The City, while full of life, is congested and dangerous at times. Fritz Lang’s Metropolis Cinematic Visions of Technology and Fear. The movie would be quickly paced. This is established by the workings of the “heart”. The Schüfftian process is one in which mirrors make it look as though actors are inhabiting tiny model sets, which can shift perceptions about scale. Difference helps us to understand the relationships between range and extremes that occur within the film. The scenes reveal the reliance of the city above on the life and work of the city below. In chronicling the passage of a day in the city, each act in Berlin brings with it a gradual build-up in dynamism. Scenes of day to day business follow the scenes of Torontonians waking up and leaving their modest sized, mid-town, victorian house or north of the city suburbans to take the subway downtown. Being a film set in the future we realize that the images of people and places are staged images, as this future reality is not in an existence that it can be captured on camera. And immediately followed by the opening of factory doors and the starting of machines rotating (about 4 second), these images of sudden movement will stimulate view’s curiosity. The truth is revealed—the seemingly utopian upper city is sustained by the unseen slaves underground. In this realm, people have control over their lives as well as the ability to create things. Unlike Berlin Symphony of a Great City, which has many sequences taken from afar, I would want to have shots where the cameraman is right in with the scene, with some camera shake that mimics walking and follows the citizens from beside and from in front. Black and white? The architecture of the future is imagined to be larger extrusions of what they had at the time period. 1) In your own words, what was the film about? The problem is that without their masters, the underground serfs would achieve nothing. The upper class and the lower class are represented quite literally as the upper class lives above ground and the lower class resides mainly below ground. Harmony can only be achieved through this connective relationship. The Shibuya Crossing, also known as the Hachiko Crossing, is one of the largest and most famous scramble crossings in existence. Where Maria is pure-hearted and peace-loving, urging the workers that if they want change they must find a mediator to help them to harmoniously connect with their superiors, the robot Maria is a witchy and sinfully indulgent woman. answer the questions below. The benefit of Man with a Movie Camera and Berlin being films that focus on modern (at the time) landscapes is that they do not require a spoken narrative as they compose a visual narrative. Minden, Michael, and Holger Bachmann. A sense of time and space is really never fully understood, but the experiential qualities of the actions depicted by the workers in the film are extremely evident. Question: The run time of Berlin and Man with a Movie Camera are both in the 65-70 minute range. What is its significance? Arch Ultimately, I believe the question of the correct present-day interpretation depends very much on what was known to be fact at the time, rather than what comes as mere speculation after-the-fact. They break at noon, have lunch, return to work and then return home on public transit and engage in all manner of things in the evening. The utilitarian, industrial and urban "styles" are established. Discussion Questions: Please answer the questions below. The city itself, especially at night, is a phenomenal place to be and to photograph, and the pace of life is much faster than that in North America. Question: How does The film ends as a subway disappears into the darkness. With no storyline, dialogue or subtitles, creating a trailer for such an unique film could be quite a challenge. Like the men marching out of the factory, we see his body language change, suggesting hours have passed. Echoing this idea is when the workers tend to the machines, their bodies and movements are rigid and sudden, the man and the machine act as one entity. The elevator has a sense of non-direction, people merely get on and off the elevator, appearing and disappearing. Consider the different cinematic techniques Lang uses to achieve the following: a. the relationship between the machinery and the workers b. the contrast in the way the workers and the sons of the rich are represented 2. The wide angle shots, panning up and around will be long and delayed. There is a moment of pause as the noise fades and clear music is heard. With Metropolis, Lang also fuels the development of a North American city; built on transportation and more importantly the car. The later 15 second will be used to present the blundering adult life with the noise and bustle of life in the city compared with the innocent and pure playfulness of children and animal. Representing the pace of a day, each starts off slowly, with long shots and quieter music and eventually reaches a crescendo, through the use of shorter clips, some no longer than a split second. The filmography is meant to give a feeling of being lost in the buildings and areas as the are distinguished by their size and colour. The workers' city was likely established underground in order to keep the continuous labour under control. I won’t go too far into it, but through Travis’s eyes the viewer is forced to engage a culture of New York that is often unseen and intentionally ignored. Intimate connection to the physical camera can be found throughout the film as a symbol for mans relationship with the machine. Rather than following the dull and predictable events of an individual in the Soviet Union, the film attempts to reproduce the ‘zeitgeist’ of its collective. She draws a parallel between this biblical cautionary tale and their own Metropolis. How are political messages conveyed in the opening scenes of the film? Museums, Times Square, Brooklyn Bridge, Central Park, Ground Zero, Empire State Building filmed with the same lens and sound quality at an upward angle as the structures stand intimidating. We can always sense the joyfulness and peacefulness from these two movies. Question: The run time of Berlin and Man with a Movie Camera are both in the 65-70 minute range. The over reliance on the science and technology will eventually destroy the utopian city when it is out of control, which foreshadows the upcoming events of the ultimate destruction of both worlds. Please As a result this would have to be a film that is shot with a strict attention to detail; one that utilizes intense close-ups and quick cuts jumping across multiple facets of the unseen, and definitely shot in colour. [http://coilhouse.net/2008/07/fritz-langs-metropolis-lost-footage-discovered/] But the city awakens as the machines begin to turn, the trains leave the station, the cars crowd the streets, and the chimneys begin to billow black smoke into the sky. In conforming to Marxism, the idea of beauty and aesthetics is abolished, and is instead replaced with sterile and banal looking facades and interiors. I think that the best soundtrack of music for a city that describes an underground is always changing. However, I think contemporary "green" city might focus more on meaningful place and occasion. I don’t necessarily think that “East” and “West” need to be taken based on actual or factual data (especially since nowadays cultures are propagating so quickly in the global village), but should also consider our personal associations of Eastern and Western culture. It is well known that most people in New York City are not native to New York. Start by a woman hang over a bridge, and then several images of crowded and chaotic street view, and a zoom in view of her frightened eyes is showed. In first film, the cultural preoccupation of both the emotional impact the world-stage protests have on people, and what the protester believe people should question are reflected. The second one would centre on the dismantling of the old prerogatives, the new improved sustainable society and the sort of local gathering/dwelling and weekly market social exchange that a town can offer like Cambridge can. In both "Berlin: Symphony of a Great City" and "The Man With the Movie Camera", the directors ignored individual inhabitant. Although one class seems better off than the other, both are somehow manipulated by repressive social control. 1, Spring 2004, p. 78-92. His infatuation soon finds him in a world he'd never understood or acknowledged, and he... Metropolis study guide contains a biography of Fritz Lang, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Non of the workers have elevators in their buildings, only stairs are seen as the circulation for the workers private lives, the elevator remains a symbol of oppression and the work schedule. The answers are due in my Inbox on the day that they are presented in class. Lifestyle: In the district of Kennedytown there is a stretch of road straddled by a seafront park and a long row of bus stops. This would be taken throughout the day to show patterns over a 24-hour period. How does this compare with the image of machines in Berlin and Man With a Movie Camera? (Lawton, p. 45). As Metropolis begins, the images of wheels and pumps shrouded in steam quickly set the stage for the upcoming scene. 10. Individuals deployed in central metropolis locations, who supply the location of the evacuation transport, if your intel checks out. Question: How is the idea of the city presented by Fritz Lang in Metropolis SIMILAR to the reality of the German city presented in Berlin Symphony of a Great City? Archetypes of the wall, the column, the building, the street facade; down to the personal scale of the door, the window, the stairs; even the material quality of concrete, of glass and steel and of the trees and vegetation of the "garden of brothers" so-to-speak are communicable and resonant with human experience. The Question and Answer section for Metropolis is a great
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