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Papers > Movies > Metropolis and Modernist Anxieties
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Metropolis and Modernist Anxieties |
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... Metropolis (1927) represents a science fiction view of where that path was leading and what the outcome would be for humanity. ... These fears are followed out to their end in Metropolis. ... In Metropolis, Fritz Lang portrays a dark picture of future society; but not one without hope. ... Metropolis premiered in Berlin January 10, 1927.1 The silent movie sets as the scene a city called Metropolis in the year 2000. ... The savior turns out to be Freder, whose father is John Frederson and master of Metropolis. ... ”5 Lang’s portrayal of the relationship between the workers and the master of Metropolis correspond directly to Freud’s theory of an artificial group. ... They are physically separated from other people, and the rules and conditions of their labor forces them to submit to the master of Metropolis, and to identify with each other. The workers of Metropolis are first shown marching to work. ... ”7 Frederson states unequivocally and unfeelingly that the workers’ place in Metropolis is in the depths.8 The relationship between Frederson and the workers is not the only example of group psychology in Metropolis, for the workers also view Maria as their leader. ... In Metropolis, Frederson and the scientist Rotwang take advantage of Maria’s authority to gain control of the workers through a robot that is identical to Maria. ... Religious symbols are the dominant motif in Metropolis. ... There is no god in Metropolis. ... Redeption occurs in Lang’s Metropolis throught the transcendent power of love to restore the entire social fabric of relationships. ... Lang’s view of progress in Metropolis is cyclical. In Metropolis, labor divisions and urbanization lead society to a state of violence and disorder. ... Metropolis in the year 2000 is too powerful and scientific for love. ... Lang also condemned the primitive state of the society in Metropolis in terms of the seven deadly sins. In Metropolis, Freder has a vision of the cathedral. ... ”21 Nietzsche’s “hands” and “heads” metaphor for the failure of government is fascinating in that Lang uses the same metaphor to describe the two classes of society in Metropolis. ... Nietzsche states to use another image, someone who has completely lost his way in a forest, but strives with uncommon energy to get out of it in whatever direction, sometimes discovers a new, unknown way: this is how geniuses some into being, who are then praised for their originality24 One is reminded of the image of Freder, running headlong into the midst of conflict in Metropolis. |
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Title: Metropolis and Modernist Anxieties
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