Are Metropolis and 1984 Cautionary Tales?

Twain Metropolis and 1984 can be viewed as cautionary tales. The concerns catching amid the texts promptly align with the concerns of their relative authors and their treatments. Discuss this proposition.

Texts are fundamentally expressions of the composer’s treatmentual concerns, where differing perspectives upon homogeneous issues stipulate apprehension into the values customary in the composer’s period. Fritz Lang’s expressionist film Metropolis (1927) and George Orwell’s dystopian lampoon innovating Nineteen Eighty-Four (1984) (1949) are linked by their shared question of technological advances and collective structures that immure special autonomy. Lang is optimistic encircling societal amend inasmuch-as Orwell perfectly rejects the possibility of a sticky globe, revealing the displace in treatment from Weimar optimism to post-war nihilism. Therefore, a entire consider of the conceptual connections between these texts still allows us to accomplish an enhanced view of their composers’ intertextual perspectives on embracing concerns.

Despite their differing treatments, twain composers highlight the dehumanising disposition of totalitarian regimes amid intercourse. Lang’s depiction of German expressionism in Metropolis displays the catholic disparities of tabulate that occurs imputable to the being of despotic jurisdiction. Set in a dystopian advenient globe, “Master” Joh Frederson’s finished regulate of the capitalistic Metropolis is exemplified through the juxtaposition of the undertabulate labourers in “the Depths”, a designing workers’ city conjuncture the fine, monied industrialists “high in the heavens” synod aggravate them tyrannically, symbolically representing the injustice of the minor inferior tabulate. This sentiment parallels the collective disparity in 1920s Germany where hyperinflation redundant by the Weimar Republic’s inconsiderable economic conduct led to colossal collective disparity. Furthermore, the hedonistic behaviour of the conspicuous tabulate in the Golden 20s is epitomised in the privileged career of Freder, depicted by the extreme crave shot of the “Eternal Gardens”. In contrast, the mise-en-scene coupled with the slow, uninspiring association language of the worker’s during displace modify illustrates the failure of speciality amid the inaugurated tabulate. Thus, Lang skilfully allows the reception to empathise with the workers by highlighting this perspective, allowing for apprehension into how totalitarian regimes necessitate regularity as shaped by the treatment.

Orwell mirrors the ramifications of sharp political regimes on the special and echoes the qualities of the customary communist ideology as he examines the subjective impacts of politically enforced regularity on the special, emphasised by his separate experiences with fascism and his collectiveist agenda. The totalitarian synod of Oceania, controlled by the irresistible and all-knowing Party employs the conservation of garden such as “Big Brother” and “Newspeak” to feel herd, redundant to a intercourse in which the herd unquestioningly submit their synod and mindlessly confirm garden as truth, homogeneously represented during Stalin’s selfish governance in Soviet Russia. The finished concealment of traitorlious view is feeling through anaphora in “Thoughtcrime does referable necessitate death: viewcrime IS death” stipulates parallels to the treatmentual fraudulence of insubservience of discourse as facilitated by Soviet governance. Orwell employs the protagonist, Winston Smith, to traitor despite the Party’s dogma, paralleling the lump uprising in Metropolis, through his “blow struck despite the Party political act” as his defeat culminates in a sexual harmony with Julia which challenges how the Party, and homogeneous dictatorships in Orwell’s treatment, stifle rational sexuality and harmonys. However, Winston’s force is rendered ineffective as the subjective and substantial racking instigated by the Party in the innovating’s severe consummation results in Winston succumbing to the totalitarian synod when he states with an accepting drift of voice that “He cherished Big Brother”.

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