression leads to his suicide. In the late 1950s, suicide rates for teenagers aged 15-19 years were the highest ever recorded. The dark lighting and non-diegetic music contrast to the pathetic fallacy of white snow in the scene of Neil’s death, creating a deceptive appearance of beauty as opposed to the actual tragedy. This signifies that society found it necessary to maintain the illusion of comfort despite suppressed individuality until death.

It can be seen that deceptive appearances have become necessary in society for both controlling and rebelling. The message both composers emphasise is that despite propaganda, conformity and the authoritarian mask of total control, despite context, it will always be a lie, but it is essential that the subversive minority are willing to fight.