Glass Architecture to Big Brother Lost Dimension, Trans
published in Russian until 1954, and even then was no way of shutting it off completely’. Nineteen not in Russia. Despite the closeness of the subject Eighty-Four, Clarendon Press, Oxford, 1984, p. 157. matter to Eisenstein’s ‘Glass House’ idea, it is 37. Orwell, p. 158. uncertain if he ever read it. He doesn’t mention it 38. Orwell, p. 161. in his autobiography. 39. This contrast between the modern city and an 26. Yevgeny Zamyatin, We, trans. M. Ginsburg, New ancient dwelling or room which contains memory York, the Viking Press, 1972, p. 19. traces, not only of another society but an atavistic 27. Walter Benjamin, ‘Paris: Capital of the Ninenteenth identity, is common to both We and Nineteen Century’ (Exposé of 1935), The Arcades Project, Eighty-Four. It is also a device used in another trans. H. Eiland and K. McLaughlin, Cambridge, classic futuristic novel of the period, Thea von Mass., Belknap Press, 1999, p. 6. My interpolation Harbou’s Metropolis, which formed the basis for her in brackets. husband Fritz Lang’s influential 1926 film. 28. See Forrest Wilson, ‘Covering Holes in the Wall’, 40. It remains curious that Orwell didn’t see the Architecture, vol. 77, no. 8, 1988, p. 96. ubiquity of the telescreen extending ‘downward’ 29. ‘The Third Window’ in C. Schneider and B. Wallis to the proles. However, this allows him to indulge (eds), Global Television, New York, Wedge Press a certain nostalgia for working class solidarity, from and Cambridge, MA, MIT Press, 1988, pp. 185– while foregrounding the role of propaganda 97.
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