Religion In Metropolis

In analyzing portrayals of women, it is appropriate to begin with the character of Margarita. For, within the text, she embodies the traditionally masculine traits of bravery, resilience, and violence as a means of liberating herself from an existence of abuse and victimhood. Even more, the woman plays upon stereotypes of femininity in order to mask her true nature. The reader witnesses this clever deception in a scene where the character endures a “wholesome thrashing” from her huge, violent, and grizzly bear-like husband, Guerra (81). Although Margarita “[submits] to the infliction with great apparent humility,” her husband is found “stone-dead” the next morning (81). Here, diction such as “submits” and “humility” relate to the traits of weakness, subservience and inferiority that are so commonly expected of women, especially in their relationships with men. Yet, when one

Because of the Virgin’s Mexican history, she holds great significance to Mexican Catholics, so it is no surprise why the Virgin remains inherent in Mexican culture, or as literary scholar Debra J. Blake so aptly defined, “Guadalupe equals Mexico.” Both men and women admire the Virgin, but her religious setting provides a context for oppression through the church. NietoGomez explains how the church utilized Guadalupe’s image, "Marianismo, the veneration of the Virgin Mary, became the model of how to make oppression a religious obligation. This is the heritage of the Chicana." The church created a patriarchal role for themselves by weaving the Virgin’s image as a pure mother to model ordinary women’s behavior. By applying this method through the guise of subjugation, the Church rationalized their need to “protect” women in order to maintain their pure, moral status. Paradoxically, feminine virtues expressed by the Virgin as to be employed by women represents many contradictory elements. Debra

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

When she enters the bedroom, her voice changes from present to past tense and she starts to reminisce and begins to talk about her mother and aunts. She seems happy to remember her mother’s room and introduces her aunts to the audiences. Mary delivers her dialogue saying that the dressing table and the small elephant statue figures are all same. When Mary gently touches her mother’s photo, she delivers a sad tone. Her performance conveys to the audiences that she misses her mother. The tone of her voice represents that she is a gentle, innocent and a loving child. Her verbal and non-verbal interactions conveyed the viewers with a message that she is an orphan.

Maria’s actions help break the stereotype of women in film and cultural stereotypes that create bias among audiences. Maria is first revealed as a disheveled nun failing to fulfill her duties, she is therefore sent to help with the Von Trapp Family. Typically nuns are viewed as celibate God-fearing women who are strict in their ways and seldom voice out opinions, but rather silently protest and pray away problems. Maria leaves the nunnery for a different lifestyle she breaks the stereotype and is able to stand up for her self, and forces the Captain to be warmer to his children. Maria becomes a symbol of a strong woman who has broken the traditional reliance of a man; instead Maria takes it upon herself to aid the family into safety from Nazi takeover.

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’.

For instance, she wishes to dress smart only in case an accident should occur so that her body would be identified as a woman. She shows her being a “good woman”, contrary to a “good man” who “is hard to find”. But by doing so she reveals how artificial a Christian she is, that appearance for her is more significant than a “good Christian” spirit. It is her who divides the world into “good” and “evil” but she little realizes the actual parameters of these values. Her subjective point of view makes the borderline somewhat blurred, even the name of Jesus in her speech “sounded as if she might be cursing”. In fact, she is far from an epitome of virtue and it is only the fatal encounter with the Misfit that makes her realize the error of her ways. Hence, to some extent, the Grandmother may be treated as a common Everyman.

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.

In the opening scene Burtynsky, fluidly moves the camera side to side through a factory to display the workers and their tasks. This opening scene gives an overview of what each worker of the factory does. After, the shot goes to a street where Chinese workers in yellow vests congregate for his photo. Furthermore, several shots become intimate with the worker and their processes because it is just the uses and their tools. These scenes are common throughout the video along with the sound of the

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

Through it’s carefully chosen soundtrack of cheerful music on a drearily rainy day, the film’s opening underscores an immediate clash perfectly coinciding with it’s opening characters dispositions, and the entire movie’s demeanor. The pleasant mood of Mary the maid is contrasted with her dreadfully miserable and snobbish ladyship, the Countess of Trentham. Even though Mary suffers being drenched in the rain, she appears excited for the trip, while the securely dry and well taken care of Countess appears to be vehemently protesting.

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.