1984 and Metropolis Essay Essay

The quote The endeavor of ability is force play is heavily back up by George Orwells 1949 novel 1984 and Fritz Langs 1927 film Metropolis by and through their intertextual connections and divided up perspectives. Both texts were composed around the context of pre and post demesne war 2 which is take a craply evident through their settings, characterisation, themes and ideas. through with(predicate) Orwells and Fritzs use of dystopic societies, empowerment of women and detrimental authoritarianship obtain it is sibilant that George Orwells quote The end of power is power is quite potently back up by the intertextual connections and shared perspectives of Orwells 1984 and Langs Metropolis. through with(predicate) the use of Orwells and Langs intertextual connections of political reform and shared perspectives of dystopic societies it becomes unvarnished that the quote The object of power is power is potently supported end-to-end the two texts. The meaning of this quot e is besides make abundantly clear within the texts as the tyranny rulers within both texts acquire power simply to father power and authority, instead of for the good of the people. This features predominantly in both texts through their shared perspectives on dystopic settings made apparent by their use of symbolism. In Orwells 1984 only 2% of the populace resides in the Inner Party whilst the other 98% is suppressed within the light classes in either the Outer Party or the Proles. This totalitarian, power establish society is made dystopic by the overwhelming power and control exhibited by the tyrant potentate pornographic Brother.This is emphasised through Orwells use of symbolism in OBriens words as he says If you want a picture of the future, imagine a heraldic bearing stamping on a human face for ever. (pg 307) The symbolism between the flower and big brother, and the human face and society emphasises the suppressive nature of this one-man rule rule, casting the soc iety into dystopia. This also forms a contextual connection to Nazi Germanys strive for a totalitarianism society. This same idea of a dystopic society is epitomised within Langs film, Metropolis through the suppression of the on the job(p) class in the depths by the powerful master, Joh Frederson. The working class in this film are forced to endure agonising labour in extremely dangerous environments whilst the upper class, the sons are free to eff at their will.The dystopic setting of the depths becomes evidentthrough Langs use of symbolism when the dictators son, Freder, journeys to the depths and starts to dupe the workers being eaten up by the machines in the facial expression Slaves of the office of Production (14.58-17.52). This symbolises the dystopic society in which workers do not have the right to be safe. This idea forms a contextual connection to the 1920s Weimar Republic where there were two distinct classes, the conservative elite, who were free to live at their will, and the workers who were forced to endure labour with no guarantee for safety. through the contextual connections of political reform and the shared perspectives of dystopian societies the quote the object of power is power is strongly supported by George Orwells 1984 and Fritz Langs Metropolis.Similarly, the quote the object of power is power is also supported by Orwells and Langs shared perspectives of the heightenling of women and the intertextual connections of the empowerment of women during the clock these texts were created. This is made evident through the use of apposition throughout the two texts. In Orwells 1984 the dystopic totalitarianism society is suppressed into worshipping Big Brother and dares not to step away from the control of the organisation. The female protagonist in the novel, Julia, til now is not as suppressed as she leads the organisation into thinking and begins to rebel against them. This is seen within dialogue between her and Winston whe n she says Im corrupt to the bone. This collocation between her and the suppressed masses outlines her ascension against the tyrant power of the organisation.This link up in with the contextual connection to the empowerment of women during the post World War 2 period as a issue of women refusing to give up the power they had acquired during the war. Correspondently, Lang also uses this shared perspective of the rebelling of women in his film, depicted through the character of Maria. Maria is displayed as neither a citizen of Metropolis nor a worker in the depths but as a source of optimism and rebellion for the suppressed workers of the depths. Lang uses lighting to juxtapose her from the workers in the depths, illuminating her whilst keeping them in shadowed tones.This juxtaposition emphasises the rebellious mentality of Maria against the dictator of metropolis, Joh Frederson. withal though Marias rebellious nature is far much peaceful than Julias, she still epitomisesthe cont extual connections of the empowerment of women as a result of refusing to give up the power they had acquired during World War 1. Through Orwells and Langs use of juxtaposition, it is evident that the shared perspectives of the rebelling of women and the intertextual connections of the empowerment of women as a result of refusing to give up the power they had acquired during the World Wars, strongly supports the quote the object of power is power.Equivalently, through the use of Orwells juxtaposition and Langs symbolism, the shared perspectives of the detrimental stir of dictatorship rule and the contextual connections of political reform are shown to strongly support the quote the object of power is power. In Orwells 1984 the dictatorship rule of Big Brother in the totalitarianism society is shown to brainwash the populace, making them intrust whatever the organisation wishes them to and bending them at their will. This is most prominent in Big Brothers slogan WAR IS PEACE. FREED OM IS SLAVERY. IGNORANCE IS KNOWLEDGE. This quote is seen multiple times throughout the novel and signifies the total power and control the organisation has among the people, forcing them to look at the illogical and thus taking away their humanity.Through this we can see both Orwells shared perspective on the detrimental impact of dictatorship rule and the intertextual connection to political reform as he makes a statement against the dictatorship of Nazi Germany during World War 2. Comparably, Lang also shows his shared perspective on the detrimental impact of dictatorship, however he has done so by the use of symbolism. Lang has showed how the total power of dictatorship can be detrimental to humanity by the way in which the workers move in the depths. He shows them to have rigid, machine like movements symbolise their loss of their humanity to the powerful dictatorship rule.This is seen in the scene Slaves of the Means of Production (14.58-17.52). This also links in with the i ntertextual connections of political reform as it shows Langs approval for the government of the time, the Weimar Republic and his disapproval of the old dictator monarchy of the Kaiser. Through Orwells use of juxtaposition and Langs symbolism, it is evident that the shared perspectives of the detrimental impact of dictatorship and the contextual connections of political reform strongly support the quote the object ofpower is power.The quote, the object of power is power is strongly supported by the shared perspectives and intertextual connections of George Orwells novel, 1984 and Fritz Langs film, Metropolis. Through the use of techniques such as symbolism and juxtaposition the two texts incorporate shared perspectives of dystopic societies, the rebelling of women and the detrimental impact of dictatorship rule as well as intertextual connections of political reform and the empowerment of women. Through these shared perspectives and intertextual connects it is evident that George O rwells quote, the object of power is power is strongly supported in both George Orwells 1949 novel, 1984 and Fritz Langs 1927 film, Metropolis.