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Fritz Lang, who lived 1890-1976, was a legendary Austrian-born film director. He worked in Germany until he fled the Nazis in 1936. He went to the USA and resumed his career in Hollywood. His German films include "Metropolis," "M" (in which Peter Lorre starred as a child-killer), and "The Last Will of Dr. Mabuse."In Hollywood he directed "Fury," "You Only Live Once," "Scarlet Street," "Rancho Notorious," "The Big Heat," "The Blue Gardenia," "Human Desire," "Moonfleet," and "While The City Sleeps." In their new book, "Information Ecologies" (MIT Press 1999), Bonnie A. Nardi and Vicki L. O'Day use Lang's 1926 film "Metropolis" as "a reminder that our current questions and concerns about technology have a long history. Many of the particular technologies we experience now are fairly new -- voicemail, cellular phones, the Internet, and many more. But the challenge of responding well to technology goes back at least to the invention of the earliest machines." |
The story told in "Metropolis" takes place in 2026 (a hundred years
from the time the movie was made), and is a stark expressionistic drama about a futuristic slave society. Calling the film a testament to technical creativity, Nardi and O'Day explain that "Lang did what had never been done before. The film imaginatively portrays technologies that did not exist in 1926 -- instant electronic data access, doors controlled by sensors, video conferencing. Lang's art itself could only be fully realized through the use of what were then very advanced film and camera techniques, such as animation and morphing. The visual beauty of 'Metropolis' is a masterful realization of Lang's deep connection to technology. "At the same time, Lang suffused 'Metropolis' with an urgent sense of the troubling complexities and difficulties of technology. Technology regulates us: a giant clock face requires workers to struggle to maintain control of the machines by heaving a huge lever to precisely those points on the face that are lighted. Technology is always a step ahead of us: the hero tries in vain to prop open an automatically closing door with a large stick. Technology has the potential to completely overwhelm us: at the end of the film, the machinery fails, and the city is immersed in rising waters flooding from an underground reservoir, endangering everyone -- the 'masters' of technology, as well as the workers and their children." |
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