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These slaves are depicted against the backdrop of the miserable life they lead which include tenement like homes; they work for over ten back-breaking hours nonstop. The star of the film, Freder, who is the son of Joh Frederson, the leader of Metropolis, is glaringly oblivious to the predicament of the workers or any element of their lives. Not until when a beautiful subterranean inhabitant known as Maria visits the Eternal Gardens, where Freder spends most of his time frolicking with numerous ladies, does he learn of their abject predicament. The group of small children who arrive along Maria from the laborers city below carry themselves with an air of sadness and despondency; they are hungry and appear absolutely wretched. In reality, their needy eyes apparently haunt Freder because it is something he has never seen amid the elite of the city who no less lead better lives (Bendel 12-14).
When Freder follows Maria back to the underground depths of the city and witnesses a grueling accident in the machine halls where the worker toil in abject misery, the groveling scene haunts him much more. This, as a result, compels him to confront his father, but eventually, it downs upon him that the man loves and firmly believes that is appropriately right for men to live the way they do. Freder thinks for a while about the plight of the workers and decides do something about it. However, he is faced with inevitable challenge. Freder must first and foremost gather more information and trace Maria as well. With the assistance of Josaphat—Fredersen’s presently fired officer manager—he goes down the depths of the city and assumes the job of one of the workers with a view to locating Maria. For the moment, Fredersen is suddenly worried about the reverberations of discontent amid the workers and his son’s abrupt interest in their predicament. Fredersen is overly determined to eliminate Maria’s influence on his son as well as the workers (Mark
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Huyssen (1981), on the other hand, stressed that Metropolis should be considered as an “expressionist” production of opposing utopian and dystopian views of technology, but with a greater utopian interpretation (p.223). Rutsky (1993) argued, however, that the opposing views of technology are both “dystopian”, although “mediation” (p.3) is possible.
It is set in a future time, in an urban dystopia and uses this setting to make use of the context to explore most of the social crises that exist between owners and workers under a system of capitalism. It is a reflection on how human beings may be forced into automated systems that they forget themselves but at the same time erupt because of oppression1 Nirgendwo in Afrika, German for Nowhere in Africa, on the other hand, is a German film of 2001 that is based on an autobiographical novel written by Stefanie Zweig by the same name.2 It is the story of a Jewish family that emigrates to Kenya during the Second World War to escape the Nazi regime in Germany.
In addition, films have already evolved through time with the help of technology. Nonetheless, there are still few influential films in the past that have been restored in order to cater to the new wave of audiences. One of these films was Metropolis, released in 1927, and directed by Fritz Lang, which was restored by Giorgio Moroder in 1984.
The industrial revolution inspired the cold, mechanical, industrial Metropolis of Fritz Lang’s expressionistic movie where machines controlled the repressed, impoverished masses. “The digital revolution” by then, “had enabled the mass to become the wired multitude” (Wynants and Cornelius, 268).
Its message is very clear and it somehow manages to stand the test of time. However, change is somehow inevitable and therefore some details relating to the movie have changed over time. Despite that, the relevance of the movie is still noticeable. Metropolis is a still sci-fi movie that was released by Fitz Lang in 1927.
This movie has 2 science fiction aspects, the underground factories, the underground workers' housing; and the robot/android, Hel.
An evil scientist by the name of Rotwang invented Hel, robot that will take place of the human workers in Metropolis. The only problem with the robotic Hel is that the scientist gave her a human-like intelligence.
The 1980s and 1990s however saw the contraction and dwindling of this industry and was replaced by modern industries which have expanded to become the major employer for the 2.2 million residents of Metropolis.
These industries are
derability of human relationships is currently palpable, and devastating facts can be revealed when one closely examines a metropolitan lifestyle where a purely intellectualistic individual remains indifferent to all personal things. According to Simmel, the modern culture is