Metropolis Dystopian

Dystopia is common theme which dates hundreds of years in literature worldwide. Dystopian novels and short stories often depict a society repressed by a totalitarian government which comes to power after a cataclysmic occurrence, wielding unforgiving power and control over inhabitants for their own good. These dystopias are often perceived by the average citizen as a normal or unavoidable way of life, sometimes even a better way of life, yet there is often a single person or group of protagonists who question the justification of such living arrangements and threaten upheaval of the utopia sold by the ruling class.

Roth’s, Divergent has elements of a dystopian setting, and it is a possible warning for our society. Though the novel primary reveals to be dystopian, there were originally good intentions of a utopian society. Harmon describes a utopian society as, “a perfect political state that is an imaginary ideal world,” (Harmon 492). No society is created to become the epitome of destruction. The Abnegation government created the factions to act as each working part of a successful society. They must have had a utopian mindset before the society shifted by elements that led to dystopia. Harmon also examines a dystopian society as a, “bad place.” He continues by describing, “Imaginary worlds, usually in the future, in which present tendencies are carried out

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 live at their will. The dystopic setting of the ‘depths’ becomes evident through Lang’s use of symbolism when the dictator’s son, Freder, journeys to the depths and starts to see the workers being eaten up by the machines in the scene ‘Slaves of the Means 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 1920’s 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 Orwell’s ‘1984’ and Fritz Lang’s ‘Metropolis’.

Dystopian science fiction films of the past have frequently presented a critical dystopia, by projecting future cities that perpetuates corporate capitalism’s prominent features. Examples of these features are urban decay, commodification, overcrowding, highly skewed disparities of wealth and poverty, and authoritarian policing. An example of a Dystopian science fiction film that project cities that perpetuates

Dystopian society is a way that this author shows what the future will be like when one person takes charge of a small large group. The elements of dystopian society in Divergent by Veronica Roth are limitations, corporate control, and the factions. The limitations presented in this story include the walls in which the city of Chicago is surrounded by; no one is allowed outside the fence. Another limitation is the factions, which are groups that you are put into based on your personality. You are given a test and one chance to choose a new faction that best fits your wants and needs and if you fail to choose or succeed in a faction, you become factionless. Factionless means that you don’t belong anywhere are are viewed publicly as a disgrace. The last element addressed in this story is corporate control.

The idea of progress being inspired by the past is revisited in Fritz Lang's 1927 film Metropolis.

They seem careless playing around until they meet the children of the lower class world dressed dark and dirty looking. The Metropolis city citizens are deliberately separated into upper and lower class. This is evident by how Freder, the main character, does not know about the lower class citizens living underneath them until he sees the children and is appalled when he discovers the lower class community. When Freder sneaks into the lower class he discovers the underground community lives in extremely inhumane conditions. The citizens of the lower class mope around with hunched backs in their plain and dirty uniforms (Scene 1, Metropolis). They work the majority of the day in the streamy, dark and loud underground caves with heavy machines. These machines power the energy for the upper-class society above them. The upper class of Metropolis lives in complete comfort. They benefit from the lower class and live in clean housing with many shiny, tall advanced buildings around them. Most of the upper-class citizens seem to live carelessly and job free because they party most nights. The upper citizens take care of themselves with education and health as depicted in the second scene when the men seemed to be participating in a track racing event at an institution (Scene 2, Metropolis).

In January of1927 Metropolis was released to the German public. The film, which was directed by Fritz Lang, was one of the first science fiction movies in the history of film. The film focuses on the differences between the working class who power the city and the wealthy whom indulge in it. The film was host to many German stars at the time such as Alfred Abel and Brigette Helm. As this conflict is going there is a separate yet relative story unfolding, a mad scientist has created an android out of love and desperation. Soon that same desperation drives him to use this robotic woman agansist his fellow man, causing open revolt and bloodshed. As Joh Frederson, founder

A dystopian society, usually illusory, is the reverse of an idyllic utopia: it is generally tyrannical and inhibited. Dystopian societies mirror our future- they are usually a hyperbolic familiar society with satirical exaggeration. This kind of literature is written to amend other people 's idea of the kind of society they should thrive for. As well as that, they are written to express their concerns about the future and humanity. Societies of this nature appear in many works of fiction, predominantly in novels set in a speculative future. Dystopian culture is often mused by societal collapse, dehumanization, poverty, and deprivation.

Popular literature often reflects society’s beliefs and struggles, and dystopian fiction is once again gaining popularity. From Never Let Me Go by Kazuo Ishiguro to Hulu’s reimagining of The Handmaid’s Tale, written by Margaret Atwood, and all the young adult dystopias in between, one does not have to search far to find a unique dystopian read. While every dystopia is different, these novels have similar characteristics that define their genre.

The silent film, Metropolis directed by Fritz Lang, released in 1927, reflects the social situation of the time in Germany during the Weimar Period, before the rise of Hitler power. At that time, there was a new political climate, which was in favor of an equity-oriented fascism rather than liberty-oriented capitalism. The film clearly gives viewers an idea that fascism way of the political system is the preferable ideology for the society by depicting the class struggles between capitalists and labours. Thus, the movie was often interpreted as a propaganda movie and being criticized.

Metropolis is a silent movie by Fritz Lang made in 1927 Germany. The movie has multiple themes and implies many things about modern day theories and views. The movie entails many views on Marxism, capitalism, Industrialism, and organized religion, mostly. Marxism is supported in the movie, capitalism is not supported in the movie, Industrialism is partially supported, and Organized Religion is not supported.

From the silent epic of Fritz Lang Metropolis 1927 to Ridley’s Scott’s spectacular Blade Runner 1982 the connection between architecture and film has always been intimate. The most apparent concepts that connect these two films are the overall visuals of both films and their vision of city of the future. The futuristic city of both Scott and Lang are distinct in their landscapes, geography, and social structure. These two films sought to envision a future where technology was the basis by which society functioned. Technology was the culture and the cities would crumble without it. Metropolis and Blade Runner uses the themes relationships amongst female sexuality and male vision, and technology. However, Gender roles and technology seems to be the most important part in both films.

Set around the year 2000, Metropolis is a depiction of the future, yet it is viewed more intensely in the twenties style. In this view we can truly appreciate the work, without the cynicism of todays standards, for the marvel that it is.

Dystopian literature and film has been quite a popular genre for readers. In most texts, they are set in a post-apocalyptic or dystopian world where the protagonist struggles to fit into these corrupted worlds and these protagonists rebel because they feel like the government has turned their backs on them, leaving them treated unfairly. The protagonist fight back in the hopes of restoring society to its sensible state. All the main protagonists in the plots are put into inhumane situations as they are controlled by the government in order to fit their ideas and beliefs or just the plain simple reason, for their own entertainment. Through the actions and perspective of these protagonists, it shows a reflection of how we deal with certain issues