By developing clinical political landscapes devoid of authentic human relationships‚ Orwell’s darkly satirical novel 1984 (1949) and Lang’s silent German Expressionist film Metropolis (1927) challenge our faith in the future of humanity. An anticipation of the destructive industrial modalities of the Weimar Republic‚ Lang presents a world built on shameless exploitation and systematic oppression of the working class. Writing in shadow of World War II‚ Orwell projects a much more nightmarish vision
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A Rural Feel‚ Without Ever Leaving the City The metropolis is a place where nervous stimulation is found everywhere and getting away from it usually involves a trip outside of the metropolis. Satie’s “Gnossiennes No. 1” and Stravinsky’s “Rite” synthesize rural living by connecting with the listener through the unconscious mind. By making use of the ideas that Simmel conveys in his lecture The Metropolis and Mental Life‚ I will reveal how Satie’s Gnossiennes No. 1 and Stravinsky’s Rite of Spring transport
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Although introduced almost seventy-three years apart‚ Charles Dickens’ novel Hard Times‚ and Fritz Lang’s Metropolis share many common parallels and themes. Through the use of biblical allusions‚ both Lang and Dickens are able to compare characters in their stories to holy figures such as Freder and Stephen Blackpool being alluded to as Christ-like. Both stories also show the harsh effects of industrialization‚ and present similar situations of with the school children and factory workers living
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an exploration "into juxtaposing light and shadow" as well as madness and obsession in an urban setting complete with complex architectural structures. When Fritz Lang’s Metropolis was released in 1927‚ Luis Buñuel wrote that‚ "if we look instead to the compositional and visual rather than the narrative side of the film‚ Metropolis exceeds all expectations and enchants as the most wonderful book of images one can in any way imagine" (Hudson). The narrative is supported by the visual images‚ but more
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all to the 2015 Annual Festival of Intertextual Insights. Humans cannot operate efficiently within a society which consists of complete totalitarianism. Texts which explore this are two of the most influencing pieces of our society‚ Fritz Lang’s Metropolis (1927) and George Orwell’s 1984 (1949). These two texts‚ when studied in comparison‚ I believe‚ enrich our understanding of the significant values presented in each due to the intertwining themes; and the differences between texts arise from the
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Metropolis the story set in the future which shows the gap between the working class and the wealthy. Joh Fredersen is the city’s ruler‚ his son Freder is seen enjoying a carefree lifestyle. Freder is in the eternal garden when a woman appears with children that are filthy that live in the worker’s city. Freder is awed by the women’s beauty decides to follow her to an underground city. He is distraught to see the machine these people working explode and killing many of the workers. Freder runs to
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Chicago - a land of opportunity. Today one might chuckle at the thought‚ but during the nineteenth century it was very much the case. William Cronan’s Nature’s Metropolis was published in 1991 and still remains one of the greatest books ever written about the city of Chicago. Cronan uses the book to describe the rise of Chicago and how it played a role in the flourishing of economics in the country as a whole; thus‚ using Chicago as an example of the interconnectedness between city and country. Beyond
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Module A: Elective 2 Sample Response: Metropolis and Nineteen Eighty-Four Response by: Cameron Malcher The question (adapted from 2014 HSC) Rebellion and revolution are ideas which connect Metropolis and Nineteen Eighty-Four. How do these two texts from different contexts reflect changing perspectives on this idea? What it requires Both texts are connected by an exploration of rebellion and revolution that have direct relevance to the composers and their audiences. Compare and contrast the similarities
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The conflict between the individual and the state is perpetuated in Metropolis‚ and it is in its plot that the modernists fears of the machine age are evident. Robot Maria is used as a narrative device in Fritz Lang’s Metropolis to orchestrate chaos and disunity in the city‚ perpetuating the conflict between the Head and the Hands. Rotwang creates her as the antithesis of Maria and the personification of vice‚ so Joh Fredersen can use her to “…sow discord between them and her!” It is in the visual
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and worst of human nature‚ and through the study of the underlying political commentary in Aldous Huxley’s Brave New World (BNW) and Fritz Lang’s 1927 silent sci-fi film Metropolis‚ these motivations are demonstrated. Reflecting and critiquing the oppressive social and political values of their time‚ Brave New World and Metropolis each serve as a medium of exerting their composers beliefs. These dystopian texts serves as a catalyst for criticising the inability for a perfect society to eliminate revolution
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