Using core elements of their worlds, George Orwell's mid-20th century novel 1984 and Fritz Lang's film of the early 20th century Metropolis distorts what is known to reveal uncomfortable truths. In light of the utilitarianism of the Cold War and the economic collapse of the Weimar Republic, both Orwell and Lang position the reader in a dystopian climate, where vulnerability in the face of social collapse is addressed through the totalitarian setting of Orwell and Heart Machine of Lang, symbol of war. the paranoia of time and the economization of man as a resource. In contrast, Winston's symbolic death as a cell of the Ingsoc system despite the rebellion illuminates the immortality of social structures, as evident in Goldstein's role in controlling the insurrection. Likewise, the plight of the workers as an allegory of the Tower of Babel illustrates a disillusionment with God, where despite protest, the workers can only find salvation from Joh Frederson, an allusion to God, and are therefore trapped in the religious paradigm. This raises the ire of the public, as illusions of personal power are subverted, thus leaving individuality questionable and the future bleak. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In light of the utilitarian outlook of the Cold War and the economic collapse of the Weimar Republic, both Orwell and Lang incite public protest by using a climate of dystopia to deconstruct fundamental illusions. In 1984, post-World War II fears of vulnerability in the face of major global powers are addressed through the totalitarian context, in which wartime processes and perspectives are maintained, particularly in rationing, as noted in “Boiled Cabbage,” and is confidence in the government was strengthened. The system, as noted in the filial presentation of the political leader, Big Brother, is set up to create a sense of familiarity. Orwell deconstructs this by defining the Ingsoc system as subversive to the individual, as the motif of the telescreens illustrates the invasiveness and total control is evident in "There is no way to turn it off completely"; a wartime hyperbole of suspicion and paranoia. This is a confrontation for Orwell's readers, as awareness of this oppression only maximizes the vulnerability of the Cold War. Therefore, "ignorance is strength", rendering disillusionment with preconceived structures useless; futuristic setting, in which the German Expressionist depiction of the cityscape as enormous and bold embodies the sense of helplessness felt by Lang's audience overwhelmed by the economy and their function within it. This is evident through the symbol of the Heart Machine, a representation of the corporatization of humans following the desolation of the First World War, as seen in the industrial image of workers. Similar to Orwell, Lang features a dissonant voice; while technological and corporate entrapment is understood, specifically embodied by workers as tools for elite utopia, Lang reimagines economic dystopia as spiritual. “The fact that people are consumed by machines does not prove that machines are greedy, but rather describes the defective matter of people themselves.” Thus, Lang's audience is presented with a disturbing image, in which even if the "head" and "hands" meet, spiritual healing is questionable. So, what is truly worrying is the transcendental nature of social structures. With Winston as.