Modernity and Modern Aesthetics - Essay Example

Modernity And Modern Aesthetics - An Introduction Modernity is a term which defines the modern era and is different from modernism. In simple words, modernity is used to define the various intellectual and cultural movements which took place between the periods 1630 to 1940. Likewise, the term “modern” can also be used to describe the onset of the industrial revolution which took place in the early 19 century and it can also be used to define the life and culture of people who dwelled in the sixteenth century. While some schools of thought suggest that modernity was replaced by post-modernity in the late 20 century, others believe that it is still prevalent and has not changed since its inception in the early fifteenth century. Modern aesthetics is a study of beauty and taste and is therefore extremely difficult to define. If you wish to describe modern aesthetics, then it would be a philosophical mix of the beauty, the ugliness and the sublime (Bradbury & McFarlane, 1976, p. i-iii, 7). At the same time, it is also considered an art of studying the natural responses to various modern day events. Modern aesthetics is also considered a study of our sensory emotions and is therefore considered sentimental in nature (Bradbury & McFarlane, 1976). While defining nature and culture, modern day aesthetics see the world from an entirely new perspective. Modernity and Modernistic Aesthetics In Modern Times If we go back in time, say to the year 1936, we would recall the iconic Charlie Chaplin playing his symbolic Little Tramp character in the movie Modern Times. In what appeared to be his last appearance, Charley Chaplin put up a splendid performance and showcased his highly acclaimed acting skills in depicting a poor tramp who struggles valiantly to survive against all odds while trying to establish his identity in a highly competitive modernistic society. The film was a silent work which was devoid of the modern day dialogues. Nonetheless, the veteran actor Charles, who played the role of a worker employed in the manufacturing unit, managed to create quite a stir by displaying the tardy monetary conditions during the Great depression. Modern Times was a satire which ridiculed the so called efficient industrialization process that had rendered numerous homeless and snatched the bread from those who once enjoyed a healthy livelihood. (Chaplin, 1936) Modern Times received iconic status when, through the means of a sound direction and flawless acting, it managed to showcase the deteriorating fiscal conditions and the “desperate employment” people faced during the early nineteenth century. It is interesting to note that the movie Modern Times was lauded by the Library of Congress and was stated significant for displaying the cultural ethics of the Great Depression. In the year 1989, the film was deemed fit to be preserved in the United States National Archives. (Girgus, 2002, p. 52-64) If we throw light on the plot of Modern Times, we would be moved by the simple yet significant story line that was moulded to perfection by perhaps the finest actor/director, of all times. Charlie Chaplin plays a factory worker who earns a living by screwing nuts in an assembly line. The movie is a pun directed at the so called “evolutionary” modernistic aesthetics and it depicts the indignation faced by an ordinary worker at the hands of lifeless machines. The concept of modernity suffers a huge blow when Charlie Chaplin, while playing his character like never before, creates an ironical situation by suffering a mental breakdown at the hands of the machines. The reason why he suffers partial insanity is because he fails to withstand his biological clock being turned upside down and cannot accept his highly polished grey cells to feel inferior in front of a machine he once created. He falls sick while screwing nuts into machinery to meet the ever increasing demands of modernity and is immediately rushed to the hospital. The “politically correct” and “culturally significant” film provides a hilarious outcome to the so called iconic “modern aesthetics” when Charlie Chaplin, after having recovered from his mental depression and now unemployed, gets arrested as a Communist when his only intention was to return a Red Flag that accidentally slipped off a delivery truck (Nieland, 2008, p. 3-7). This is not all as on the way to jail in a military truck, Charley Chaplin, in error, consumes smuggled cocaine mistaking it for salt and walks into a jail break before being hailed a hero as in his inherited state he accidentally knocks the rebellion down, thereby managing to control a chaotic situation with his bare fists. Behind the hilarious scenes is a serious character which is played to perfection by Charley Chaplin. He portrays the loopholes of modern aesthetics by rubbishing the theory that modernity was fair in character and useful for all. The message is fairly clear-the rich became richer while the poor became poorer. With no job and countless failed attempts at gaining employment, Charley Chaplin does what most poor trams would do in his situation-he tries to get jailed again. The attempts to get jailed are hilarious but fail to mask the seriousness attached to modernity. In his first attempt he tries to save an orphan girl who is fleeing the police on charges of stealing a loaf of bread by taking responsibility of the theft. Alas, Charley Chaplin’s hopes of earning a cell and two sparse meals are dashed when a witness reveals his true identity thereby forcing the helpless tramp to look for another opportunity. (Welsch & Inkpin, 1997, p. 117, 125, 126) The opportunity of ridiculing modernity does not require a twist as Charley Chaplin fills his belly at a local restaurant and refuses to pay the bill. He is arrested much to his relief and transported to jail. On his way, he meets up with a gamine, who forces the poor tramp to escape. For once, the concept of modernity strikes rich when Charlie Chaplin gets a job as a night watchman and allows the gamine along with a group of burglars to make a forced entry. The aftermath of the splurge proves inauspicious for Charlie as he lands up in jail once again. (Welsch & Inkpin, 1997, p. 125, 126) (Nieland, 2008, p. 5-7) The lopsided life of a tramp showcases the horrendous living conditions of the poor and derides the very principles of modern aesthetics. While the rich sleep in a blissful splendour, the poor face the axe on a regular basis. After a gap of ten days when Charlie is released, he meets up with the gamine and together they head for a makeshift shack. In the morning he finds another job, this time in a factory and saves his boss after having accidentally pushed him in a life threatening machine. He gets arrested soon after as the workers go on a strike and he unknowingly pats a policeman with a brick. Two weeks later, he is released from jail and joins as a lead singer in a bar which employees the gamine as a café dancer. Charlie Chaplin falters yet again as he is not cut out for this job and takes an indirect dig at the principles of modernity by covering his act through a silly performance. At night, he works as a waiter while his days are spent singing awful lines. His gibberish pantomiming proves to be an instant hit but he is forced to flee when the police storm the premises in order to re-arrest the missing gamine. The final scene from the movie depicts both Charlie and the gamine walking down the road at the crack of dawn to a path which promised modernity but bestowed an uncertain future. (Eysteinsson & Liska, 2007, p. 14, 38) (Welsch & Inkpin, 1997, p. 128) Modernity and Modern Aesthetics In The Machine Stops The Machine Stops is a bestselling plot which is based on E. M. Foster’s science fiction novel. It is a bold modernistic approach in which a human body has lost the ability to live a normal life on planet earth. According to the story, each human is dependent on a global machine which in turn fulfils his physical as well as spiritual needs. Over here, a human has lost the ability to survive on Earth and is therefore confined to a separate cell and constant feeders from a global machine. The story defeats the very purpose of a modern aesthetic society as there is no pleasure of living. The life is forced into a dark corner from which there is no escape. (Forster, 1909, p. i,ii, 1-15) The Machine Stops has also thrown light on the concept of modernity by highlighting the apprehensions of an ordinary human being. In the book, a human life is under a terrible dilemma and there is a constant struggle for survival with fear reigning supreme. The society is deprived of its basic essentials and chaos reigns supreme. The principles of modern aesthetics are completely defeated as there is no feeling of homeliness left in the ordinary day to day lives and humans, who were once considered pioneers in the mechanical revolution, are now a slave of their own creation. The book is a shocking revelation of a dystopian society wherein the reader is often forced to seek refuge in the fact that this is a work of fiction and that the utopian world is far from the truth. What stumps our grey cells is the era when Fosters imagination showcased its superior will. In 1909, when Foster revealed this utopian lifestyle, there were no internet connection, no televisions, no video conferencing machines and life was as plain as a horse driven chariot. (Nieland, 2008, p. 9) In the year 1966, the television series by the name of ‘Out Of the Unknown’ took inspiration from E.M. Fosters best selling science fiction novel to create a dramatic world which highlighted the life in a modern society. The Machine Stops is a short story of about 12000 words and was published initially in the Oxford and Cambridge Review in the year 1909. The story was republished in the year 1928 under the heading ‘The Eternal Moment and Other Stories’ before being included in the Science Fiction Hall Of Fame. In the year 1965, it was considered one of the best novellas of all time. (Girgus, 2002, p. 78) The plot revolves around a modern day society which lives below the earth’s surface. Each individual is blessed with a separate cell and each cell mate communicates with each other through the means of a video conferencing device. Although there is travel involved and each individual is free to go where he/she likes but it is rarely followed and people prefer to stay confined to their predefined cells. Sharing of ideas and all means of communications are carried forward through the means of a video conferencing machine and there is limited physical contact. The story is based on two characters, Vashti and her son Kuno. Both characters live on opposite ends of the planet and while Vashti is content with communicating her stale ideas to others, Kuno is a rebellion of sort. He convinces Vashti to visit his cell, which is against the laws of the underworld and discloses his secretive trips to the surface of the earth wherein he lived for a while surviving without the aid of an external apparatus. He is recaptured and sent back to his cell but not after being warned to steer clear of his free nature or else he would be banished forever. Vashti visits her son’s cell but returns as she is against his rebellious attitude. Life goes on and two major changes occur in the underworld. The first lead to the abolishment of the life saving apparatus which is a prerequisite to any outside visit and the second is machine worship. People forget that it were they who created the machine. (Forster, 1909, p. 1-15) During this change, Kuno is shifted close to Vashti’s cell and he predicts that the machine would falter. His prophecy proves correct and soon the machine starts to malfunction. People have lost the ability to repair the machine and view the holocaust with their eyes wide shut. In a last ditch effort, Kuno manages visits Vashti’s cell before they both are destroyed in the inferno. (Forster, 1909, p. 1-15) Modernity And Modern Aesthetics In Metropolis Metropolis was a silent film and was directed by Fritz Lang. The film was set in a futuristic utopia which showcased the problems faced by workers and the capitalists. The film was released in the year 1924 and had a robotic character. The film was in set in the year 2026 wherein people dwell in futuristic skyscrapers. The society was divided in two rigid groups. The first section comprised of the thinkers and planners, who lived in luxury and the second group was made up of workers who lived underground and lead a miserable life. A beautiful girl called Maria starts a revolution of sorts by convincing an influential person to act as a mediator. The classic fight to the finish involves machines and futuristic equipments. (Lang, 1927, movie) Comparison and Evaluation Modern Times V/S Metropolis If we are to compare both movies then the theme is similar but the presentation is different. While Modern Times is a real life story of the present generation, Metropolis is a fight for survival in a futuristic society. Both movies showcase modern societies in their own manner and while both ridicule the rich and sympathize with the poor, the dramatization and setting is by no means similar. The major difference between Modern Times and Metropolis is the chosen theme. While Modern Times was a symbolic representation of a tramp and a satire at the concept of modernity, Metropolis was a fight for equality with the downtrodden rising against their suppressors. Modern Times V/S The Machine Stops Modern Times is a movie which highlights and sympathizes with the appalling living conditions of the workers while ridiculing the false promises of a modernistic society. On the other hand, Machine Stops was E.M. Foster’s classic representation of a futuristic society wherein man’s aesthetic quality is won over by a machine. Modern Times has a simple and straightforward message wherein the need for a fair society which is free from bias is the need of the hour. The lives and conditions are based on real life incidences and there is no place for a utopian concept. On the other hand, Machine Stops describes a futuristic world which is governed by a machine. The message is self belief and the need to place a machine at a pedestal which is way below its creator. Conclusion In the above paragraphs, we have critically analyzed the works of three great artists and reached a conclusion that the concept of modernity and modern aesthetics is symbolic to an individual’s perception. While the movies were class apart, with Modern Times highlighting the plight of a tramp during the industrial revolution and Metropolis depicting a futuristic war between the reigning capitalists and the workers, E.M. Foster’s remarkable novel leaves us spellbound with a message which can be considered no less than a prophesy. (Forster, 1909, p.i) Henceforth, it would be incorrect to state that a modern society is recognized by its materialistic gains but is based on solid grounds with the humane aspect reigning supreme. The book and movies never criticized the capitalists, nor did they sympathize with the peasants. The artists/directors and the author simply wished to transform the rigid principles of the modern aesthetics society and create an atmosphere which supported the cause of equality. Seeing no way out, they voiced their opinion through the best available mediums and managed to pacify the largely disturbed society by showing a path which led to peace and tranquillity. Works Cited Bradbury, M., & McFarlane, J. (1976). Modernism, 1890-1930. New York: Harmondsworth. Chaplin, C. (Director). (1936). Modern Times [Motion Picture]. Eysteinsson, A., & Liska, V. (2007). Modernism. Benjamins Publishing Company. Forster, E. (1909). The Machine Stops. The Oxford and Cambridge Review. Girgus, S. B. (2002). America on Film. Cambridge University Press. Lang, F. (Director). (1927). Metropolis [Motion Picture]. Nieland, J. (2008). Feeling Modern: The Eccentricities of Public Life. University of Illinois Press. Welsch, W., & Inkpin, A. (1997). Undoing Aesthetics. London: SAGE. Read More