The quotation mark “The object of power is power” is to a great extent supported by George Orwell’s 1949 novel ‘1984’ and Fritz Lang’s 1927 movie ‘Metropolis’ through their intertextual connexions and shared positions. Both texts were composed around the context of pre and station World War 2 which is clearly apparent through their scenes. word picture. subjects and thoughts. Through Orwell’s and Fritz’s usage of dystopic societies. authorization of adult females and damaging absolutism regulation it is blazing that George Orwell’s quote “The object of power is power” is rather strongly supported by the intertextual connexions and shared positions of Orwell’s ‘1984’ and Lang’s ‘Metropolis’ .
Through the usage of Orwell’s and Lang’s intertextual connexions of political reform and shared positions of dystopic societies it becomes evident that the quotation mark “The object of power is power” is strongly supported throughout the two texts. The significance of this quotation mark is besides made copiously clear within the texts as the absolutism swayers within both texts get power merely to hold power and authorization. alternatively of for the good of the people. This features preponderantly in both texts through their shared positions on dystopic scenes made evident by their usage of symbolism. In Orwell’s ‘1984’ merely 2 % of the public resides in the ‘Inner Party’ whilst the other 98 % is suppressed within the lower categories in either the ‘Outer Party’ or the ‘Proles’ . This totalitarian. power based society is made dystopic by the overpowering power and control exhibited by the tyrant dictator ‘Big Brother’ .
This is emphasised through Orwell’s usage of symbolism in O’Brien’s words as he says “If you want a image of the hereafter. conceive of a boot stomping on a human face – for of all time. ” ( pg 307 ) The symbolism between the boot and large brother. and the human face and society emphasises the suppressive nature of this dictatorship regulation. projecting the society into dystopia. This besides forms a contextual connexion to Nazi Germany’s strive for a dictatorship society. This same thought of a dystopic society is epitomised within Lang’s movie. ‘Metropolis’ through the suppression of the working category in ‘the depths’ by the powerful maestro. Joh Frederson. The working category in this movie are forced to digest agonizing labors in highly unsafe environments whilst the upper category. the ‘sons’ are free to populate at their will.
The dystopic scene of the ‘depths’ becomes apparent through Lang’s usage of symbolism when the dictator’s boy. Freder. journeys to the deepnesss 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 non hold the right to be safe. This thought forms a contextual connexion to the 1920’s Weimar Republic where there were two distinguishable categories. the conservative elite. who were free to populate at their will. and the workers who were forced to digest labor with no warrant for safety. Through the contextual connexions of political reform and the shared positions of dystopian societies the quotation mark “the object of power is power” is strongly supported by George Orwell’s ‘1984’ and Fritz Lang’s ‘Metropolis’ .
Similarly. the quotation mark “the object of power is power” is besides supported by Orwell’s and Lang’s shared positions of the rebelling of adult females and the intertextual connexions of the authorization of adult females during the times these texts were created. This is made apparent through the usage of apposition throughout the two texts. In Orwell’s ‘1984’ the dystopic dictatorship society is suppressed into idolizing Big Brother and dares non to step off from the control of the administration. The female supporter in the novel. Julia. nevertheless is non every bit suppressed as she leads the administration into thought and begins to arise against them. This is seen within duologue between her and Winston when she says “I’m corrupt to the bone. ” This apposition between her and the suppressed multitudes outlines her rebellion against the tyrant power of the administration.
This links in with the contextual connexion to the authorization of adult females during the station World War 2 period as a consequence of adult females declining to give up the power they had acquired during the war. Correspondently. Lang besides uses this shared position of the rebelling of adult females in his movie. depicted through the character of Maria. Maria is displayed as neither a citizen of Metropolis nor a worker in the deepnesss but as a beginning of optimism and rebellion for the suppressed workers of the deepnesss. Lang uses illuming to juxtapose her from the workers in the deepnesss. lighting her whilst maintaining them in shadowed tones.
This apposition emphasises the rebellious outlook of Maria against the dictator of city. Joh Frederson. Even though Maria’s rebellious nature is far more peaceable than Julia’s. she still epitomises the contextual connexions of the authorization of adult females as a consequence of declining to give up the power they had acquired during World War 1. Through Orwell’s and Lang’s usage of apposition. it is apparent that the shared positions of the rebelling of adult females and the intertextual connexions of the authorization of adult females as a consequence of declining to give up the power they had acquired during the World Wars. strongly supports the quotation mark “the object of power is power” .
Equivalently. through the usage of Orwell’s apposition and Lang’s symbolism. the shared positions of the damaging impact of absolutism regulation and the contextual connexions of political reform are shown to strongly back up the quotation mark “the object of power is power” . In Orwell’s ‘1984’ the absolutism regulation of Big Brother in the dictatorship society is shown to brainwash the public. doing them believe whatever the administration wishes them to and flexing them at their will. This is most outstanding in Big Brothers slogan “WAR IS PEACE. FREEDOM IS SLAVERY. IGNORANCE IS KNOWLEDGE. ” This quotation mark is seen multiple times throughout the novel and signifies the entire power and command the administration has among the people. coercing them to believe the unlogical and therefore taking away their humanity.
Through this we can see both Orwell’s shared position on the damaging impact of absolutism regulation and the intertextual connexion to political reform as he makes a statement against the absolutism of Nazi Germany during World War 2. Comparably. Lang besides shows his shared position on the damaging impact of absolutism. nevertheless he has done so by the usage of symbolism. Lang has showed how the entire power of absolutism can be damaging to humanity by the manner in which the workers move in the deepnesss. He shows them to hold stiff. machine like motions symbolizing their loss of their humanity to the powerful absolutism regulation.
This is seen in the scene “Slaves of the Means of Production” ( 14. 58-17. 52 ) . This besides links in with the intertextual connexions of political reform as it shows Lang’s blessing for the authorities of the clip. ‘the Weimar Republic’ and his disapproval of the old dictator monarchy of the Kaiser. Through Orwell’s usage of apposition and Lang’s symbolism. it is apparent that the shared positions of the damaging impact of absolutism and the contextual connexions of political reform strongly back up the quotation mark “the object of power is power” .
The quotation mark. “the object of power is power” is strongly supported by the shared positions and intertextual connexions of George Orwell’s novel. ‘1984’ and Fritz Lang’s movie. ‘Metropolis’ . Through the usage of techniques such as symbolism and apposition the two texts incorporate shared positions of dystopic societies. the rebelling of adult females and the damaging impact of absolutism regulation every bit good as intertextual connexions of political reform and the authorization of adult females. Through these shared positions and intertextual connects it is apparent that George Orwell’s quotation mark. “the object of power is power” is strongly supported in both George Orwell’s 1949 novel. ‘1984’ and Fritz Lang’s 1927 movie. ‘Metropolis’ .
