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The quote The object of power is power is heavily supported by George Orwells 1949

novel 1984 and Fritz Langs 1927 film Metropolis through their intertextual connections
and shared perspectives. Both texts were composed around the context of pre and post World
War 2 which is clearly evident through their settings, characterisation, themes and ideas.
Through Orwells and Fritzs use of dystopic societies, empowerment of women and
detrimental dictatorship rule it is blatant that George Orwells quote The object of power is
power is quite strongly supported by the intertextual connections and shared perspectives of
Orwells 1984 and Langs Metropolis.
Through the use of Orwells and Langs intertextual connections of political reform and
shared perspectives of dystopic societies it becomes apparent that the quote The object of
power is power is strongly supported throughout the two texts. The meaning of this quote is
also made abundantly clear within the texts as the dictatorship rulers within both texts acquire
power simply to have power and authority, instead of for the good of the people. This features
predominantly in both texts through their shared perspectives on dystopic settings made
apparent by their use of symbolism. In Orwells 1984 only 2% of the populace resides in the
Inner Party whilst the other 98% is suppressed within the lower classes in either the Outer
Party or the Proles. This totalitarian, power based society is made dystopic by the
overwhelming power and control exhibited by the tyrant dictator Big Brother. This is
emphasised through Orwells use of symbolism in OBriens words as he says If you want a
picture of the future, imagine a boot stamping on a human face for ever. (pg 307) The
symbolism between the boot and big brother, and the human face and society emphasises the
suppressive nature of this totalitarianism rule, casting the society into dystopia. This also
forms a contextual connection to Nazi Germanys strive for a totalitarianism society. This
same idea of a dystopic society is epitomised within Langs film, Metropolis through the
suppression of the working class in the depths by the powerful master, Joh Frederson. 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 Langs use of symbolism when the dictators
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 1920s 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 Orwells 1984 and Fritz Langs Metropolis.
Similarly, the quote the object of power is power is also supported by Orwells and Langs
shared perspectives of the rebelling of women and the intertextual connections of the
empowerment of women during the times these texts were created. This is made evident
through the use of juxtaposition throughout the two texts. In Orwells 1984 the dystopic
totalitarianism society is suppressed into worshipping Big Brother and dares not to step away
from the control of the organisation. The female protagonist in the novel, Julia, however is not
as suppressed as she leads the organisation into thinking and begins to rebel against them.
This is seen within dialogue between her and Winston when she says Im corrupt to the
bone. This juxtaposition between her and the suppressed masses outlines her rebellion
against the tyrant power of the organisation. This links in with the contextual connection to
the empowerment of women during the post World War 2 period as a result of women
refusing to give up the power they had acquired during the war. Correspondently, Lang also
uses this shared perspective of the rebelling of women in his film, depicted through the
character of Maria. Maria is displayed as neither a citizen of Metropolis nor a worker in the
depths but as a source of optimism and rebellion for the suppressed workers of the depths.
Lang uses lighting to juxtapose her from the workers in the depths, illuminating her whilst
keeping them in shadowed tones. This juxtaposition emphasises the rebellious mentality of

Maria against the dictator of metropolis, Joh Frederson. Even though Marias rebellious
nature is far more peaceful than Julias, she still epitomises the contextual connections of the
empowerment of women as a result of refusing to give up the power they had acquired during
World War 1. Through Orwells and Langs use of juxtaposition, it is evident that the shared
perspectives of the rebelling of women and the intertextual connections of the empowerment
of women as a result of refusing to give up the power they had acquired during the World
Wars, strongly supports the quote the object of power is power.
Equivalently, through the use of Orwells juxtaposition and Langs symbolism, the shared
perspectives of the detrimental impact of dictatorship rule and the contextual connections of
political reform are shown to strongly support the quote the object of power is power. In
Orwells 1984 the dictatorship rule of Big Brother in the totalitarianism society is shown to
brainwash the populace, making them believe whatever the organisation wishes them to and
bending them at their will. This is most prominent in Big Brothers slogan WAR IS PEACE.
FREEDOM IS SLAVERY. IGNORANCE IS KNOWLEDGE. This quote is seen multiple
times throughout the novel and signifies the total power and control the organisation has
among the people, forcing them to believe the illogical and thus taking away their humanity.
Through this we can see both Orwells shared perspective on the detrimental impact of
dictatorship rule and the intertextual connection to political reform as he makes a statement
against the dictatorship of Nazi Germany during World War 2. Comparably, Lang also shows
his shared perspective on the detrimental impact of dictatorship, however he has done so by
the use of symbolism. Lang has showed how the total power of dictatorship can be
detrimental to humanity by the way in which the workers move in the depths. He shows them
to have rigid, machine like movements symbolising their loss of their humanity to the
powerful dictatorship rule. This is seen in the scene Slaves of the Means of Production
(14.58-17.52). This also links in with the intertextual connections of political reform as it
shows Langs approval for the government of the time, the Weimar Republic and his
disapproval of the old dictator monarchy of the Kaiser. Through Orwells use of juxtaposition
and Langs symbolism, it is evident that the shared perspectives of the detrimental impact of
dictatorship and the contextual connections of political reform strongly support the quote the
object of power is power.
The quote, the object of power is power is strongly supported by the shared perspectives
and intertextual connections of George Orwells novel, 1984 and Fritz Langs film,
Metropolis. Through the use of techniques such as symbolism and juxtaposition the two
texts incorporate shared perspectives of dystopic societies, the rebelling of women and the
detrimental impact of dictatorship rule as well as intertextual connections of political reform
and the empowerment of women. Through these shared perspectives and intertextual connects
it is evident that George Orwells quote, the object of power is power is strongly supported
in both George Orwells 1949 novel, 1984 and Fritz Langs 1927 film, Metropolis.

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