Through Metropolis Lang critiques the manipulation of technology in a materialistic society thus highlighting the subsequent capitalist exploitation of the working class. Lang’s socialist perspective of this capitalist society is influenced primarily by the rapacious form of capitalism he saw emerge in Weimar Germany. Opening with frenetic music to accompany the panning shot of machinery, the film immediately reveals the vital role of technology within the fictional city of Metropolis. This is followed by a wide shot of mechanical, monotonous workers, trudging synchronously as a faceless army through the dark underground corridors of Metropolis. Here, the tense music, grey colour scheme and the claustrophobic mise en scene encapsulates that the worker’s human identity has been reduced to machine-like conformity purged of any human individuality. In profound juxtaposition, the upper class are seen competing in athletics at the Club of Sons as their flamboyant movements and the luxurious expansion of the arena highlights their elite status. The monumental machinery which sustains the power and wealth of Metropolis is maintained at the sacrifice and suffering of the workers. This is symbolised through the biblical allusion to Moloch, the god of sacrifice,...
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...s rebellion as symbolised through the obliteration of the Paperweight. He further highlights how such rebellions are futile in totalitarian regimes by reflecting upon torture practises such as beatings, humiliation and electrocution which were common-place during WW2 which result in Winston’s assimilation into the Party’s doctrines. Eventually, Orwell highlights that evading the grasp of such oppressive governments is pointless as represented through Winston’s final loss of any individuality when he betrays Julia in room 101; “do it to Julia! … I don’t care what you do to her”. Thus Winston is ultimately another pawn in the Party’s regime since he finally acknowledges that “he loved Big Brother”. As a result, Orwell conveys the message that hope and rebellion are foolish in societies where individuals are subjugated to constant surveillance and psychological control.
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- Comparison between texts exploring similar human experiences and values facilitates an insight into the context in which they were written. In Metropolis (1924), Fritz Lang reveals that the corrupting influence of a capitalistic society leads to the oppression and subjugation of worker thus promoting social change. In contrast, Orwell’s 1984 (1949), portrays a dystopian totalitarian society void of hope and rebellion due to the long-term oppressed state of the subservient populace. Through Metropolis Lang critiques the manipulation of technology in a materialistic society thus highlighting the subsequent capitalist exploitation of the working class.... [tags: Nineteen Eighty-Four, George Orwell, Nazi Germany]
1235 words (3.5 pages)
- In 1927, German Director, Fritz Lang, directed the film Metropolis. Metropolis takes places in a futuristic city sharply divided between the working class and the city planners, the son of the city 's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences. Through this film, Lang attempts to shed light on the discomfort brought upon by the evolution of traditional gender roles, ultimately shaming the expressionism society for their black and conceptions of femininity and sexuality.... [tags: Gender role, Gender, Masculinity, Woman]
1642 words (4.7 pages)
- Commonalities and dissimilarities of values and attitudes drawn from various contextual concerns allow audiences to recognise the resonance of context on changing perspectives. Contrasting historical contexts in Fritz Lang 's expressionistic film, Metropolis (1927) and George Orwell 's dystopian novel, 1984 (1948) confirms the extent to which texts from diverging contexts converge on inherent matters, as depicted in their scrutiny of the exploitation of power by unchallengeable authorities. Conversely, the texts ' analogous notions of the destructive potential of innovation forewarns responders of the possible consequences of unchecked scientific advancements.... [tags: Nineteen Eighty-Four, Sociology, Totalitarianism]
1068 words (3.1 pages)
- “For me, cinema is a vice. I love it intimately” (Fritz Lang). This is an extremely powerful quote, showing the dedication and love for cinematography, by influential filmmaker, screenwriter, and on rare occasions an actor; Fritz Lang. Metropolis (1927) and Fury (1936) are two films both directed by Fritz Lang, with some similarities and many differences, with focus on the difference of locations (where the films were influenced, produced, distributed and exhibited). It is hypothesized that these differences in Fritz Lang’s filmmaking were influenced by the political culture of the locations, Germany or America and the time period they were made.... [tags: Film, Silent film, German Expressionism]
1962 words (5.6 pages)
- “There can be no understanding between the hand and the brain unless the heart acts as mediator.” Mediation and reconciliation serves as the central narrational and visual theme of Fritz Lang’s 1927 masterpiece Metropolis. As a commentary on the changing modern world, the film juxtaposes the image of the city against an idyllic conception of the medieval world. Lang’s manipulation of mise-en-scène creates a complex understanding of the future––one that blurs the line between the past, present, and future.... [tags: Middle Ages, Gothic architecture, Sociology]
1566 words (4.5 pages)
- The idea of progress being inspired by the past is revisited in Fritz Lang's 1927 film Metropolis. Though the film's titular city is a gleaming landscape of technological advancement it is through the hands of the arcane inventor Rotwang that the film's most stunning creation comes into being. Like Frankenstein revisiting “outdated” natural philosphers for his inspiration, Joh Frederson, the figurehead of Metropolis and the man to whom technology means the most, turns to the aged inventor in hopes of pushing technology even further.... [tags: Similiarities, Technology, Progress]
982 words (2.8 pages)
- Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it.... [tags: compareand contrast]
1922 words (5.5 pages)
- “Let the ruling classes tremble at a Communistic revolution. The proletarians have nothing to lose but their chains. They have a world to win.” In accordance with Karl Marx, the notion of the change to a ‘perfect’ communist state was for the working class to overthrow the bourgeoisie. Both the film Metropolis directed by Fritz Lang and the novel Nineteen Eighty-Four (1984) written by George Orwell elaborate on this aspect of revolution and the consequences that follow. The texts do this by highlighting the oppression placed upon the proletariat from the totalitarian state, particularly its use of technology to maintain control.... [tags: Nineteen Eighty-Four, Communism, Karl Marx]
1225 words (3.5 pages)
- For the attention of the publisher, Tara University Press, This cover reflects my interpretation of the texts Metropolis (1927) directed by Fritz Lang and 1984 (1948) written by George Orwell. Metropolis is a silent film created during the Weimar Republic in Germany. It draws on Expressionism to highlight meaning and important aspects of the film’s message. Although this is seen as a golden age of cultural renewal and experimentation in Germany, they were still suffering the effects of the losses from WW1.... [tags: Nineteen Eighty-Four, George Orwell]
1338 words (3.8 pages)
- At some point in a director’s life he/she learn different tactics from their colleagues and soon they become each other’s rivals. With no malice just a simple competition on who could make films more realistic, more intriguing, and more appealing to the audience. Two directors who were in friendly competition were Alfred Hitchcock and Fritz Lang. Two of the many films both directors were known for were “M” directed in 1931 by Fritz Lang and “Psycho” directed in 1960 by Alfred Hitchcock. Which although directed in different times both showed a very important similarity, that being the targeted audience; Lang and Hitchcock were widely known for their thrillers.... [tags: Alfred Hitchcock, Psycho, Film director]
1447 words (4.1 pages)