How Do The Citizens Influence The Novel'S Plot?

In 'On Tyranny', the book emphasizes the importance of staying informed and vigilant. It suggests that citizens should read widely, especially from independent sources, to avoid falling into the trap of propaganda. The book also advises people to engage in their communities, whether through local politics or grassroots movements, to build a network of resistance against authoritarian tendencies. Another key piece of advice is to defend institutions that uphold democracy, such as the judiciary and the press. The book warns against the erosion of these institutions, which can happen gradually and often goes unnoticed until it’s too late. It also encourages people to speak out against injustices, even when it’s uncomfortable, because silence can be complicit in the rise of tyranny. Lastly, 'On Tyranny' stresses the importance of personal responsibility. It urges citizens to take small, daily actions that uphold democratic values, like voting, supporting ethical businesses, and teaching the next generation about the importance of freedom and justice. These actions, though seemingly minor, can collectively make a significant impact in preserving democracy.

The telescreens in '1984' are a terrifyingly effective tool for enforcing obedience, serving as both surveillance devices and propaganda machines. They are omnipresent, installed in homes, workplaces, and public spaces, constantly monitoring citizens for any signs of dissent. The screens broadcast Party-approved content nonstop, reinforcing the ideology of Ingsoc and drowning out independent thought. What makes them particularly chilling is their two-way functionality—they not only transmit but also listen and watch, ensuring no moment of privacy. The psychological impact is profound; even the suspicion of being watched alters behavior, creating self-censorship and paranoia. Beyond surveillance, the telescreens are a symbol of the Party's absolute control. They erase the boundary between public and private life, making rebellion nearly impossible. The fear of the Thought Police, who might be watching through the screens at any moment, forces citizens to perform loyalty even in their most intimate moments. This constant scrutiny conditions people to accept the Party's reality, as any deviation could mean arrest or worse. The telescreens aren't just tools; they are the physical manifestation of Big Brother's gaze, a reminder that freedom is an illusion in Oceania.

There are a few classic beats that filmmakers use when they want to show citizens actually rising up, and a bunch of movies use the same visual language. If you mean a movie like 'V for Vendetta', watch for the slow shift from isolated acts to mass participation: first there are small acts of civil disobedience (graffiti, anonymous broadcasts), then local protests and spontaneous gatherings, and finally the huge crowd outside Parliament wearing Guy Fawkes masks. Those middle scenes—shopkeepers closing in solidarity, people refusing to show ID, and the montage of ordinary citizens doing small, risky things—sell the idea that the rebellion isn’t just one person but an idea spreading. If the film is more like 'Les Misérables' or a historical-style drama, rebellion scenes are often concentrated around public, symbolic spaces: the barricade building montage, students arguing and then singing together, the clash with armed forces, and quiet private moments where characters decide to join. The camera will cut between the crowd’s chants, close-ups of hands arming themselves, and the faces of civilians—these are the scenes where the movie says, plainly, “this is a people’s revolt,” not a military coup. I always get chills when a film shows small, human gestures—a baker handing a gun to a student, a choir joining a protest—that quietly shift the story from isolated dissent to full-on rebellion.

Sometimes I catch myself listening to a film's crowd as much as its melody, and that’s where the real magic happens for me. When citizens are present in a scene — whether they’re murmuring in a market, singing a protest chant, or clapping in unison — they act like living instruments that nudge the composer’s palette. A melody that felt intimate can inflate into something communal simply because a chorus of voices adds harmonic color or rhythmic punctuation. I’ve seen this in scenes where a single violin line becomes a swelling anthem once the townspeople start joining in, and the mixing choices (how loud those voices sit against the orchestra) decide whether we feel uplifted or ominous. Technically, directors and composers lean on diegetic sound (what characters hear) versus non-diegetic score (what only the audience hears) to steer mood. When citizens provide diegetic elements — street musicians, chants, or even heavy footfalls — composers will sometimes mirror those motifs in the non-diegetic score, creating emotional reinforcement. That’s why a protest sequence can feel both chaotic and unified: the tempo of the crowd sets the rhythmic energy, percussion-like stomps increase tension, and the composer overlays a leitmotif in a different register to guide your empathy. Live audience reactions in theaters can amplify this further; I recall a screening of 'La La Land' where the crowd’s applause after a big number made the next quieter scene feel unbearably tender because the contrast was so sharp. Beyond technique, citizens anchor cultural context. A rural chorus carrying a hymn colors the scene differently than an urban crowd chanting slogans; instrumentation, dialect, and vocal timbre all contribute. For storytellers, that’s gold — it turns background extras into a chorus that shapes pace, color, and the listener’s pulse. I love spotting those layers, and sometimes I rewind just to hear how a single cough or distant cheer reshaped the whole soundtrack.

I'm the kind of person who will sit on a park bench with a recorder and a thermos and listen for hours, so when people ask what interviews reveal about citizens' origin and meaning I get a little excited. Interviews—especially life-story and oral-history ones—pull back the curtain on where people come from: migration routes, family myths, the village names nobody on a map knows anymore, and the small rituals that mark belonging. They also surface the everyday reasons someone calls themselves a citizen: paying for a child’s school, claiming a neighborhood corner, or voting because great-grandma did. In practice, I find that unstructured interviews reveal the soft, messy parts—nicknames, food, music—that formal surveys miss, while semi-structured interviews help tie those stories to bigger themes like displacement, identity, and legal status. Projects like 'Humans of New York' or the interview tapes in 'The Civil War' show how personal origin stories become collective memory, and how meaning is made in mundane details: a recipe, a protest sign, a childhood street vendor. Listening longer changes how I see citizenship: not just a legal box, but a narrative people live in, edit, and pass on.

Some of my favorite secrets in any book series are the tiny everyday ones—the whispers you overhear in a marketplace, the smudged ledger kept under a baker's floorboard, the false name used when someone buys a train ticket at midnight. I love how authors hide whole ecosystems of truth in those small things. In 'The Lies of Locke Lamora' style capers, for example, citizens hide gambling debts and forged favors behind elaborate jokes; in a darker neighborhood straight out of 'The Handmaid's Tale', people tuck contraband letters and recipes into hollow sewing-rooms, a form of rebellion that feels intimately human. I remember flipping pages on a late-night subway ride, feeling like I was eavesdropping on an entire city’s nervous heartbeat. Beyond personal lies, the best secrets are structural. Bloodlines, old treaties, and lost maps are often buried by those who profit from oblivion. Whole religions can be secretive cults rebranded as civic tradition; whole economies can be powered by illicit smuggling routes maintained by kindly grocers and "respectable" magistrates. Sometimes it’s magical: citizens hiding latent powers because the law forbids them, like secret wizards in a neighborhood where magic is treason. Other times it’s mundane but devastating—who voted for what in a coup, who sheltered refugees, who kept silent during a purge. These are the things that turn a setting from wallpaper into a living, breathing place, and I adore tracing the clues authors leave for readers brave enough to look behind every curtain.

I get oddly sentimental about this topic—there’s something about rainy nights, a bowl of microwave popcorn, and watching synthetic people wrestle with whether they belong that pulls me in. Lately, most films haven’t literally given androids or robots the little blue passport; instead they dramatize what it means to be treated like a person. Take 'Blade Runner 2049' and 'Ex Machina'—they're less interested in the bureaucratic checkbox of citizenship and more in social recognition, exploitation, and the ethics of creation. Replicants and lab-made intelligences are usually shown as exploited labor or experimental subjects, not members of the polity with voting rights or travel documents. There are exceptions and interesting detours. 'Bicentennial Man' (older, I know) is the rare film that follows a robot’s long legal journey toward recognition, giving a court-room-ish strand to the question of rights. More recent entries like 'I Am Mother' and 'Chappie' are emotionally invested in whether a robot can be raised, loved, or considered an individual, but they stop short of exploring formal legal citizenship. 'The Creator' and 'Alita: Battle Angel' lean into social segregation, military control, and underground resistance instead of neat legal solutions. Even when a film imagines a more integrated future, the drama usually comes from prejudice, surveillance, or ownership—forces that make the lack of legal personhood feel immediate and painful. So overall: no, mainstream recent films rarely depict androids as actual citizens in a legal sense. They do, however, spend a lot of time asking whether society should treat them as people—and that moral debate is where the real storytelling energy lies. I’m always hoping the next movie will give us a film about a robot trying to get a driver’s license or a passport—it’d be both hilarious and telling.

The morning after the proclamation hit the square, the town felt like a play where someone had stolen half the script. People who used to nod and trade bread with me in the market now looked through me as if I were glass. Shopkeepers lowered their shutters earlier, children stopped waving at the patrols, and the old mural of our founders acquired a new layer of spit and graffiti overnight. It wasn’t just anger — it was a dense, physical grief, like everyone had been handed a hole in their chest and told to keep walking. Rumors spread faster than facts. By noon the bakery had signs up warning customers against 'sympathizers'; by sunset, there were leaflets plastered on the fountain accusing names nobody would have said aloud last week. I’ve seen neighbors I’d shared rice with turn into watchdogs, confronting former friends because they were afraid of being next. A few people led chants at the gates and threw stones; a smaller number organized clandestine vigils and tried to remember the reasons they once trusted our hero. The most unnerving reaction came from the quiet ones — the elderly who muttered about duty, the mothers who made extra soup for soldiers, not because they chose a side but because they were afraid of losing everything. Over months, the mood hardened into politics. Some factions burned the protagonist’s likeness and turned their pain into propaganda; other groups, secretly or shamelessly, turned it into a legend and whispered justifications late into the night. I kept thinking of betrayals in stories like 'Macbeth' or the messy loyalties in 'Game of Thrones', and I realized that the town was acting out a familiar script: blame, fear, then the slow, clumsy bargaining for a new normal. My own kettle whistles differently now, like a heartbeat that’s had too many interruptions.