After reading We Grow Out of Iron and seeing Chapaev as well as clips from various movies in class, I have come to realize that the\u00a0correlation between the two artforms in the aspect that they both the directions of “industrialization” themselves. \u00a0They both changed with the times and grew to reflect the ways of the working class people.<\/p>\n
The literature, We Grow Out of Iron, took a more literal\u00a0approach\u00a0in the\u00a0sense\u00a0that it described the worker as becoming one with the machinery and with the metal itself. The iron is becoming one with the worker and the worker is\u00a0in turn becoming one with the factory system. \u00a0In a way it was used to show how that Russia was finally becoming an industrial country but it also hinted at the fact that the workers were exploited in factories with terrible conditions and over crowding, thus they became one with the machines, one with the metal they worked.<\/p>\n
The music of the time began to resemble the sounds of the factor. \u00a0With banging, sawing, hammering and other noises. These noises became popular soundtracks to movies depicting the revolution and industrialization. This music was used to emphasize the industrial evolution of Russia. \u00a0This even\u00a0occurred\u00a0in classical music where they began banging on symbols or gongs or even\u00a0starting\u00a0off pieces with single,\u00a0repetitive\u00a0notes.<\/p>\n
So the popular artforms of this time began to merge together and started to\u00a0depict the same frame of mind. \u00a0Russia had finally become an industrial country with the industry riding on the back of the newly established\u00a0proletarian\u00a0class.<\/p>\n","protected":false},"excerpt":{"rendered":"
After reading We Grow Out of Iron and seeing Chapaev as well as clips from various movies in class, I have come to realize that the\u00a0correlation between the two artforms in the aspect that they both the directions of “industrialization” … Continue reading