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Propaganda in Animal Farm
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Published: Apr 29, 2022
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- Fitzpatrick, S. (n.d.). Propaganda on Animal Farm. Retrieved from https://www.johndclare.net/AnimalFarm_Fitzpatrick.htm
- Orwell, G. (1945). Animal Farm. New York, NY: Harcourt Brace Jovanovich.
- Robb, G. (2017). Political Propaganda: George Orwell's Animal Farm.
- Roland, C. G. (2015). Techniques of Propaganda in Animal Farm.
- Whitman, R. G. (2013). Animal Farm and Soviet History.
- Biondich, M. (2006). The Power of Propaganda: A Comparative Analysis of Animal Farm and North Korea.
- Forbes, S. (2014). Propaganda in Animal Farm and Nineteen Eighty-Four. Retrieved from https://dalspace.library.dal.ca/bitstream/handle/10222/51526/Forbes-Sarah-MLIS-MLIS-July-2014.pdf
- Kalu, V. O., & Ukonze, C. O. (2017). Propaganda Techniques in George Orwell's Animal Farm. Retrieved from https://www.researchgate.net/publication/319546375_Propaganda_Techniques_in_George_Orwell's_Animal_Farm
- Krockel, M. (2012). Animal Farm: A Study Guide.
- Perri, D. (2016). Propaganda, Persuasion, and Animal Farm.
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Propaganda and power in animal farm brendan dickson 10th grade.
From Hitler to Hussein, the rise and fall of dictators has captivated historians and writers alike for centuries. British novelist George Orwell (1903-1950) was no exception. In his 1946 allegory Animal Farm , Orwell satirized the 1917 Russian Revolution and the subsequent decades of totalitarian Soviet oppression. The story takes place on a fictional farm where the maltreated animals rebel and overthrow their human overlords. They establish a seemingly utopian society where they work for and are governed by themselves; however, it doesn’t take long for the farm to deteriorate into a totalitarian state with a ruler who can only be described as a tyrant. The most pivotal factor responsible for this outcome is propaganda. Through the use of propaganda in the book, Orwell argues that a government’s power to control its people’s knowledge and views is that government’s capacity to manipulate and oppress.
The first way that Orwell demonstrates the insidious power of propaganda is through the carefully crafted language used by the farm’s pigs, who incrementally assume all power and control over the other animals. For example, in chapter three, Squealer, who is essentially the mouthpiece of the despotic Napoleon, declares that “the...
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Animal Farm review – Orwell’s unsettling allegory still resonates in the age of Trump, Johnson and Sunak
Octagon, Bolton Iqbal Khan’s production lays bare the uncomfortable parallels between a mid-20th century Soviet Union and today’s marauding politicians
H ow George Orwell would despair at today’s political discourse. His power-grabbing pigs in Animal Farm were an allegorical warning against Soviet-style dictatorship and propaganda. The more unequal the once egalitarian animal collective becomes, the more the ruling pig class rewrite their story.
Today, you do not need to look to totalitarian states to see politicians manipulate the narrative. Consider Donald Trump accusing his enemies of the flaws he himself is guilty of or, to pluck an example out of the air, our own prime minister claiming not to have made a bet we saw him shake hands on. For a generation of post-Johnson politicians, hoodwinking the public has become a reflex reaction.
So even if we no longer feel so keenly Animal Farm’s parallels with a mid-20th century Soviet Union, with the Stalin-like Napoleon banishing the Trotsky-like Snowball, we cannot avoid its resonances in a world of fake news and online conspiracy theories. As Orwell presents it, those who control the narrative are the victors.
This comes across lucidly in Iqbal Khan’s production for the Octagon, Hull Truck and Derby theatre, as the pigs doctor the graffitied slogans on the corrugated-iron pigsty set designed by Ciarán Bagnall. The noble principles of the revolution become compromised and the literature rewritten. Meanwhile, Ida Regan’s Napoleon goes from semi-articulate bystander to duplicitous despot. She is not an obvious candidate for promotion, too timid and uncertain, but is adept at letting her henchmen do her dirty work while she basks in the glory.
Less convincing are the surveillance-state cameras, first overseeing the barn and later forming the features of a human puppet. The implication is plain, but they would be more fitting for the psychological coercion of Orwell’s Nineteen Eighty-Four, written a few years after Animal Farm, and add little to a story primarily about deception.
More irritating is the fidgety portrayal of the animals, the six-strong ensemble grunting and hoof-scraping through Ian Wooldridge’s 1982 adaptation like an undergraduate actors’ workshop. The production comes most alive when they trust us to remember who these animals are and let a still chilling story do its work.
At Octagon, Bolton , until 24 February then touring until 13 April
- George Orwell
Propaganda in “Animal Farm” by George Orwell Report
Animal farm is a book that was written by George Orwell. This is a major piece of literature whose meaning, even if subject to interpretations among scholars, is clearly related to what the Russian revolution turned out to be. This paper is going to consider issues in this book under several sub-headings.
Transformations that explain the change from the seven commandments to one commandment
Several transformations did take place on the animal farm beginning from the overthrow of Jones. Initially the animals came up with seven commandments that had to be followed in order to have a harmonious living in the farm. When Napoleon takes over power, he starts to twist the commandments in order for them to suit his interests through the propagandist, Squealer.
In this novel, step by step, these commandments are eroded up to the time the conclusion is made that “All animals are equal, but some animals are more equal than others” (133). Here what has started in an indirect manner is that all animals are not equal. This enables the pigs, or the ruling class, to behave like the human beings and engage in things carried out by human beings and other animals are exploited. Therefore the changing of the commandments serves to favor the ruling class.
How Snowball and Napoleon think of political power
Both Snowball and Napoleon are seen to be the animals that are the most intelligent. Each of them makes a choice of different tactics in the cause of the fight in which Napoleon emerges a winner.
Snowball tends to have an interest that is genuine in regard to bringing improvement in the welfare of the animals on the farm. Snowball is idealistic and he has a strong believe in the seven commandments that have been set up. His greatest objective is to carry out the spreading of the revolution and to bring in the improvement of the general welfare of all the animals on the farm. In regard to politics in the actual sense, what Snowball is doing is attempting to win the animals’ interests as well as their loyalty.
On the other hand, considering Napoleon’s style, this is seen to be the direct opposite of what Snowball stands for. He is ready to take his time carrying out a debate on Snowball, and in general terms he comes with ideas or opinions that are not in line with those of Snowball and in engaging in doing this, he brings about a conflict. The objective he has in mind is to strengthen his power over Animal Farm and makes sure he realizes its protection. He sees ahead and takes an initiative to secretly train young dogs and wins the loyalty of these dogs. This is an indication that he took the best option to be the “Coup”.
Napoleon was ready to employ a democratic process to a particular level but at the time he came to a realization that things were going out of his hands following the loss he encountered in regard to the vote on the windmill he used the dogs he had trained to forcefully have Snowball off the farm. At this point, the debate came to a halt.
Napoleon seems to play on the psychology of the animals, trying to twist history as well as events in such a manner that those animals that are not wise or intelligent could not see. This action of twisting makes his power much stronger. Eventually Snowball was not in a position to stand a chance. Snowball initially had it in mind that he had been taking part in politics on a ground that was level, but then in the end Napoleon was the one who emerged the winner.
Role of Propaganda
Propaganda is used both positively and negatively in the novel. For instance, Snowball uses propaganda positively where he effectively employs this to assume power over the farm. At the time the rebellion was over, he took power and declared his manifesto upon the ears that were desperate “Vote for Snowball and the three day week….” (65). He engaged in the spreading of propaganda that would give a boost to Animalism by setting up of the windmill. The windmill was meant to be utilized for luxuries that would play a major role in improving the welfare of the animals. He put it that even if the carrying of the construction of the windmill will not be easy, but then eventually this would turn to be of great benefit to the animals on the farm in the long term. The ideas held by Snowball were highly cherished by the animals and they turned out to be very much excited up to the time he was chased from the farm.
On the other hand, Napoleon engaged in using propaganda in a negative way to spoil the name of Snowball in order to destroy him. He chased away Snowball with a threat of death and then engaged in propaganda to spread out the idea that Snowball was a great traitor and he was cooperating with their enemy, Mr. Jones. He carried out this to strengthen his leadership position. However, there was general acceptance of the propaganda put forth by Napoleon.
The novel clearly gives an indication of the way propaganda can be employed to change the way people believe especially when these people are motivated by ideas that are positive and are willing to offer support to these ideas. However, when darkness in the novel is seen from Napoleon, it turns out to be very hard to make a distinction between truths and lies.
What Benjamin represents
This character is a donkey in the novel. He is the animal that has lived longer than any other animal on the farm. He is not very much straightforward in comparison with other animals in the book. This character may represent the old people of Russia or he might as well be representing the group of intellectuals. He does not have any feeling about life and suggests that he does not see any difference between the time the animals were under the rule of Jones and the time the animals are not under the rule of Napoleon. He has equal intelligence as the pigs but is not involved in ruling and neither does he belong to the group of the working peasantry consisting of the horses. This character may be representing the skeptical people who were in Russia as well as those who were out of Russia who held the belief that the people of Russia could not acquire any help from communism, but who did not engage in carrying out criticism in fear of loosing their lives.
This book gives a clear focus on the way leaders employ particular techniques to seize power and to use this power to control others who are being ruled. The book clearly indicates how leaders behave when they take over power after attaining independence. Originally there is a shared vision but this narrows down to self-interest with time and the vision that was originally shared vanishes away.
Orwell George, Animal farm: a fairy story. Edition 50. Signet Classic, 1996. Web.
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IvyPanda. (2023, October 31). Propaganda in “Animal Farm” by George Orwell. https://ivypanda.com/essays/propaganda-in-animal-farm-by-george-orwell/
"Propaganda in “Animal Farm” by George Orwell." IvyPanda , 31 Oct. 2023, ivypanda.com/essays/propaganda-in-animal-farm-by-george-orwell/.
IvyPanda . (2023) 'Propaganda in “Animal Farm” by George Orwell'. 31 October.
IvyPanda . 2023. "Propaganda in “Animal Farm” by George Orwell." October 31, 2023. https://ivypanda.com/essays/propaganda-in-animal-farm-by-george-orwell/.
1. IvyPanda . "Propaganda in “Animal Farm” by George Orwell." October 31, 2023. https://ivypanda.com/essays/propaganda-in-animal-farm-by-george-orwell/.
IvyPanda . "Propaganda in “Animal Farm” by George Orwell." October 31, 2023. https://ivypanda.com/essays/propaganda-in-animal-farm-by-george-orwell/.
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Squealer as a Propaganda Machine in George Orwell’s Animal Farm
George Orwell’s 1946 novel Animal Farm uses the animals of Manor Farm as a metaphor for Stalinism in order to demonstrate the corruption and dangers of a Communist leadership. In keeping with this theme, the novel employs many instances of propaganda–an oft-used tool of totalitarian leaders–to illustrate that people can be easily convinced by flawed ideas if they’re presented in an engaging manner. This allegorical dystopia uses songs, slogans, and poems to depict the manner in which the animals gradually come under Napoleon’s spell with the effective machinations of Squealer, the farm’s Minister of Propaganda. Although Orwell also uses positive propaganda to demonstrate its power in uniting a populace, the overwhelming message of this novel is that people living under an oppressive regime are ripe to be manipulated by the persuasive power of propaganda. Animal Farm demonstrates that true power may lie not with the dictator himself, but with the mouthpiece who speaks for him.
In the essay that was meant to preface the original edition of Animal Farm, George Orwell writes that “unpopular ideas can be silenced, and inconvenient facts kept dark, without the need for any official ban” (“Freedom”). This idea holds true for the residents of Manor Farm due to the diligent hard work of Squealer, the farm’s Minister of Propaganda and official mouthpiece for dictator Napoleon. Although Napoleon’s mode of speech tends towards the taciturn and terse, Squealer is known by the other animals to be a “brilliant talker” (Animal Farm 6) whose entire physical being becomes animated when he is engaged in convincing his audience. His reputation is that of one who “could turn black into white” (6). He possesses the innate ability to turn the other animals’ arguments around with wordplay that has them agreeing with issues that just moments earlier had them enraged. This is seen most notably with the mystery of the missing milk. Once the other animals learn that this extra milk is being used to supplement the pigs’ apple mash, food that the Manor Farm animals “had assumed as a matter of course […] would be shared out equally” (14).
It falls to Squealer to calm down the angry animals and explain the rightness of the situation. To win the argument, he overly complicates his language, thus taking advantage of the poorly-educated animals who have difficulty following complex argumentative strategies. Telling them that “many of us actually dislike milk and apples. I dislike them myself” (Ibid.) but that the foods are :absolutely necessary to the well-being of a pig” (Ibid.), Squealer aligns himself with the other animals by pretending to be more interested in their well-being than his own. He effectively gains their total agreement by subtly suggesting that if the pigs aren’t well fed than they will be unable to protect the other animals, possibly leading to the return of the hated Mr. Jones. This sort of propaganda twists the truth by suggesting that the goals of the pigs and the other animals are the same, and that the pigs have only the other animals best interest at heart. It has the effect of silencing dissent, because once he introduces the figure of Mr. Jones into his argument, the other animals “had no more to say” (Ibid.). The animals agree to reserve all extra milk and apples for the pigs’ sole consumption, an opposite opinion to the one they had prior to listening to Squealer’s doublespeak.
The key to Squealer’s talent as a propaganda machine for Napoleon lies in his ability to manipulate language to suit the particular demands of his audience and the specific situation itself. When he wants to hide his intentions or the truth, he uses overly complex words and ideas that intimidate the other animals and make them feel intellectually unequipped to join in the discussion. One example of this is Squealer’s reference to “tactics” (22) in explaining that Napoleon had been behind the decision to build a windmill all along. This contradicts his earlier explanation of the issue, but it is no matter for the other animals don’t understand what he means anyway. His constant use of propaganda that goes over their heads ensures that they “[accept] his explanations without further questions” (23) because Squealer has positioned himself as the keeper of knowledge who is essential for the animals of Manor Farm to understand Napoleon’s grand design.
Squealer is also guilty of oversimplifying language when it suits his purposes. He employs this tactic late in the novel in a key instance of propaganda and manipulation when he teaches the sheep the phrase “‘Four legs good, two legs better'” (51) so that they might cry it out at the appropriate moment to silence any dissent that might arise from the other animals when they see the pigs walking upright in direct contradiction to the original maxim of Animalism “Four legs good, two legs bad” (12). Clearly, Squealer is a master at orchestrating events so that they turn in the pigs’ favor, for the sheep bleat out their simple refrain at the exact moment when the brow-beaten, brainwashed animals might have spoken out, “as though at a signal” (51). And, of course, Squealer is the pig behind that signal, manipulating words and events with equal measures of abandon so that the confused animals no longer know what, or how, to think. Instead, they wish only to be told what to do, convinced by Squealer’s propaganda that they are nothing without the pigs’ leadership.
Squealer’s masterful language manipulations result in a state of mind for the other animals that bolsters George Orwell’s statement that “the result of preaching totalitarian doctrines is to weaken the instinct by which free peoples know what is or is not dangerous” (“Freedom”). Although the farm animals are ostensibly free from the abuse of Mr. Jones, they have been brainwashed to the point where they are no longer to tell truth from fiction, even when it stares them plain in the face, such as with the writing on the van that takes Boxer away from the farm. The literate Benjamin is able to read the letters and tells the other animals that the van belongs to “‘Alfred Simmonds, Horse Slaughterer and Glue Boiler, Willingdon. Dealer in Hides and Bone−Meal'” (36). The farm animals react to this news with total horror, however they are unable to save Boxer and, days later, are quite accepting of Squealer’s explanation that “the van had previously been the property of the knacker, and had been bought by the veterinary surgeon, who had not yet painted the old name out” (37). Although the animals should know better, they accept Squealer’s version of the truth because it is easier than thinking for themselves. To think independently means to confront possibly ugly truths and be forced to do something about them–few of the animals are bright enough or strong enough to deal with such a burden.
Additionally, Squealer is able to manipulate this possibly damaging moment by both casting aspersions on the “stupid” (36) animals who spread a “foolish and wicked rumor” (Ibid.) regarding the horse knacker and using Boxer’s death to further bolster Napoleon’s plan for the completion of Manor Farm’s windmill. There are no animals who are able to contradict his claim that he was with Boxer during the popular horse’s final moments, nor are they able to dispute his assertion that Boxer’s final words were used to praise Napoleon by urging his fellow animals, “‘Forward, comrades! […] ‘Forward in the name of the Rebellion. Long live Animal Farm! Long live Comrade Napoleon! Napoleon is always right.’ Those were his very last words, comrades” (37). This speaks to the key reason why Squealer is such an effective mouthpiece for Napoleon: not only is he able to manipulate language to suit his leader’s needs, but he is able to gauge the temperament of his audience and alter his message to fit their current moods, thereby ensuring that he will be successful in his machinations.
The lies and half truths issued by Squealer do not always have an entirely negative effect. There are instances in Animal Farm when propaganda helps to build a greater sense of community amongst the animals, heightening their sense of kinship and the belief that they are accomplishing the goals that they first set out to achieve in ousting Mr. Jones. This occurs most effectively when the animals’ spirits are at their lowest, such as during the harsh winter when supplies are dwindling and morale is down. Squealer produces statistics that contradicts the reality of their situation by proving that they are much better off. His figures ‘prove’ “that they lived longer, that a larger proportion of their young ones survived infancy, and that they had more straw in their stalls and suffered less from fleas. The animals believed every word of it” (33). Indeed, they take great comfort from such unprovable ‘facts’, in part because of the “greater dignity” (34) that they feel as a result of the increase in speeches and songs, which give greater meaning to their desperate circumstances. The introduction of “Spontaneous Demonstrations” (Ibid.) ordered by Napoleon but carefully orchestrated by Squealer, also aids in their acceptance of their new lot in life. Of course, because they are planned, these demonstrations cannot be spontaneous, but this is a bit of clever manipulation that the animals are no longer capable of recognizing. Instead, they revel in the pomp and circumstance of the events which “celebrate the struggles and triumphs of Animal Farm” (Ibid.), giving the animals something to look forward to in the dreariness of their regular life.
While Napoleon may wear the symbolic crown as leader of the Manor Farm, ruling through terror and fear, and Snowball once represented the hopeful prospect that the animals’ rebellion might succeed by implementing education and a greater sense of egalitarianism, it is indeed Squealer who truly controls the farm animals. With his propaganda tools, he is able to manipulate Napoleon’s subjects to the point where they learn to love their brutal lives, and crave Squealer’s direction as they no longer have a will of their own. Through the character of Squealer, Orwell demonstrates the dangerous power of propaganda in manipulating people to the point where they are no longer able to recognize the truth and must blindly accept whatever their government, and its mouthpiece, sees fit to tell them.
- Orwell, George (1979). Animal farm. New York: Penguin.
- (2011). Preface to the Ukrainian edition of animal farm, 1947. In Charles’ george orwell links. Retrieved from http://www.netcharles.com/orwell/articles/ukrainian-af- pref.htm
- (2004). Freedom of the press: original preface to animal farm. First published in The Times Literary Supplement. In George orwell. Retrieved from http://orwell.ru/library/novels/Animal_Farm/english/efp_go
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How Propaganda Was Used in Animal Farm
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Animal Farm , George Orwell
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