Download Stanley Kubrick's A Clockwork Orange (Cambridge Film Handbooks) PDF

TitleStanley Kubrick's A Clockwork Orange (Cambridge Film Handbooks)
PublisherCambridge University Press
ISBN 139780521573764
CategoryArts - Film
Author
LanguageEnglish
File Size1.6 MB
Total Pages184
Table of Contents
                            Half-title
Series-title
Title
Copyright
Dedication
Contents
Acknowledgments
Contributors
“What’s It Going to Be Then, Eh?”
	NOTES
1 A CLOCKWORK ORANGE. . . Ticking
	NOTES
2 The Cultural Productions of A Clockwork Orange
	EFFECTS OF THE REPRESENTATION OF VIOLENCE: TESTING DEFINITIONS OF OBSCENITY
	MORALITY AND POLITICS: READING THE IDEOLOGY OF A FILM
	GENDER RELATIONS: REVEALING SEXUAL POLITICS
	NOTES
	BIBLIOGRAPHY
3 An Erotics of Violence
	“READY FOR LOVE ?”: MASCULINITY’S HORRORSHOW
	“THE PRISONERS ENJOY THEIR SO-CALLED PUNISHMENT”: LUDOVICO TREATMENT AND A RETURN “HOME”
	CONCLUSION
	NOTES
	BIBLIOGRAPHY
4 Stanley Kubrick and the Art Cinema
	ALEX AND STEPHEN DEDALUS
	ROSSINI, PURCELL, AND LUDWIG VAN
	ALEX AND RICHARD III
	NOTES
	BIBLIOGRAPHY
5 “A Bird of Like Rarest Spun Heavenmetal”
	INTRODUCTION: “INVISIBLE REALITIES”
	THEORETICAL DETOUR: RAVEL’S BIRDS
	PARADOX AND RESOLUTION: “VERY QUIET AND LIKE YEARNY”
	THE KUBRICK ALTERNATIVE: “EMOTIONAL COUNTERPOINT”
	ACKNOWLEDGMENTS
	NOTES
	BIBLIOGRAPHY
The Décor of Tomorrow’s Hell
A Clockwork Orange: Stanley Strangelove
A Glossary of Nadsat
Filmography
	1951
		DAY OF THE FIGHT
	1951
		FLYING PADRE
	1953
		THE SEAFARERS
		FEAR AND DESIRE
	1955
		KILLER’S KISS
	1956
		THE KILLING
	1957
		PATHS OF GLORY
	1960
		SPARTACUS
	1962
		LOLITA
	1964
		DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB
	1968
		2001: A SPACE ODYSSEY
	1975
		BARRY LYNDON
	1980
		THE SHINING
	1987
		FULL METAL JACKET
	1999
		EYES WIDE SHUT
Selected Bibliography
	GENERAL STUDIES OF STANLEY KUBRICK
	THE SCREENPIAY
	REVIEWS AND STUDIES OF A Clockwork Orange
Index
                        
Document Text Contents
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76 MARGARET DeROSIA

13. A ‘‘reformed” Alex licks the shoe of his tormentor.

of his role is evident from the Þrst shot of the sequence Ð a long,
wide-angle, deep focus shot of the theater from the side, with the
center of the frame dividing the spectators from the stage. Alex is led
into this space and becomes the sole Þgure on stage, standing silently
and somewhat awkwardly until there is a cut to the Minister, who
narrates the action.

Alex performs these diegetic scenes somewhat unintentionally. The
man and woman who perform with him, however, are clearly aware
of their roles as actors in the drama, as evidenced by the pleasure
with which they perform and respond to the audienceÕs applause.
In this sequence, several shots of Alex on stage are intercut with the
prison guard observing him. The guardÕs differing reactions to AlexÕs
performance both parallel and oppose extradiegetic spectatorial re-
sponses. He both takes pleasure in watching Alex lick the manÕs boot
[Fig. 13] and is by turns horriÞed and astonished by AlexÕs passivity
and nausea in front of the immobile, seminaked woman. The theatri-
cality of the scenes, as well as the split between Alex as object of the
diegetic audienceÕs gaze and subject of the voice-over, both reinforce
and undermine the ÞlmÕs distancing effects.

The Ludovico sequences also highlight the misogynistic ambiva-
lence toward women. First, while Dr. Brodsky, a man, is in charge of

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AN EROTICS OF VIOLENCE 77

Alex’s treatment, the only doctor shown directly caring for Alex is
Dr. Brannon, a stern woman. In one scene, Dr. Brannon enigmati-
cally and menacingly explains to Alex that he feels sick during the
films because he is getting better. At this point there is a cut from
a low angle close-up of her to the second set of film screenings, the
first shot of which foregrounds Hitler and his troops. Although she
does not ultimately control Alex’s treatment as fully as Brodsky does,
the matched cut suggests she does by linking her to Hitler.

Another instance of ambivalence toward women occurs when Alex
first experiences nausea during the films. This reaction occurs when
the film shows several male gang members raping a woman. The im-
age of gang rape itself, ironically, is not represented as tragic; Alex’s
horror in being horrified by it is. These rape scene images parallel
Billy Boy and his gang’s earlier attempted rape, a no-less theatrical
affair; thus the Ludovico images act out the deferred rape of the film’s
opening, reinstalling a heterosexual erotics of violence. On closer in-
spection, however, this representation of a heterosexual erotics of
violence does not stabilize so much as amplify the (homo)sexual
anxieties circulating in the text. While these images supposedly rep-
resent pleasure for a heterosexual-identified male spectator – they
offer unencumbered sexual and visual access to the woman’s body –
they are highly unpleasurable to Alex.

Perhaps the horror that Alex experiences, while undeniably drug-
induced, may stem from the film’s equation between seeing and be-
ing a victim. While Clockwork does not flinch at showing violence to
women, such violence becomes horrible only when a kinship is set
up between the male subject and the female rape victim as object.
Such a kinship recurs throughout the film between Alex and raped
women. Apart from this scene, there is visual and aural symmetry
between Alex crying in pain at the Cat Lady’s door and the “weepy
young devotchka” at the Derelict Casino, both scenes set to the same
music. More strikingly, perhaps, this kinship recurs in the second
HOME sequence, in which Mr. Alexander refers to his now-deceased
wife and Alex as “victims of the modern age.” Although the staged en-
counter with the seminaked woman in the theater is not a rape scene
per se, the horror of the image lies precisely in the feminization of
Alex or, conversely, the triumph of the naked (and therefore presum-
ably powerless) woman over the impotent, passive, clothed Alex. The

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Index

Academy Awards, 3

Bach, J.S., 119, 125
Barry Lyndon, 99
Beckett, Samuel, 16, 85
Beethoven, Ludwig van, 18n3, 30, 98,

105, 117, 118, 120, 121, 123, 126–7;
Ninth Symphony, 5, 70, 90, 91, 102,
103, 112, 121, 124–5; Fidelio, 18n3;
Violin Concerto, 119; Fifth
Symphony, 117, 122

Ben Hur, 126
Big Jim McClain, 21
Blackboard Jungle, 23, 24
Blonde Cobra, 55
Bogart, Humphrey, 89
Bonnie and Clyde, 14, 23, 26, 88
Brando, Marlon, 24
Brecht, Bertolt, 85
Burgess, Anthony, A Clockwork Orange

(novel), 2, 8, 114; A Clockwork
Orange: A Play With Music, 2, 110,
113, 114; A Clockwork Orange
2004, 2; Joysprick: An Introduction to
the Language of James Joyce, 9;
ReJoyce, 9; A Shorter Finnegans
Wake, 9

Carlos, Walter (Wendy), 14, 103, 112,
128n5

Chekhov, Anton, 85, 105
Cruise, Tom, 1

Day of the Fight, 93, 94
De Niro, Robert, 88
The Devils, 38
Diamonds Are Forever, 40
Die Hard, 14, 21, 22, 23
Dirty Harry, 40
Douglas, Kirk, 2

Eyes Wide Shut, 1, 16, 95, 101
Elgar, Edward, 30, 99, 103, 123, 126

Fear and Desire, 94
Flaming Creatures, 55
Flying Padre 93
Foster, Jody, 88
Fried, Gerald, 93, 95
Full Metal Jacket, 63, 98, 100, 101, 104,

106

Gable, Clark, 89

Hudson Hawk, 22

Independence Day, 19, 22, 23

James, Henry, 90
Johnson, Laurie, 96

167

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168 INDEX

Joyce, James, 9; A Portrait of the Artist
as a Young Man, 16, 85, 89Ð91, 102,
104; Ulysses, 43, 85

Kelly, Gene, 37, 70, 82, 87, 98
Khachaturian, Aram, 93, 97
Kidman, Nicole, 1
Killer’s Kiss, 2, 27, 94
The Killing, 2, 27, 94, 104
The Killing of Sister George, 94

Last Action Hero, 22
Ligeti, Gy¬orgy, 93, 97, 100, 101
Lolita (Stanley Kubrick), 1, 2, 13, 14,

18n13, 25, 95, 96, 105, 122; see
Nabokov, Vladimir.

The Lost Weekend, 126

Marvin, Lee, 24
My Fair Lady, 35
Mozart, Wolfgang Amadeus, 99, 101,

118

Nabokov, Vladimir, 7, 85, 93, 110;
Lolita, 7; Lolita screenplay, 93

Nadsat, 9, 10, 11, 12, 13, 18n12, 29,
109, 113

Napoleon, 8
Natural Born Killers, 19, 23, 26, 35Ð6
Nicholson, Jack, 8
Nietzsche, Friedrich, 120, 121, 129n11
Nine to Five, 94
Nixon, Richard, 23, 24, 25Ð6
North, Alex, 93, 96

One Flew Over the Cuckoo’s Nest, 88

Paths of Glory, 2, 27, 94, 95, 96, 98,
100, 101, 104, 106

Proust, Marcel, 111, 118, 127n4
Purcell, Henry, 30, 103, 112

Rachmaninov, Sergei, 114
Rambo, 14, 21, 22
Rebel Without a Cause, 23, 24
Red River, 88

Reise, Jay, 115Ð17
Riddle, Nelson, 96
Rimsky-Korsakov, Nikolai, 99, 103,

126
The Rocky Horror Picture Show, 55
The Rolling Stones, 7
Rossini, Gioacchino, 30, 68, 71, 98,

102, 103, 113, 122, 123, 124, 125

Schwarzenegger, Arnold, 21
The Searchers, 88
Shakespeare, William, 18, 104;

Macbeth, 18n10; Richard III, 104
The Shining, 94, 98, 99, 100
The Simpsons, 105, 107n9
ÒSinginÕin the Rain,Ó2, 81, 97Ð8, 123,

124, 127
Soylent Green, 94
Southern, Terry, 3, 7
Spartacus, 2, 63, 96
Steiger, Rod, 8
Dr. Strangelove, 2, 7, 27, 54, 63, 95, 96,

97, 98, 105, 122
Strauss, Johann, 93, 94, 95, 99, 101
Strauss, Richard, 93, 97, 122
Straw Dogs, 38

Taxi Driver, 88
Tolstoy, Leo, 120, 121, 126
Traister, Aaron, 1
2001: A Space Odyssey, 7, 8, 16, 27Ð8,

54, 63, 87, 93, 95, 97, 104, 105,
131

Vietnam War, 22, 25, 40, 47, 62
Vinyl, 55

Wagner, Richard, 129n11
Waterloo, 8
Wayne, John, 21, 88, 89
Weiss, Peter, 85
The Wild Bunch, 14, 23, 88
The Wild One, 23, 24
Willis, Bruce, 21

Zabriski Point, 26

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