Stanley Kubbrick Filmography

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Stanley Kubrick uses his intense talents of filmography in order to preserve the relationship between ‘ultra-violence’ and art. This is hard to ignore in the introductory scene, where Kubrick teases Greco-Roman and classical cultures in synchronization with delinquency in order to insinuate that violence has become the new indicator of class. This is seen also with the widespread eroticism within the film, ranging from the scenery of the milk bar where Alex takes his Droogs, to the murder in by which Alex uses a porcelain phallus to bludgeon a woman to death. Kubrick means to insinuate that within Alex’s polarizing culture, art has evolved to embrace natural eroticism, or in Alex’s case, forced eroticism.
Part of the efforts that …show more content…

The relation continues in a following scene, where Alex is seen pleasuring himself as a close up shot. In the background it is easy to observe the blurry photo of Beethoven in the background, also in the scene is spliced multiple cutaways to religious imagery, including imagery of multiple copies of Jesus dancing. Within this scene Kubrick takes the relationship between Alex and Beethoven and takes their link further, effectively making them a collective entity . The scenes show Alex and Beethoven from the same perspective, as though they are one in the same. The continuous presence of Beethoven behind or with Alex is suggestive that there is a support and reasoning for his actions, or even further, that Alex is Beethoven. Alex being Beethoven would lead further into the reasoning of his violence being art, and even more so, Kubrick creates imagery that depicts them as the same …show more content…

The camera then continues to crawl down accompanied by The Thieving Magpie Overture, completing a setting of high society. When Billy Boy and his gang enter the scene attempting to rape a woman a timeline is formed, the use of the falling apart building is meant to demonstrate an evolution. No longer is humanity bound by the previous art form, instead it has transcended to this violence, to further drive the point Alex enters the scene and initiates a battle between both gangs, embracing this new wave of ultra-violence. As the woman is struggling on stage her movements begin lining up with the tempo from Thieving Magpie Overture, this, along with the stage itself, demonstrates hyper-violence as an artistic and theatrical presentation. Billy Boy’s goal is in that moment to approach what Alex has been able to succeed. Therefore it can be interpreted that the long shot used to film his ‘performance’ meant that it was off base and flawed, it has lost its relatability that is present with Alex’s violence. However, even after Alex has been proclaimed the victor, the police begin perusing him, fighting against what is the ‘logical’ embrace of new era artistic expression. In conclusion the multiple differing techniques of filmography by Kubrick add a second layer of analytic meaning to the film. By analyzing

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