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March 29, 2024, 12:31:54 pm

Author Topic: 1984/Metropolis Comparison Essay  (Read 1638 times)  Share 

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Rachelrachel

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1984/Metropolis Comparison Essay
« on: November 15, 2020, 02:31:36 pm »
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May anyone please give me feedback on two 1984/Metropolis comparison paragraphs?

Rebellion is as much about upholding values as it is about creating change. Discuss with reference to 1984 and Metropolis.

Although the desire for change is a natural part of rebellion, values are needed to differentiate this urge from more primitive instincts. Both Orwell and Lang begin their argument by portraying resistance as something unavoidable, unconscious. This comes through particularly clearly in Metropolis’ motif of steam bursting from rigid machines – symbolising the inevitability of rebellion. Moreover, steam is significant in that it is an intensely Romantic symbol – indicating that resistance is not only unavoidable, but human nature. Orwell similarly indicates the impossibility of avoiding dissent, relegating every single named character, even Parsons, to the Ministry of Love. Again, a strong undercurrent of naturalism is present, with Parsons’ “sleep” talking signifying that all humans are subconsciously defiant. But simultaneously, the instinctive nature of rebellion means it is too easily co-opted to justify prejudice. This is particularly apparent in the Two Minutes Hate, where Winston’s desire to “ravish” and “rape” Julia – framed as a rebellion against the Party – is in fact the thinly-disguised manifestation of his own lust and misogyny. Indeed, his later “inferiority” when compared to Julia only underscores the arrogant, self-serving nature of his beliefs. Similarly, Lang satirises Marxist ideals, suggesting that the workers’ rebellion was driven more by lust and anger than any genuine desire for reform. Machine-Maria’s visceral shouts of “blood” and “marrow”, along with her frantic and sexual gesturing, function to remove all glamour from the workers’ uprising. The subsequent burning at the stake only reinforces this impression, with medieval imagery emphasising the rebellion’s vulgarity and ignorance. And so Orwell and Lang warn us that when not upheld by conscious, critical values, ignorance and self-interest inevitably corrupt the rebellious instinct.


In fact, rebellion without values ultimately works to enforce the status quo – and as such, isn’t really ‘rebellion’ at all. Lang and Orwell therefore show us that meaningful change cannot happen unless principles are consciously observed. In the previous paragraph, Lang’s use of steam to signify rebellion was mentioned - but this motif has further meaning. In particular, steam is formless, immaterial, and inevitably dissipates, and it is therefore by choosing this metaphor that Lang demonstrates the self-defeating nature of unorganised revolution. Likewise, Orwell uses Winston’s encounter with the “horrible” prostitute to symbolise rebellion not driven by any values – which indeed can make “no difference”. But immoral rebellion is dangerous in another way; its capacity to be manipulated by the ruling class. Specifically, by designating Machine-Maria as the “mouthpiece” of Joh Fredersen, Lang illustrates that animalistic, violent rebellion serves more as propaganda for the ruling class than it effects any positive change. This is a concern shared by Orwell, with O’Brien “impatiently” replaying Winston’s agreement to “throw… acid in a child’s face”. And so true rebellion is backed up not only by the desire to create change, but also a solid moral compass. This is conveyed through Winston’s fixation on the word “why”, as well as in the desperate way he seeks meaning from dreams. Similarly, Freder becomes a positive agent of rebellion only when he is “summoned” by Maria - representing adherence to Christian values. Hence, although the want for change may obscure the need for moral values, ignoring the latter is quickly self-defeating.