A Clockwork Orange Analysis

Angela McEwan-Alvarado was born in Los Angeles and has lived in many locations in the United States, as well as Mexico and Central America. She obtained her master’s degree at UC Irvine and since then has worked as an editor of educative materials and a translator. The story “Oranges” was the result of an exercise for a writer’s workshop in which the author managed to mix images and experiences accumulated throughout her life.

Alex’s psychological thirst to rebel is glorified and represented by the non-diegetic musical underscore of Ludwig van Beethoven’s ninth symphony, a piece which reiterates ironically throughout the entirety of the film as a recurring motif of violence. The symphony is heard primarily in the scenes in which Alex is deep in sadistic thought, which is ironic in that Beethoven meant to convey human goodness through its four movements, further demonstrating the protagonist’s desire for negative interactions with others, leading to limited experiences of belonging. What Beethoven meant to convey is vastly different to what Alex hears, and this also displays that his sense of security to himself allows him to commit evil towards the community and therefore develops a barrier to belonging to the community.

John Jurgensen’s article asks us an interesting question: how many TV series can our brains take? As television series expand to grandiose levels, it gets harder to follow what is happening: who people are, and what their place in the overall story is hard to follow for a large number of viewers. Jurgensen attempts to address this within his article, and it has some interesting points.

Alex DeLarge is a vicious fifteen-year-old droog whose thirst for ultra-violence is his main catalyst in A Clockwork Orange. His savage characterization is clearly illustrated through his thoughts and actions in Anthony Burgress’ original novel, as well as Stanley Krubrik’s film rendition. However, while both interpretations follow corresponding objectives, they differ dramatically in the way they are perceived by the audience. The most prominent distinction between the two pieces of work is the way Alex is perceived by the audience throughout the story.

Pleasantville and A Clockwork orange are both films that have certain things that are abnormal. Pertaining to Pleasantville it begins in black and white and end to be in color because of being exposed of certain things. In a Clockwork Orange that is exposed with violence robbery is highly unusual because it is not something morally right to do. While analyzing both of these movies they both have certain distortions that can be covered that make their own individually, out of ordinary, a tad shocking and unsatisfactory, and more to meet the eye.

I thought this book was very challenging. The slang words that Alex and his friends used was very difficult to understand at first but then I slowly started to catch on and it made it easier to understand.

Media Critic: Orange is the New Black Television revolutionizes the way people see themselves and the world around them. It has made a significant impact in society whether it is for better or worst. Writer Jess C. Scott said “People are sheep. TV is the shepherd.”

Character in both novels use unsuccessful escape methods to cope with their loss of identity. Alex, the protagonist in A Clockwork Orange, turns to classical music such as Beethoven when his gang members question his hierarchy within the group. Alex describes his bedroom where he goes after an argument with his gang members : "the little speakers of my stereo were all arranged round the room, on ceiling, walls, floor, so, lying on my bed slooshying the music, I was like netted and meshed in the orchestra." (Burgess. 37). We see Alex return to his bedroom many times after confrontations where his identity is disputed. Eventually, Alex is conditioned to feel sick whenever he hears classical music so Alex loses this escape method as he can no longer listen to classical music. Also, Alex relies heavily on the use of drugs when he is unable to deal with his loss of identity, " officially sanctioned "milk bars" that serve a variety of drug tonics to send one off on incoherent fantasies" (Gottlieb). These "milk bars" are locations where young

“Orange is the New Black” is Netflix’s hit new original series. Currently in its second season, OINTB has received critical acclaim (Metacritic, Rotten Tomatoes) for its unusual subject matter as well as its varied and multi-dimensional portrayal of race, gender, class, queer and trans issues. However, while it excels specifically with issues of gender and sexuality, the show falters a bit more on issues of race and class.

Anthony Burgess's writing style in his most famous novel, A Clockwork Orange, is different to say the least. This novel is praised for its ingenuity, although many are disturbed by Burgess's predictions for the future. However, for many, it is close to impossible to comprehend without outside help. This is because Burgess created a language specifically for this novel, called Nadsat. This Russian-based language forms conversations between the narrator, Alex, and his teenage, delinquent friends. There are many assumptions as to why Burgess chose to complicate A Clockwork Orange by filling it with the confusing Nadsat language. Some opinions are that the language shows A Clockwork Orange readers

In the novel A Clockwork Orange, the author Anthony Burgess tells a story about a young man name Alex and his friends, every night they go around and start committing violent acts. In the novel Alex expresses his freedom of choice between good and evil. The freedom of choice is a decision that every person must make throughout his life in order to guide his actions and to take control of his own future. This Freedom of Choice, no matter what the outcome is, displays person power as an individual, and any efforts to control or influence this choice between good and evil will take way the person free will and enslave him. In this novel the author uses this symbolism through imagery. He shows that through the character of

The use of music as a motif in (Stanley Kubrick, A Clockwork Orange 1962)] creates a lens so that the viewer is able to recognize the trend that violence has to destroy an individual’s identity. Although Alex (Malcolm McDowell) clearly associates violence with his own individual identity and sense of self, he consistently reveals the impossibility of remaining an individual in the face of group-oriented violence. The images that music create coincide the destruction of Alex’s identity, either through compliance to a group’s style of violence or through failure to embrace the similarity of group actions associated with violence. As the movie progresses, musical imagery follows the exit and return of his personal identity as a role of his

With the help of Alex’s perspective, the film also criticises the choices society makes. Going back to Nietzsche’s views on morality, it is worth noting that he condemns the Judeo-Christian morality as too strict and unhealthy. However, using that philosophy A Clockwork Orange again shows the opposite as the society and law system’s ethics are very much radical and they believe that the only way they could eradicate the crime and chaos in society is to take people’s right of choice. In their criminology analysis of A Clockwork Orange Lichtenberg, Lune and McManimon (2004) sum up the main issue concerned in the film with the statemen confirmed by the prison chaplain that: If there is no choice, there is no morality. Therefore, Kubrick’s film focuses on some important questions and problems that are shown as issues of a dystopian society but are also truly problems present in contemporary society as well such as: could the spectator blame the establishment for being cruel and immoral if they are trying their hardest to eradicate relentless crime or is taking someone’s free will and right to choose an inhuman thing to do overall? The title of the film ties in with Alex’s journey and character development as he is transformed and programmed as a machine not able to

The society of A Clockwork Orange is constructed upon struggles for power. Crime is a part of the everyday. Violent street gangs seek power through anarchism, direct authority is represented by a network of corrupt police, and on the highest social level a struggle for political and administrative power is fought. Alex reflects: "Power, power, everybody like wants power." As a microcosm of the social mentality, he seems to fit the notion of being a product of his environment.

Similarly, the character of Alex McDowell and his actions are presented with methods comparable to that of Bonnie and Clyde. Stanley Kubrick stresses the violence in A Clockwork Orange as a way to show the full extent of his harmful maniacal ways. Narration alone can only tell us so much about his personality and isn't able to comprehensively encompass the significance of the violence attributed to Alex. It isn't until we see the crimes being committed in vivid detail that we are able to recognize the true nature of Alex’s moral extent. This illustrates him as the character he is meant to be as per the novella written by Anthony Burgess. We learn through wide angle shots of the moments leading up to the raping of a helpless woman, that Alex is entirely comfortable with the sadistic action and even finds it amusing. Upward facing camera angles that specifically place his face as the focal point are used during this scene and many others like it to enunciate his sinister appearance. They are used to show that as a person, Alex enjoys these all to pernicious behaviors. The excessive realness of the scenes only supports our understanding of his lack of humanity. Alex’s aggressiveness is magnified by the way he senselessly beats the old man under the bridge and the husband of the raped woman. Incorporating an undisturbed shot of him doing so allows it make a greater impact on the audience's perception of the character. Just as in Bonnie and Clyde, violence is shown with no