Lang’s film Metropolis and Orwell’s novel Nineteen-eighty four are significant as they have similar concerns but also provide their own unique perspective and insight into these concerns. This allows its audience to develop a better understand of the causes and impact of the deterioration of the human condition, of the detrimental effects of the abuse of power and concentration of power in the hands of a few, and how, or whether people, when faced with these circumstances, are able to reassert their own individuality as well as regain a sense of their own humanity. Their different contexts reinforce their significance, as the contexts of each text all the audience to gain insight into the lessons that can be learnt from the issues and concerns that arise in the different contexts, as many of the concerns that the composers express in the texts are reflective of the problems and issues that they saw within their own socio-political environment. In Metropolis, the creation of a capitalist society where the capitalist elite seek to build a city to reflect the hubris of mankind comes at a cost; that is, the oppression and exploitation of the workers results in dehumanisation and conformity, and a loss of individuality. This dehumanisation, however does not erase from the workers the potential and power to revolt, instead, it incentives them. It also creates in them a desire for a source of hope of a better future, which is promised them in the form of Maria, who encourages and promotes reconciliation. Hence, the negative effects of modernization on the human condition can be reversed through promoting and effecting social cohesion. In the opening of the film, Lang depicts modernity and the technology that was characteristic of modern societies such as Weimar Germany as a source of awe and wonder. However, these vision of the future is quickly undercut through the depiction of the workers in the underground city, thus allowing the audience to see how, in the pursuit of scientific and technological advancement, humanity is left degraded and oppressed. The optimistic tone is evident in the opening scenes, where art deco drawings, complemented by a music score that is bold and majestic, portrays a quick outline of the city of Metropolis. This encourages the audience to see the city of Metropolis as a man-made, modern, aesthetic wonder. The transition between the depiction of Metropolis to the machines at work emphasizes the fact that Metropolis is a modern, industrialized city. The machines are presented as a marvel of human ingenuity through the use of low angle shots, close-up shots as well as kaleidoscopic effects, distortions and montage. This allows the audience to fully appreciate the beauty and complexity of the machines. However, this optimistic tone is quickly undercut through the use of dutch angles, and the use of jarred music with irregular rhythms, and the depiction of a harsh and violent whistle that marks the introduction of the workers. When the workers are introduced, the stylized acting, with bowed heads, rigid, robotic movements, as well as uniform clothes highlight the fact that workers in the underground city are dehumanized, repressed and exploited. Their lack of freedom is contrasted with the apparent freedom that the capitalist elite enjoy. The fact that the elite are able to live a life of luxury because the workers are used as ‘fodder’ for the machines is demonstrated in the intertitle, ‘the fathers, for whom every turn of machine wheel meant gold, had created for their sons the wonder of the eternal gardens.’ Ultimately, the capitalist, Western society that Metropolis imitates is portrayed to enrich the few who are powerful and wealthy, at the expense of the many. The children of the capitalist elite are infantilized and hence are portrayed as very likely to be unable to govern the city effectively that is built on a social system that concentrates all political and economic power in the hands of a small, elite group at the expense of the majority. This system is ultimately fragile and bound to fail, or at the very least, volatile. The infantilisation of the capitalist elite is evident in the portrayal of the eternal gardens. A wide, long shot of the gardens emphasize its artificiality and ostentation. The costuming of the women in gossamer, transparent material with wide dresses, heavy makeup and wigs highlight the fact that the decadence of the capitalist elite is reminiscent of the old regime in France during the 18th century. The stylized acting in depicting the flirtation, the games and childish behaviour that occurs in the eternal gardens show how decadence leads to infantilization, which leads to complacency and apathy. The allusion to the 18th century French Old Regime, which was overthrown in a violent revolution in the 1790s serves as a foreshadowing of the revolt of the workers, something that the capitalist failed to forsee and prevent. Hence, the socio-polit