Metropolis and Nineteen Eighty-Four Essay

The misgiving(adapted from 2014 HSC)Rebellion and conversion argon ideas which connect Metropolis and Nineteen Eighty-Four. How do these devil texts from different contexts reflect changing perspectives on this idea?What it requiresBoth texts are connected by an exploration of rebellion and innovation that have deal relevance to the composers and their audiences. Compare and air the similarities and differences of the way each text portrays rebellion and revolution, taking into account context, audience, wrangle and textual form.Prescribed texts Metropolis (1929), directed by Fritz Lang (film)Nineteen Eighty-Four (1949) by George Orwell (novel)Introduction begins with broader military position of thesis, then introduces text followed by thesis statement which suggests contextual contacts When distribution of forcefulness in a society is too un in timely distributed, or when one group abuses their power too greatly to the detriment of others, then the oppressed often find a way to rebel or even initiate revolution. In Metropolis and Nineteen Eighty-Four we see depictions of dystopian societies that provoke rebellion or revolution, though as each text was produced during or shortly subsequently significantly different periods of struggle and upheaval, we ultimately see two different attitudes presented, with very different expectations for the outcome of such legal actions.Topic blame links to questionDirect reference to contextAnalysis of images & episodes from the text with comparison of examples from text to reinforce topic sentenceConcluding statement links back to thesis and introduces side by side(p) paragraph throughout history, the most common social structure to provoke revolution is one with hierarchical social stratumes. Langs depiction of divided social classes in a film encouraging sympathy for the lower class has parallels with its time, being produced shortly after the German revolution in which the imperial government was replaced by a form of representative democracy (the Weimar Republic). Lang uses expressionistic imagery, and the strong contrast of light and shade characteristic of German Expressionist Cinema to distinguish the two classes inhabiting the futuristic city.The workers are depicted in uniform black, trudging in synchronised columns into a no-good tunnel to their work with the machines. Exiting, they walk at a slower rate suggesting work draws the life out of them, while montages of gears and heavy machinery construct them as part of the machine. This opening sequence is juxtaposed with the light shades and open spaces of the upper city, particularly the Eternal Garden. While workers trudge into dark tunnels, Freder, the protagonist and other sons of Metropolis elite run freely in leisure activities beneath high walls and statues. This clear social divide establishes the familiar pattern for the revolution that is to come.Connects texts with comparative phrase more hardContextual differenc e between textsBrief summary of text links to topic sentence.Analysis of register style continues line of argumentOrwells Nineteen Eighty-Four explores the more complex scenario of an oppressive government that maintains power through propaganda, subtle behavioural controls, and fear. Written 20 years after the production of Metropolis, and after the world had already seen the extremes of fascism and totalitarian administrations such as Hitlers Nazi Party and Stalins regime inRussia, Orwell creates a dystopian society of satirical extremes in which every aspect of an individuals life, including their thoughts, are the subject of control strategies implemented in the name of the oppressive figurehead known as double Brother.The close-framed narrative allows the reader to get inside the head of protagonist Winston Smith, a member of the outer(a) Party of the English Socialist Party in decaying post-revolutionary London, now part of the mega-state of Oceania. His main occupation of rewrite historical records to reflect current society policy represents one extreme manifestation of totalitarian control. through this activity, Winston introduces us to Doublethink, the ability to hold two contradictory ideas in your head while guiding yourself to believe the one that best fits the principles of Ingsoc, the party doctrine. To even doubt or question Ingsoc is dubbed thoughtcrime, and pursued ruthlessly by the thought police.Contextual links reinforce thesisComparison of set texts and concluding statement link back to thesisIn a policy reminiscent of the great purges of Stalinist Russia or the nighttime of the Long Knives in Hitlers Nazi Party, anyone accused of thoughtcrime is disappeared in the night and presumed executed or vaporised. inappropriate the clearly divided social classes of Metropolis, the climate of fear in totalitarian London, coupled with the ever-present shopping mall of Big Brother through the telescreens and the slogan Big Brother is Wat ching You, encourages people to oppress themselves, as people live in fear of being accused, falsely or otherwise, and executed.Topic sentence establishes raunch between texts before focusing on specific textBrief synopsis, introducing biblical allusionsDetailed summary of imagery and symbolism showing different perspectives linked to thesisConcluding statement links to next paragraphWhile both texts explore the idea of rebellion and revolution against such oppressive regimes, uncomplete provides a single-sided view of the issue. In Metropolis, the revolution is initiated as a foolhardy act of manipulation by the ruling class. Joh Fredersen and his mad scientist companion, Rotwang, kidnap maria, the Madonna-like figure who first entices Freder to learn the plight of the workers. After seeing Maria preaching to the workers using the oft-repeated phrase that the mediator between the head and the hands must be the nerve centre Frederson and Rotwang replace her with a robotic doppel ganger to stir up dissent and rebellion in the workers so that Fredersen can be justified in using greater force against them.The workers who rise to robot-Marias call to destroy the machines are depicted as foolhardy, as they unknowingly leave their children behind in peril when their rampage causes flooding. This action symbolises the dangers of revolution, suggesting that in taking control of the present, then the future that the children represent may be sacrificed. Further self-indulgence is committed when the workers ignore the warnings of one of their own, Grot, and destroy the heart machine of Metropolis, symbolically rendering the city lifeless and in essence destroying the thing they may have hoped to claim. The epic scale of this revolution, however, is in strong contrast to the nature of rebellion in Nineteen Eighty-Four.Compares texts with insteadDeveloping argument with textual references and analysis of themeAnalysis of symbolism links to topic sentenceConcluding st atement includes contextual links or else of an epic revolution, Winstons rebellion against the party is ironic in that his rebellion is to pursue acts associated with a chemical formula life. Once the audience understands the concepts of thoughtcrime and doublethink, then it becomes apparent how his continued questioning of theofficial party story is a dangerous and rebellious act. A key motif that represents Winstons rebellion is the repetition of the line two plus two equals four, which the audience recognises as a factual statement, but which comes to symbolise the power of the partys control mechanisms that they might persuade someone to believe that two plus to equals five. In this way, all of Winstons rebellions take the form of ordinary activities for the reader a love affair, consuming historical coffee and chocolate yet the fact they are rebellious defines another aspect of life that the party has coerced and perverted as part of their drive for power. Winstons rebelli on celebrates life and his actions serve as Orwells warning against any system of authority in which everyday actions might be seen as questionable. at present compares texts with brief analysis of plot and concluding link to thesisIt is in the resolution of the acts of rebellion and revolution that the key differences between the texts emerge. Where Metropolis ends with a sense of hope (the liberated Maria unites Grot and Federsen through the empathic figure of Freder), Nineteen Eighty-Fours final line in which Winston proclaims his love for Big Brother is seen as a final, crushing defeat that suggests no hope exists in such a system of power.Conclusion summarises how the question has been answered, with suggestions for further lines of inquiry arising from this essay In conclusion, it is possible to view these two texts as counterpoints to each other. While still recognising the dangers of revolution, Metropolis reflects the sense of hope that is ultimately represented by such an action while Nineteen Eighty-Four shows what such hopes can easily become. It is not peanut then that Orwell wrote his novel after fighting directly against the fascists that would arise out of the German experience, and that he throws into question the value of the revolutionary spirit and whether or not it has ever produced an ideal, long-term outcome.