The conceptual focus of a composer principally arises from their
contextual worlds, sourced from the interconnectivity of society and literature. As
such, appreciations of the social, historical and cultural factors influencing a
composer’s composition are critical in gaining an ultimate understanding of a text.
Constructed shortly after the end of WWII, where the full extent of atrocities
committed by Germany and Russia were revealed, George Orwell’s politically
satiric “1984” reflects the highly oppressive state which had been omnipresent
during the late 1940’s.Similarly, but filmed 20 years prior to 1984, Fritz Lang’s
social critique “Metropolis” also mirrors the inherent repression and disregard for
social harmony that …show more content…
Thus, it is clear that the film is a
comprehensive forewarning of the human consequences of despotic rule that
disregards societal equality and within which overvalues opulence.
Analogously, George Orwell’s dystopian “1984” originated in an era of
rapid governmental progress and structural change within society, and like Lang,
depicts a totalitarian government that is innately socially partitioned. Orwell’s
depiction of the prole neighbourhood, which embodies the uncurbed natural
impulses which the party has tried to suppress, stands in contrast to the
systematised offices at which Winston works with its labyrinth of cubicles and
advanced technology. Orwell recapitulates this concept by satirically
implementing contradictory slogans of “War is Peace, Freedom is slavery
ignorance is strength”. Through this, the inner party is able to control its citizens
by psychologically manipulating them into holding two contradictory ideas in their
heads, thus preventing any chance of extraneous intentions. Orwell …show more content…
Hence, it is explicitly clear that, like Lang’s Metropolis, 1984 acts as didactic
deterrent against the totalitarian governmental model.
By imbuing their representations of hubristic technological exploitations
with contextual disparagements, Lang and Orwell timelessly criticize unhindered
technological advancement in their respective contexts. Lang heightens Orwell’s
comments by reflecting on the rapid industrialization of the Weimar Republic,
encapsulated in Freders descent into the “real world” of Metropolis. In the
“depths”, the movements of the workers are contrived and ceaselessly
mechanised, strengthening perceptions that the workers are actually components
of the machine, fused into its very being. Lang’s combination of the pantomimic
style with exaggerated movements of the workers dramatically conveys the
imminent danger, culminating with the metamorphosis of the machinery into the
metaphoric ancient deity,”Moloch”. The wide shot of workers being sacrificed into
the biblical allusion and the visual juxtaposition between them create a
contextual worlds, sourced from the interconnectivity of society and literature. As
such, appreciations of the social, historical and cultural factors influencing a
composer’s composition are critical in gaining an ultimate understanding of a text.
Constructed shortly after the end of WWII, where the full extent of atrocities
committed by Germany and Russia were revealed, George Orwell’s politically
satiric “1984” reflects the highly oppressive state which had been omnipresent
during the late 1940’s.Similarly, but filmed 20 years prior to 1984, Fritz Lang’s
social critique “Metropolis” also mirrors the inherent repression and disregard for
social harmony that …show more content…
Thus, it is clear that the film is a
comprehensive forewarning of the human consequences of despotic rule that
disregards societal equality and within which overvalues opulence.
Analogously, George Orwell’s dystopian “1984” originated in an era of
rapid governmental progress and structural change within society, and like Lang,
depicts a totalitarian government that is innately socially partitioned. Orwell’s
depiction of the prole neighbourhood, which embodies the uncurbed natural
impulses which the party has tried to suppress, stands in contrast to the
systematised offices at which Winston works with its labyrinth of cubicles and
advanced technology. Orwell recapitulates this concept by satirically
implementing contradictory slogans of “War is Peace, Freedom is slavery
ignorance is strength”. Through this, the inner party is able to control its citizens
by psychologically manipulating them into holding two contradictory ideas in their
heads, thus preventing any chance of extraneous intentions. Orwell …show more content…
Hence, it is explicitly clear that, like Lang’s Metropolis, 1984 acts as didactic
deterrent against the totalitarian governmental model.
By imbuing their representations of hubristic technological exploitations
with contextual disparagements, Lang and Orwell timelessly criticize unhindered
technological advancement in their respective contexts. Lang heightens Orwell’s
comments by reflecting on the rapid industrialization of the Weimar Republic,
encapsulated in Freders descent into the “real world” of Metropolis. In the
“depths”, the movements of the workers are contrived and ceaselessly
mechanised, strengthening perceptions that the workers are actually components
of the machine, fused into its very being. Lang’s combination of the pantomimic
style with exaggerated movements of the workers dramatically conveys the
imminent danger, culminating with the metamorphosis of the machinery into the
metaphoric ancient deity,”Moloch”. The wide shot of workers being sacrificed into
the biblical allusion and the visual juxtaposition between them create a