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In the tradition of analyzing audience reaction to the suffering and/or deaths of characters in such plays as Christopher Marlowe's TAMBURLAINE THE GREAT, this brief essay applies "The Law of Todd" by a Miami University student of film studies. Works looked at mostly, the 2013 film PRISONERS and Stanley Kubrick's A CLOCKWORK ORANGE (1971).
For a couple decades, anyway, it was a valuable exercise to have students (and potentially others) watch Stanley Kubrick's A CLOCKWORK ORANGE and estimate how much screen time was devoted to violence. Standard political theory is that the State and its officially or unofficially licensed agents have a monopoly on the legitimate use of violence; as a practical matter, significant numbers of college-age students didn't count violence by the State against so vicious a youth as Alex DeLarge as violence; nor did most find particularly important violence between and among vicious teenagers, nor even crippling and maddening violence against a middle-age man. We talked of "the Rape Scene" in A CLOCKWORK ORANGE, and it was the rape of Mrs. Alexander that was noted, not so much the simultaneous violence against her husband. Similar exercises could be useful in the 21st century with a less controversial film for a relatively non-fraught context to examine ways of thinking about police shootings, rates of incarceration, willingness to go to war, and selection principles for examples and images of victims to be for agitation and propaganda in causes both virtuous and less than virtuous.
Copyright belongs to Literature/Film Quarterly. LFQ Volume 43:4 (2015). This article analyses Stanley Kubrick’s A Clockwork Orange (1971) as an intertextual adaptation and reflexive problematization of the tropes and remedial function of the 1950s Juvenile Delinquency cycle. This dimension of the film’s intertextuality has been inadequately acknowledged in scholarly analysis. Catherine Driscoll identifies some aspects that the film drew and/or altered from the juvenile delinquency cycle (104), but does not expand on Kubrick’s subversion of the traditional tropes of these films in order to question the relationship between the adult viewer, and their tastes and values, and the deviant youth. Kubrick channels the dangerous appeal of the juvenile delinquent figure familiar from 1950s films (Miller 66) in the characterisation of Alex (Malcolm McDowell), yet simultaneously subverts this attraction as the audience experiences disturbing and repulsive violence from Alex’s perspective (Strange 147). The film adapts the role of music in the Juvenile Delinquency cycle. The perceived moral depravity of rock’n’roll, but also its appeal to the young and break with the culture of older generations, is synonymous with the juvenile delinquent (Klein 114-119). In A Clockwork Orange, musical taste is both aberrant and “symbolic representation of Alex’s free will,” but it is high culture classical music (Beethoven) that spurs his “violent impulses” (Gengaro 109). Thus, music is both dangerous instigator and marker of self-identity, but Kubrick asks his audience to associate violence with music that embodies the values and connotations of high art (Hanoch-Roe 175) and is potentially enjoyed by middle-class adult viewers. Finally, in the later section of the film, in which Alex is conditioned using images, dramatizes and destabilizes the pedagogical function (Klein 102-103) of the juvenile delinquent films.
In this dissertation I will analyse the films of Stanley Kubrick to see how these may display stylistic, aesthetic and narrative features which in my opinion reveal Asperger's-like traits. The research is conducted within an Auteurist framework with the intention of revealing a non coincidental pattern throughout Kubrick's career and it can serve as basis for a future analysis of his own possible Asperger's-like personality traits.
Office of Film and Literature Classification, New Zealand
A Review of Research on Sexual Violence in Audio-Visual Media2009 •
SCMS Abstract: Dr Matt Melia Kubrick’s Costume and Design Research: A Clockwork Orange Drawing on a range of material housed at the Stanley Kubrick Archive, London, this paper will offer an investigation into Kubrick’s costume research for A Clockwork Orange. It interrogate the decision to create a different aesthetic to Burgess’ novel and offer a critical, investigative survey of costume photographs and slides at the archive. Of particular interest to this discussion will the photographs of the films actors wearing different headwear and ask, what were the different ways in which Kubrick was considering adapting Burgess’ characters. How does his mode of costume (and design) research fit in with methodologies taken across his work? What does it tell us about his approach to pre-production? The investigation will also draw on material housed in the archive of the International Anthony Burgess foundation in Manchester, UK detailing Burgess’s own approach to narratively ‘drawing’ his characters. In doing so I will highlight differences (and possible similarities) between preparative approaches to this text by its two different authors. The paper will take a post-structuralist approach to reading both costume and design and it will navigate and scrutinise the different stages of Kubrick’s design and costume research. I will consider and evaluate Kubrick’s reasoning and the choices, offer a set of new perspectives and consider the design and costume legacy of the film in a range of later and contemporary film and television (Stephen Spielberg’s A.I. Artificial Intelligence (2001), for instance) I will draw on a range of contemporary studies including Nathan Abram’s book Stanley Kubrick: New York Jewish Intellectual (2018); the collection Stanley Kubrick, New Perspectives (eds. Ljujic, Daniels and Kramer) and A Clockwork Orange (Controversies Series, Kramer, 2011). The paper hopes to fit into and contribute to an investigative panel dealing with Kubrick, costume, politics and design and as such will attempt to place this investigation into A Clockwork Orange within a wider set of studies discussing Kubrickian cinema. In my paper I will ask, how Kubrick’s earlier work pre-empts both design/costume research methodologies undertaken by Kubrick here, or does A Clockwork Orange , through its approach to costume, constitute a break in Kubrick’s work up to that point? It will ask, with regard to this, how it offers a segue between the previous film 2001: A Space Odyssey (1968) and the next, Barry Lyndon (1975). In conclusion this paper will offer a critical study of Kubrick’s approach to pre production costume and design research in A Clockwork Orange, and ask what it tells us about the directors approach to adaptation, pre-production and the inter-textuality of his work.
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