Allegory And Metaphors In Osamu Nightingale's Metropolis

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Osamu Tezuka 's "Metropolis" is a truly unique anime
Based on the classic manga by Osamu Tezuka, itself inspired by the homonymous, 1927 German silent film by Fritz Lang, and featuring a script by the anime legend Katsuhiro Otomo (Akira), direction by Tezuka 's collaborator, Rintaro (Astro Boy), and animation by Madhouse, "Metropolis" had all the tools for becoming a masterpiece. In that fashion, it succeeded to the fullest, taking advantage of its huge budget ($15 million) in the best way possible.
Metropolis is an industrial, tri-level city, where robots and humans co-exist, although the former are discriminated (they cannot even have a human name, resorting in codes to name themselves) and segregated to the lower levels. Duke Red is a paramilitary
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The most obvious one regards the way the government uses the military power of the right wing groups for its purposes, but eventually this group (in this case Duke Red and the Marduk) takes power in its hands, overthrowing the legitimate government and establishing a dictatorship. The fact that the labor force is also misguided into revolting and eventually betrayed is another metaphor of the way governments occasionally use the proletariat. Both of the aforementioned concepts have a distinct connection to the events that unfolded in Weimar Germany, who witnessed the horrors and the aftermath of the First World War, only to plunge again into a political chaos that eventually brought Hitler and the Nazis in rule. Issues of racism and discrimination are also included and represented by the concept and the situation of the…show more content…
James Infirmary Blues" and the ending theme "There 'll Never Be Good-Bye" by Minako "Mooki" Obata. All of the tracks are wonderfully implemented in the film, highlighting the purpose and the feeling Rintaro wanted to give to each scene. This trait reaches its apogee in the ending sequence, where "I Can 't Stop Loving You" performed by Ray Charles accompanies a scene of mass destruction, in probably the most memorable scene of the whole

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