Comparing Metropolis And A Clockwork Orange

What separates cinema from literature is the unique mode of expression. Especially, when the focus is on the Dystopian Soul genre, the narrative conventions and portrayal methods reach a quantifying level. The films that are categorised under the dystopian soul genre are created to portray a fictional, dystopian future in which human desire for technological and scientific advancements culminate in ultimate doom.
Looking at dystopian genre, two films that have left an indelible mark in the minds of the audience for impeccably portraying the “dehumanized” society are Fritz Lang's Metropolis (1927) and Stanley Kubrick’s A Clockwork Orange (1971). Released at almost a gap of 40 years, both Metropolis and A Clockwork Orange highlight societal
The incredible wave of technological advancements in the Progressive Era affected the economies and the lives of people. The idea of technocracy was established when people started believing that scientists and engineers could very well manage the society. Lang has been successful in infusing this idea in Metropolis by portraying Joh Fredersen and the elite caste of scientists who control the development of the city based on technological advancements. They, however, neglect the labourers who build the city. This eventually led to the riots that maimed the infrastructure. In A Clockwork Orange, the government depicts technocracy as the key tool for crime prevention, thus creating the “Ludovico” technique.
4. In both the films technocracy degrades humanity at its core level of freewill. How a society where repression, brainwashing and mental conditioning run amok could ensure the well-being of its people? In both the films, the technologically advanced and scientific-minded elites are basically myopic and self-centred. They are so ferociously focussed in one goal that pose threat and moral challenges to the
Metropolis’s original score was composed for a large orchestra by Gottfried Huppertz. Huppertz who was inspired from Richard Wagner and Richard Strauss. He also combined a classical orchestral voice with mild modernist touches to portray the film's massive industrial city of workers. Within the original score were quotations of Claude Joseph Rouget de Lisle's "La Marseillaise" and the traditional "Dies Irae," The traditional "Dies Irae," was given to match the film's apocalyptic imagery. The soundtrack to A Clockwork Orange features mostly classical music selections and Moog synthesizer compositions by Wendy Carlos (then known as Walter