首页> 外文期刊>H-ermes. Journal of Communication >Metropolis, apparato del Novecento. La distopia come oggettivazione delle paure urbane = Metropolis, 20th century apparatus. Dystopia as objectification of urban fear
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Metropolis, apparato del Novecento. La distopia come oggettivazione delle paure urbane = Metropolis, 20th century apparatus. Dystopia as objectification of urban fear

机译:大都市,二十世纪的设备。反乌托邦作为城市恐惧的客观化=大都市,二十世纪的机器。反乌托邦是城市恐惧的客观化

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Metropolis, 20th century apparatus. Dystopia as objectification of urban fear. Metropolis (1927) by Fritz Lang represents the first urban dystopia in the history of 20th-century movies. The archetype of the city comes from cultural exchange between the representations of sci-fi literature and the scientific discoveries of the early 20th century: the vertical city by H. G. Wells Tales of space and time, the second industrial revolution, the so-called machine civilization, the theories of the Bauhaus and the Avant-garde. The osmosis between the hard sciences and the humanities forms a dynamic map, which is constructed by the present reality and which determines the design model of the future. But Metropolis is also a powerful representation of man, the transfiguration of the human microcosm in the urban macrocosm, a metaphor of the uncertain human ontological status. It is the dystopian model that – like Trantor by the sci-fi Foundation series of Isaac Asimov and the urban nightmares of Philip K. Dick, or like the Los Angeles of Blade Runner or the Machine City of Matrix – allows us to reflect on the present world.
机译:大都市,二十世纪器具。反乌托邦是城市恐惧的客观化。弗里兹·朗(Fritz Lang)的《大都会(Metropolis)》(1927年)代表了20世纪电影史上的第一个城市反乌托邦。城市的原型来自科幻文学的代表与20世纪初期的科学发现之间的文化交流:HG Wells故事集的时空的垂直城市,第二次工业革命,所谓的机器文明,包豪斯和先锋派的理论。硬科学与人文科学之间的渗透形成了一个动态地图,该地图由当前现实构造而成,并确定了未来的设计模型。但是大都市还是人类的有力代表,是人类微观世界在城市宏观世界中的变身,是对人类本体论状态不确定性的隐喻。这是反乌托邦的模型,就像科幻基金会的艾萨克·阿西莫夫(Isaac Asimov)系列的《特兰托》(Trantor)和菲利普·迪克(Philip K. Dick)的城市梦urban一样,或者像《银翼杀手的洛杉矶》或《黑客帝国》一样,我们可以反思一下现在的世界。

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