Creations of composers are products of their time, reflecting the perception the artist had on their current society, what their predictions were of the future and, by contrasting two texts, what themes stayed consistent across two periods of time. When looking at a text, the perceptions and predictions of an artist are reflected the characters perspectives and choices, whereas consistent themes are seen in key plot points and recurring motifs. Composers, such as Fritz Lang and George Orwell are influenced by the world around them and their society, with prominent issues and themes of the time period influencing several aspects of their works. Comparing Metropolis, Fritz Lang (1927) and Nineteen Eighty-Four, George Orwell (1949) an individual
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A strong character which is highly developed by the composer often serves as a way of satirising the present members of society. Both Metropolis and Nineteen Eighty-Four feature a prominent dictator who abuses their power to oppress others. Metropolis, created in the 1920’s, can be seen to be influenced by rising dictators such as Benito Mussolini. This influence is evident in the character of Frederson and the perception the workers have of him. The workers, representing the lower class of Germany, have a passive resentment towards Frederson which only supressed by the preaching’s of peace from Maria. Their resentment of their oppression by Frederson can be seen after Freder, Frederson’s son, is recognised by the workers in the catacombs. Their display of violence towards Freder, identifying him as Frederson son, depicts their detest towards Frederson, wanting to punish him the way he punishes them. Nineteen Eighty-Four parallels Metropolis in the way it also is ruled by an oppressive ruler. Stalin and Hitler were replacing the roles of Benito Mussolini, become prominent autocrat’s in the German and Russian societies. Their oppressive dominance of proletarians and the marginalised is similar to Big Brother. Orwell’s creation of Big Brother is contrasted to the character of Frederson. Where the workers in Metropolis know they are being oppressed, the proles of Nineteen …show more content…
The perception of the leading party from the view of the main character allows the audience to see the real word relationship between the party and the citizens. In the time of Metropolis, the Weimar republic had taken control of Germany. The Republic was built on capitalism and through Metropolis the audience is given the suggestion that Lang was opposed to the parties’ principals and ruling. In the film, the distinct differences between the upper and lower class can be seen. Due to the control of the capitalists Frederson they are forced to work ten hour shifts of extreme manual labour for the benefit of others. Their oppression can be seen in the opening scene where all worker are dressed alike, walking in unison, heads down, slouching and dejected. Freder is one of the only upper class citizens who can perceive the extent of the oppression after he takes the place of a worker in the factory. This changed perception in turn leads Freder to help empower the workers and give them the rights they have been denied. Nineteen Eighty-Four’s lead group ‘The Party’ is a reflection of Orwell losing control to the communist parties. Winston Smith is the only character, due to his remaining memories, who, through his diary, actively accounts for the extent parties manipulative capabilities and the lengths they will go to maintain control.
A strong character which is highly developed by the composer often serves as a way of satirising the present members of society. Both Metropolis and Nineteen Eighty-Four feature a prominent dictator who abuses their power to oppress others. Metropolis, created in the 1920’s, can be seen to be influenced by rising dictators such as Benito Mussolini. This influence is evident in the character of Frederson and the perception the workers have of him. The workers, representing the lower class of Germany, have a passive resentment towards Frederson which only supressed by the preaching’s of peace from Maria. Their resentment of their oppression by Frederson can be seen after Freder, Frederson’s son, is recognised by the workers in the catacombs. Their display of violence towards Freder, identifying him as Frederson son, depicts their detest towards Frederson, wanting to punish him the way he punishes them. Nineteen Eighty-Four parallels Metropolis in the way it also is ruled by an oppressive ruler. Stalin and Hitler were replacing the roles of Benito Mussolini, become prominent autocrat’s in the German and Russian societies. Their oppressive dominance of proletarians and the marginalised is similar to Big Brother. Orwell’s creation of Big Brother is contrasted to the character of Frederson. Where the workers in Metropolis know they are being oppressed, the proles of Nineteen …show more content…
The perception of the leading party from the view of the main character allows the audience to see the real word relationship between the party and the citizens. In the time of Metropolis, the Weimar republic had taken control of Germany. The Republic was built on capitalism and through Metropolis the audience is given the suggestion that Lang was opposed to the parties’ principals and ruling. In the film, the distinct differences between the upper and lower class can be seen. Due to the control of the capitalists Frederson they are forced to work ten hour shifts of extreme manual labour for the benefit of others. Their oppression can be seen in the opening scene where all worker are dressed alike, walking in unison, heads down, slouching and dejected. Freder is one of the only upper class citizens who can perceive the extent of the oppression after he takes the place of a worker in the factory. This changed perception in turn leads Freder to help empower the workers and give them the rights they have been denied. Nineteen Eighty-Four’s lead group ‘The Party’ is a reflection of Orwell losing control to the communist parties. Winston Smith is the only character, due to his remaining memories, who, through his diary, actively accounts for the extent parties manipulative capabilities and the lengths they will go to maintain control.