Mary Shelley’s Frankenstein and Fritz Lang’s Metropolis are two texts which have greatly influenced the science fiction genre and the future of film and literature. Knowing that these texts have had a crucial impact on societies love for science fiction, this begs the question- why are science and technology still seen as ‘mad’. Through the study of Stuart Hall’s 'Work of Representation', the answer to this question becomes known, as I examine how Frankenstein and Metropolis have led to contemporary anxieties concerning technology.
Stuart Hall’s Theory of Representation is relevant when discussing the implications of texts such as Metropolis and Frankenstein on the future of literature and film. Hall’s representation theory explores how there is not a true portrayal of people or events in a text, but there are a lot of ways that these can be characterised.
The most relevant system in Stuart Hall’s theory is the second system of representation- language. Language doesn’t necessarily mean words, though. In his theory, language can be objects, images, signs, music or dialect. This is the link which “enables us to refer to either the real-world objects or the imaginary worlds of fictional objects.”(Hall, S. 1997).
It is this system that proves helpful in my analysis of Metropolis and Frankenstein. Although Fritz Lang’s Metropolis is a silent, black and white film with German dialect, its use of images, music and signifiers allowed a broad audience to interpret it. Subsequently, its use of language is a critical factor to why it is so popular and has such an exhaustive influence on science fiction today.
Similar to Hall, theorist Saussure explores the notion of semiotics. Saussure argued that the word or image (the signifier) and the idea (the signified) are both required to make meaning. In this semiotic approach, objects can also be employed to make meaning. This is distinct in Mary Shelley’s Frankenstein, where her novel acts as a didactic text for the audience to unpack as she utilised dialect, intertextuality and objects to create significance.
As Hall explains, “It is us- in society, within human cultures- who make things mean, who signify. Meanings, consequently will always change, from one culture to another.” As a result, it is interesting to see how conventions from literature have been sustained in science fiction and stemming from that, how contemporary audiences view technology and science.
Mary Shelley’s romanticist novel Frankenstein explores conventions that have prevailed the test of time, contributing to the science fiction genre. Frankenstein spawned many interpretations, lasting from Thomas Edison’s 1910 short film to the Rocky Horror Picture Show.
Frankenstein introduced the ‘mad scientist archetype’ which has been used in science fiction literature and films since its publication in 1818. Victor Frankenstein is the embodiment of this archetype. After succeeding in giving life to his creation, its appearance repulses him and he flees. Eventually, Victor’s pursuit of knowledge proves dangerous as his rejection of the monster results in the death of his family, friends and ultimately himself. This idea of the mad scientist has become an abundant motif in science fiction, with the character ‘Doc’ from the Back To The Future trilogy reflecting Frankenstein’s main characteristics. Without this motif, texts such as The Fly, The Rocky Horror Picture Show or other playoffs of Frankenstein like Bride of Frankenstein wouldn’t exist. As a result of this characterisation, Frankenstein introduced a new motif into the science fiction genre, forever changing how sci fi is created and viewed.
Fritz Lang’s Metropolis has also been incredibly influential in the science fiction genre. In 1927, New York Times’ H.G. Wells reviewed Lang’s Metropolis and wrote “I have recently seen the silliest film, I do not believe it would be possible to make one sillier.” Almost 100 years later, Metropolis’ effects are still seen around the world today, acting as a landmark film with its substantial implications on the science fiction genre.
Fritz Lang’s most famous scene, the Moloch scene, is vital when understanding the influence of this movie on science fiction. During the climax of this scene, the music crescendos and the frame begins to shake. This allows the audience to sympathise with the victims of Metropolis. The word “Moloch” appears on a title card and the allegorical intent of this sequence is made clear as the machine transforms into a monster.
Juxtaposed to this scene, we are shown the surface of the city- a thriving Metropolis with skyscrapers, flying cars and pleasure gardens. Here, technology is an empowering tool that benefits human purposes while in the lower city it burdens the workers.
Not only has this industrial scenery inspired movies settings such as Blade Runner’s Tyrell Corporation building but the contemporary machinery and electricity have been incredibly influential in sci-fi. The use of electricity and large machinery has inspired Frankenstein remakes where sparks of electricity strike from the sky. It has also influenced other movies like High Treason in their technological graphics and setting.
Metropolis was also incredibly influential in the creation of Star Wars. Although the term ‘robot’ was coined just a few years before Metropolis’ creation, Robot Maria was an incredibly new and influential symbol. This sexualised robot-vamp inspired Star Wars’ droid C-3PO. Additionally, Robot Maria influenced many other movies and pop culture events such as the movie AI and Beyonce’s outfit for an awards event.
As a result of these conventions and techniques, Metropolis “inaugurated an entire genre” (Ruppert, P. 2000) with its inspiring and contemporary semiotics.
While Science fiction is such a large and popular genre, technology and science are still viewed as ‘mad’. BBC culture Fiona Sampson explores that “with modernity… comes a sense of anxiety about what humans can do and particularly an anxiety about science and technology.”(Laurence, R. 2018) This sense of anxiety becomes apparent in both texts. Frankenstein was majorly influenced by the rise of industrialisation and Metropolis was inspired by the aftermath of WWI.
Mary Shelley captures the zeitgeist of the 19th century by exploring romanticist ideology. Consequently, Shelley warns the introspective reader about the implications of science and technology. With the application of the crazy scientist image, Frankenstein has added to a long conversation about how technology and science are irrational. This motif, has become a massive factor in the contemporary anxieties of technology being ‘mad’ as the stereotypical crazy scientist warns society of the possible implications of science. In the 1974 rendition ‘Young Frankenstein’, they consider this idea when it is stated, “All them scientists- you’re all alike. They say they’re working for us but what they really want is to rule the world!”
As Stuart Hall has depicted, “signs themselves cannot fix meaning. Instead, meaning depends on the relation between a sign and a concept which is fixed by code” whether cultural or linguistic. As a result, it is clear how the mad scientist archetype from Frankenstein has created a colossal influence. Stemming from romanticist ideology and the fear of the unknown, this code of the mad scientist can be understood from any culture or time as an image to be wary of.
Similar to Frankenstein, Metropolis also enforces this idea that science and technology are ‘mad’. Fritz Lang’s Metropolis is a “technological fantasy that mirrors both our fears and our fascination with technology.” (Ruppert, P. 2000) Lang challenges the notion of industrialisation as he comments on the inability of technology to liberate humankind and instead give rise to worker enslavement.
The Moloch scene is the most influential scene, where a machine turns into a monster and begins consuming the lower class. It is through this scene where J.P Telotte explores the vocation of the film as it provides us with a “double vision that allows us to see both the potential benefits of a technological utopia and the dystopian source of its power.” (Telotte, JP. 1995) Despite this though, the Moloch scene is mainly interpreted to have warned audiences from the use of technology.
Through the view of Stuart hall, this scene is instrumental in the broad understanding and reception of the film. The semiotics of the scene, with the allegorical machine, Moloch, allows the audience to pick apart the signifiers and understand Lang’s purpose. Additionally, the second system of representation (language) was vital in this scene. Although there isn’t any dialect or much text, the crescendo in the music at the climax and the dire sequences happening on the screen allows the audience to understand the situation at hand and how technology has led to the degradation of the workers and eventually humankind.
Robot Maria also explores an ideological message, advocating that “mechanical marvels will not ameliorate the human condition”(Lane, R. 1978) The fear of technology is exemplified through the machine-vamp who ironically poses a threat to technology. Ultimately, Robot Maria is seized by the people of lower Metropolis and burnt at the stake for her crimes. Her scorching death mirrors the Salem Witch Trials and as a result, reveals the fears of an industrialised and contemporary society.
Robot Maria not only acts as a symbol of unrestrained technology but as a cultural code. Her fate allows the audience to understand and interpret the film on another level. Metropolis is a seminal film because it is concerned with the impact technological progress has on mankind and as a result, contributes to the long conversation regarding science fiction and the dystopian possibilities of technology.
Science fiction films are a part of a larger conversation and consequently, they share language and refer to similar symbols. Because of Metropolis' and Frankenstein's use of language, semiotics and codes, more people have become aware of the ideological reasons as to why science and technology are ‘mad’. These texts act as small sentences in a larger conversation revolving around the negative uses of science and technology. Subsequently, Stuart Hall’s theory of representation is viewed as a means of how this conversation has spread. Therefore, Frankenstein and Metropolis have led to contemporary anxieties concerning technology, with the idea of science as ‘mad’.
