Film Analysis Of Metropolis

Based off Charles Webb’s 1963 novel by the same name, The Graduate is an American romantic comedy/drama released in the United States on December 21, 1967 starring Dustin Hoffman, Anne Bancroft, Katharine Ross, and William Daniels. The film was directed by Mike Nichols, produced by Lawrence Turman and the screenplay written by Buck Henry and Calder Willingham. The film was produced by Lawrence Turman/Mike Nichols productions starting in March of 1967. Mike Nichols has also directed other well known films such as Catch-22 (1970), Working Girl (1988), and more recently Closer (2004). The film was distributed by AVCO Embassy Pictures nationally and United Artists internationally. AVCO Embassy Pictures studio, founded by Joseph E. Levine, the films executive producer, also claims production/distribution for other hit films such as Godzilla, King of Monsters! (1956), The Fog (1980), and Prom Night (1980). The movie was well received due to its $104 million dollar box office opening tab. The score was produced by Dave Grusin and the songs written by Paul Simon and Art Garfunkel.

First of all, the set design was intricate and very detailed, especially in the factories where there were gears and machines operating everywhere. Every inch brought the setting to life. There was a clear distinction when switching from Metropolis to the Workers’ City that was seen in the scene’s setting. Moreover, the settings were given more depth by the frames and angles in which they were shot. Many scenes would show the main subject or image centered in the frame, and this was given emphasis with the use of dark shadows in contrary to a bright subject. Shadows indeed played a big part in creating visuals. The technique of chiaroscuro, the contrast between light and dark comes to mind, like in scenes that were more somber and serious (e.g. carrying the dead bodies from the factory, Maria making prophecies about peace). In connection with the concept of angles, Fritz Lang also had a commendable use of symmetry, which was visually appealing especially with intricately designed sets. Lang also used lines in his shots, adding style and flair to dramatic

Analytical Thesis: Get Out is a psychological thriller that analyzes the racial issues in modern America through the use of visual rhetoric: such as film noir, symbolism and metaphors.

This weekend I watched on Netflix the film Metropolis (1927, Fritz Lang) and from the film I have found some detailed examples about how the movie itself expresses the German Expressionist theme of alienation/dehumanization resulting from the industrial revolution that moved laborers from agriculture/farm life to factory life in the city. The first example that relates to this theme would be when the movie begins and the underground-dwelling workers toil to operate the underground machines that power the city while the higher class people are living better lives. This stands out to the theme because it provided a vivid visual of the underground-dwelling workers working very hard to keep the city going and in return they weren’t appreciated

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

The aesthetics of realism in each film can be utilized in many diverse ways to offer certain truths about the world of the film to further express the film’s story. These theatrical elements emphasize what the film attempts to relay to the audience; moreover, it intensifies the authenticity of each aspect of the film. The use of real people, on-camera interviews, textual information, and of direct address to the camera displays the realism of each film.

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

The opening scene of the film utilises multiple aspects in order to display the hopeless that looms over the dystopian world that the audience is presented with. The film uses a mix of both visual imagery to show this along with verbal features in order to convey this to the audience.

Stylistically, M appears to be a continuation of the style that was established in cinema through the German Expressionist movement and developed through the Kammerspielfilm, which focused on the actors, lighting, and set design to further investigate the psychological foundations of characters in middle and lower-class environments (150). M can be considered to be part of the third type of film that was produced during the Weimar period that is known as die neue Sachlichkeit (New Objectivity), which portrays "fatalistic and grimy lower-class realism" through the cinematic lens (150). M is able to marry characteristics found in each of these three periods of German cinema.

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.

The movements of German Expressionism and Japanese pre-war cinema produced trends greatly influenced by its historical context. These contexts contributed to shaping their own stylistic styles captured throughout the theme, mise-en-scene, and cultural ideologies. Although these two movements occurred in fairly similar time periods, they both occurred in different parts of the world which had a fundamental role in generating key contrasts between these movements. Both occurring in pre-war periods, a striking similarity existed between the two; they both displayed the economic instabilities. Both subtly exhibited the internal anxieties that the individuals faced in the differing societies. German Expressionism had the stylistic forms that in turn captured distorted images or grotesque style to convey an abstract sense of reality throughout 1920’s. On the other hand, the Japanese pre-war cinema expressed the humanistic family by displaying their everyday struggles of the lower middle class known as the “common people” during the 1930’s. Although these movements were individually unique throughout their distinct stylistic devices and ideologies, they essentially came together during this time period to help transform the art of national cinema.

The "costliest and most ambitious picture ever screened in Europe"(Jensen) the film was premiered on January 10, 1927 at the UFA Palace, in Berlin, before an enormous audience which included many members of the political and artistic hierarchy. Initially Metropolis did not meet critical expectations. Like many science fiction films of the present it was praised visually, yet, its sappy predictable view of society was heavily bombarded by negative reviews. Still it attracted huge

Joseph Spencer is the observer of the movie. Metropolis is directed by Fritz Lang; Metropolis mostly fits under the science-fiction and drama genres. Metropolis was released in 1927 (IMDb). Metropolis reveals to the observer that features a dystopian and contradictory world. The script is based on a novel by Thea Von Harbou, and the screenplay was written by her as well. (IMDb). Metropolis is controlled by Joh Fredersen acted by Alfred Abel (IMDb), a capitalist whose son, Freder played by Gustav Fröhlich (IMDb), takes an idyllic life, enjoying the wonderful gardens. One day Freder meets Maria played by Brigitte Helm (IMDb), the spiritual leader of the workers, who take care of the children of slaves. Freder talks to his father, Fredersen