Clockwork Orange Images

The use of the phrase “viddy him swim in his own blood while we counted the takings”, shows how criminals such as Alex and his “droogs”, can get away with such vicious acts of crime so often that it has become a hobby for them as they take so much enjoyment from the acts. Also the casual tone depicted from the text suggests the careless nature that Alex has towards the vulgar acts. These combined together add to the theme of corruption in society in ‘A Clockwork Orange’.

Anthony Burgess’ novel presents commentaries upon the design of society as a whole, questions of societal placement being indicative of moral righteousness, what it means to be a man, and the deeper, more primal urges of every individual. The Clockwork Orange’s gratuitous use of violence together with the intense reputation of Kubrick’s work raises questions of the purpose of this violence. The question is how is violence demonstrated as art within Stanley Kubrick’s A Clockwork Orange?

Prison is an important place, because it takes away the power from individuals. This means that the criminal is no longer acting upon his will, but that of the officers, judge, guards, etc. “They are the foundation of society, and an element in its equilibrium.” (215) All the techniques, when created, they “attained a level at which formation of knowledge and the increase of power regularly reinforce the other.” (216)

A Clockwork Orange, a novel written by Anthony Burgess in the 1960’s takes place in dystopian future in London, England. The novel is about a fifteen year old nadsat (teenager) named Alex who along with his droogs (friends) commit violent acts of crime and opts to be bad over good. In time, Alex finds himself to be in an experiment by the government, making him unable to choose between good and evil, thus losing his ability of free will, and being a mere clockwork orange. A “clockwork orange” is a metaphor for Alex being controlled by the government, which makes him artificial because he is unable to make the decision of good verses evil for himself and is a subject to what others believe is right. In A Clockwork Orange, Anthony Burgess

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.

Notwithstanding the traumatic impact of his current adversity, Andy gradually rallies and continues to “stroll off, as if he was a free man” (King 1983, 100). The interplay of power relations between Andy and the prison warden and his guards demonstrates what Philip Barker describes as strategies of power that “fabricate dispositions, maneuvers, tactics and techniques… to be transformed, reversed and resisted” (1998, 43). If the fundamental goal of disciplinary power is to create docile subjects, still it respectively engenders resistance, as in the case of Andy, who is depicted by Red as, “Wearing his freedom like an invisible coat, never really develop[ing] a prison mentality. His eyes never got that dull look. He never developed the walk that men get when the day is over and they are going back to their cells for another endless night… that flatfooted, hump-shouldered walk.

Besides presenting utter terror and an extremely innovative approach to the use of language, A Clockwork Orange manages to be extremely philosophical. As Alex encounters different people throughout his process of becoming a better person through tests and manipulation, he encounters the issue of whether or not it is better to live a life of crime than to be forced into not doing so. The question presented by these various people, the main proponent of the belief being the jail chaplain, is that if a man can no longer make that decision, one which could possibly be the most colossal decision of Alex’s life, can he be considered a man? Alex eventually answers

It goes back to the government not treating these people fairly because they are inconsiderate and because they have so much power. They use the power to justify not having to treat the people right, which causes the depression and other emotions. All they care for is themselves and to get what they want instead of caring for others. To summarize, the prisoner's emotions reveal the amount of power the governments have and how they use it: to get whatever they

Inmates being processed into the system lose their rights, property, and humanity from and toward people. The inmates have to adapt to the new rules of prison because prison is a more harsh and complex society with different norms then the outside. The prisoners are mistreated by the guards and mistreated by other inmates. Inmates are forced to live in confided spaces sometimes with another person, they are often attacked by one another. The punishments are too brutal for the lives of human beings and the people who genuinely want to reenter society to start fresh. (Hicks, Donald A., Jun1978, Vol. 59 Issue 1, p37-50. 14p. 1 Diagram, 1

Imagine every night being the blackest of nights, where even the police do not stop the criminals lurking in the corners. This is the world in Anthony Burgess’s A Clockwork Orange, where a dystopian society in which juvenile delinquents roam free to terrorize the night is chronicled. Your Humble Narrator, Alex DeLarge, is a member of this appalling culture of teenagers. Over the course of the novel, he performs unspeakable acts of ultraviolence with his droogs, which land him behind bars in Staja, the state jail, for a prescribed fourteen years. After failing to reform, Alex receives an experimental corrective cure called Ludovico’s Technique, which induces a vicious physical reaction to acts of violence. When finally healed of his violent

Burgess' A Clockwork Orange, a critically acclaimed masterstroke on the horrors of conditioning, is unfairly attacked for apparently gratuitous violence while it merely uses brutality, as well as linguistics and a contentious dénouement, as a vehicle for deeper themes.

“What’s it going to be then, eh?” is the signature question in Anthony Burgess’s novel, A Clockwork Novel that not only resonates with the moral identity of the anti-heroic protagonist, Alex, but also signifies the essential choice between free will that perpetrates evil and deterministic goodness that is forced and unreal. The prison chaplain and the writer F. Alexander voice the most controversial idea in the novel: man becomes ‘a clockwork orange’ when robbed of free will and tuned into a deterministic mechanism.

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 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.

A Clockwork Orange, by Anthony Burgess, is one of the most experimental, original, and controversial novels of the twentieth century. It is both a compelling work of literature and an in-depth study in linguistics. The novel is a satirical, frightening science fiction piece, not unlike others of this century such as George Orwell's Nineteen Eighty-Four or Aldous Huxley's Brave New World. However, the conflicts and resolutions in A Clockwork Orange are more philosophical than social, and its message is far more urgent.