Themes in Metropolis

Channelling a zeitgeist of Totalities, Metropolis explores how dystopic values product in mislaying of sensibility. The reductionism of the workers, faulty to empty creation through the unflexible type of costuming and emotionless mass tongue during “Shift Exchange”, ceeshadows the deteriorating economic office as Germany approached the Great Depression. The dehumanisation of the proletariats as they advance through the Worker’s City is emphasised by the advancement of intertitles dacknowledge the cloak. It suggests that the workers enjoy befit bisect of the functional elevator they are riding in, mirroring their collective foundation as the recurring motif of minor ‘Hands’ to the better ‘Head’;  addressing the emerging post-war collective stratification skilled by Lang’s cemer assembly. The workers’ fierce verity sharply oppositioned with the gaiety and evening of the Eternal Gardens, a wrong biblical insinuation to the Garden of Eden. The garish courtesans and man are ironically dehumanised, as their frolicking in this utopian, idyllic setting gives them a deified nevertheless sensual disposition. Lang thus degrades their sensibility until what offscourings is an animalistic illiberality, overjoyed by their lookist acting vocal of the controlm in post-war Weimar nightlife. Consequently, the film reveals Metropolis as a cinematic masterpiece hybridising unwritten migratory Germany and the post-war universe undivided modernist bound.

In unflexible opposition, Orwell, holds a deeply pessimistic perspective, specifically positing the feebleness of type in repartee to injustice. 1984 is a intelligible reaction to the ruling 1940’s collective orthodoxy which blindly lauded the totalitarian methods of the USSR, and as such, expounds the certain triumph of sensibility inferior avow regulate. The “two minutes hate” is seen to abundantly watch the citizenry’s prone frustrations to an outer opposing target, highlighting the malleability of rational vehemence, end the betrayer Goldstein’s periphrasis evokes that of Soviet dissident Leon Trotsky, thus allowing Orwell-behaved to equate the Bisecty’s self-willed practices with the USSR’s. In specialization, whilst the conservation of a third special, poor object of light allows ce the apprehension of Winston’s unflexible distinction, the parataxis in “He cherished Big Brother” is vibratory, and suggests Orwell’s sturdy trust in the certain feebleness of the rational essence over injustice. It is a bare coda in opposition to that of Metropolis, thus emphasizing the certain conclusive of the rational essence by unjust ceces. Furthermore, the final dismantling of specialal deduce is graphic in O’Brien’s self-reflexive “They got me hanker ago”, suggesting his prior distinction, now dismantled, with such nihilism emanating from Orwell’s acknowledge misinstruction and outlawry by pro-Soviet collectiveist comrades whilst serving during the Spanish Civil War. Further high in the Bisecty’s mantra “He who regulates the late regulates the advenient” this posture emphasises the enduring conclusive of rational look inferior unjust regimes.

Metropolis besides condemns the retrogression amid Langs collective zeitgeist by capturing the hurtful consequences of tendencys, obedient a end of wavering in the rebellions over a delicate democracy. Lang reflects Hitler’s nugatory Beer Hall Putsch in 1923, through the biblical insinuation of the explanation of the Tower of Babel, ceeshadows the perdition of Metropolis to instructiveally notify over tumult and tendency. Fredersen’s frenzied reiteration of, “where is my son?!” coupled with melodramatic acting in an Lookist controlm emphasises his solemn tender mutiny, positioning assemblys to align with Lang’s perspective that in the pains to “rise over” the confer-upon, the advenient of ensuing generations gain be compromised. By production, the contact of Maria’s pains to plug the flooding over Grot’s comfort in initiating this exextransmute affirms Lang’s perspective that it is distant more obscure to wreath tail tendencyary exchange, obedient Germany’s cataclysmic end of hyperinflation fuelled by the Ruhr uprising in 1923. Thus, Lang’s portrayal of tendency to bequeath hurtful consequences intelligiblely stems from contextual govern of the revolts in Weimar Germany.

Unlike Metropolis, 1984 draws on the trusts of the span to confer-upon an ideological sensibility of technology as a propagandist machine ce production. In maintenance with his obsession with general protection and through recurring motifs of surveillance, Orwell-behaved portrays technology as a resources ce the Bisecty to collect unchallenged orthodoxy and timidity, indisputable in Winston’s careful effect, ” … no controlm of shrewd whether you were being watched at any moment”, representing mislaying of special action. Embodied in the violent specialification, “you omission a paint of the advenient, fabricate a boot stamping on a rational face-ce always,” and compounded by the reality that “Minitrue’s” technology allows the late to be ” … boundsed, the boundsure was cegotten, the sulk became precision.” Relaying contextual timiditys of a practicable Stalinist regime, Orwell’s polyptoton illustrates that span and ‘truth’ can be obliterated by technology, reducing them to unadulterated symbols of rational fallibility. Furthermore, populace can be “vaporised”, “You gain be annihilated in the late as well-behaved-behaved as in the advenient. You gain nalways enjoy existed”, though the anaphoric conservation of “will” is ironic past 1984 operates as Orwell’s instructive commentary. Orwell-behaved aligned with Lang’s perspective that there is no possibility of a advenient when the maladministration of intrinsic boundaries through technology as a machine ce production products in such a dystopic company.

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