Clockwork Orange Analysis. AClockwork Orange written and directed by Stanley Kubrick, is a 1971 adaption of the 1962 novel A Clockwork Orange, written by Anthony Burgess. The film portrays modification of the protagonist, Ale

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TOK 12        A Clockwork Orange         

‘AClockwork Orange’ written and directed by Stanley Kubrick, is a 1971 adaption of the 1962 novel ‘A Clockwork Orange’, written by Anthony Burgess. The film portrays modification of the protagonist, Alex’s behavior, through the method of operative conditioning. Kurbrick uses violence and sexual images throughout the movie, but distances the viewer to emphasize for a cruel character we initially meet.  Krubrick sophistically uses music, and camera effects to distance the audience. Distancing is used initially to adapt us to this violence, and eventually sympathize with Alex.

Kubrick uses music almost in an operative conditioning way, evoking abnormal emotions, when compared to the images associated with them. This turns the violent scenes, which would normally provoke emotions of rage, now are subdued and sometimes replaced with more subtle ones, or even entertains the viewer.

Music is first introduced to the audience in the opening scene. The music of the moog synthesizer opens up the movie, setting the scene of the club.  The viewer first meets Alex, who is speaking about becoming intoxicated, and then going out to commit some ultra-violence. The moog sets a dark scene, but also has a playful and mysterious sound to it. The next scene, where Alex and his droogs are shown beating a drunk, homeless man, serves its purpose of illustrating the type of violent acts Alex and his gang often commit. In this scene the lack of music and the raw sounds of the beating and shouting stun the audience.

The next scene exposes the audience to a rival gang raping young girl. The opening of the scene opens up with the music, and the manner in which the gang manipulates the girl, dragging her in every which direction, removing her clothes in the process, is fitting for the music, and  causes the audience to become distanced. Kubreck further distances the audience, by Alex’s barrage of insults towards the opposing gang, sparking a fight. Throughout the fight elegant leaps, dives, tackles and breaking chairs add a choreographed element to the scene, fitting perfectly with the pace, and makes the violence seem almost comical.

The next scene we experience music as a distancing tool is in the scene at ‘Home’.  Alex and his droogs break into this house, and attack the house owner, tie him up, and then rape his wife. The method of distancing is used here, through the sing and dancing of Alex. He sings, “Singing in the Rain,’ whilst giving the house owner a few swift kicks in the stomach, and gracefully dancing to the music. This song is often associated with being a playful song, with clever footwork as dancing. Alex turns this footwork into kicks, but still keeps the element of the musical with his prancing movements.  

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After this the next time we come across music, is when Alex has returned home for the night, and puts on his cassette player. Here the audience is able to understand his connection to the music. The song plays in the back ground, accompanied with flashing images of the four Jesus statues being crucified, and other violent images from pop culture. Alex describes the great pleasure he is experiencing listening to Beethoven, we see him close his eyes and smile in ecstasy. This causes the audience to ‘share’ these feelings, empathizing with the emotions shared with music.

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