The Use Of Language In A Clockwork Orange By Stanley Kubrick

When novels are adapted for the cinema, directors and writers frequently make changes in the plot, setting, characterization and themes of the novel. Sometimes the changes are made in adaptations due to the distinctive interpretations of the novel, which involve personal views of the book and choices of elements to retain, reproduce, change or leave out. On the contrary, a film is not just an illustrated version of the novel; it is a totally different medium. When adapting the novel, the director has to leave out a number of things for the simple reason of time difference. Furthermore, other structures and techniques must be added to the film to enhance the beauty and impressions of it. Like a

A Clockwork Orange, by Anthony Burgess, develops a fictional account of a violent futuristic society, while integrating commentary on  current political and social issues.

In December of 1971 Stanley Kubrick released A Clockwork Orange for the entire world to enjoy. The movie is an adaptation of the book by the same name that was written by Anthony Burgess in 1963. The story begins with the main character, Alex narrating while he and his fellow gang members Georgie, Dim and Pete sit in the Korova Milk Bar discussing what violent acts they will be part of that night. The drink of choice is milk that is laced with drugs that is dispensed from the breast of nude statues of women that adorn the bar. After Alex and his gang leave the Korova, they go on a crime spree that includes mugging, robbery, a gang fight, grand theft auto, breaking and entering and rape. The rape of the woman is especially brutal; Alex and

The film ‘O’ directed by Tim Blake Nelson is a recognised contemporary interpretation of Shakespeare’s classic tragedy Othello, which addresses a number of issues that are relevant to a modern day audience compared to that of the past. The director of the film has changed crucial parts of the play which makes the play such a classic, which has essentially ruined the literary value of Othello. This is evident for a number of concepts including, the overt links between the play and film, the power of words and language and Iago and his motives

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.

“Gooly into a world where by nochy prestoopniks rule and oobivat and by day all is well.” This is the nature of A Clockwork Orange, a novel by Anthony Burgess, where one enters the world of a fifteen-year-old named Alex who speaks a vernacular language and does what he likes. This molody nadsat, or young teen, leads a life where crime is real horrorshow as he dodges millicents, or policemen, in order to live a life he wants in the merzky, grazzy city where he resides. Alex and his shaika oobivat too many lewdies, though, and the millicents loveted him. He then becomes a plenny in the StaJa, away from his moloko, snoutie or beloved classical music. As a plenny, he undergoes tests

The film A Clockwork Orange and the novel A Clockwork Orange are like fraternal twins. Indeed they share the same foundation, but there are disparities between the two that restrict them from being recognizably identical. The film contains plot modifications and omissions that lead the story astray from what Burgess originally intended.

In the novel A Clockwork Orange by Burgess and the film The Matrix directed by the Wachowski Brothers, various techniques are employed to examine freewill. Juxtaposition and the storyline are used to explore whether freewill is possible. To exhibit that freewill is important, the creators of both texts utilise similes and irony. To demonstrate the consequences of freewill, dialogue, similes and onomatopoeia are utilised by the creators.

Authors tend to have a reason for everything they do in their writings, especially when it comes to their choice of vocabulary. Anthony Burgess’ A Clockwork Orange has dialog that is very hard to follow. Instead of using everyday vocabulary, it uses words that are assumed to be slang. Burgess’ diction throughout the novel displays a sense of disconnection between Alex and his friends and the real world, exemplifies how disrespectful him and his friends are to other people, and it creates a mischievous tone along with a cynical mood.

In recent years, it has become popular for many of America's great literary masterpieces to be adapted into film versions. As easy a task as it may sound, there are many problems that can arise from trying to adapt a book into a movie, being that the written word is what makes the novel a literary work of art. Many times, it is hard to express the written word on camera because the words that express so much action and feeling can not always be expressed the same way through pictures and acting. One example of this can be found in the comparison of Ken Kesey's novel, "One Flew Over the Cuckoo's Nest, and the film version directed in 1975 by Milos Forman.

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.

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

The created patch-work language of Nadsat in the novel, A Clockwork Orange, satirizes the social classes and gang life of Anthony Burgess's futuristic society. The most prominent of these tools being his use of a completely new language and the depiction of family life from the eyes of a fifteen year old English hoodlum. Burgess effectively broke arcane traditions when he wrote A Clockwork Orange by blending two forms of effective speech into the vocabulary of the narrator and protagonist, Alex. Burgess, through his character Alex, uses the common or "proper" method of vernacular in certain situations, while uses his own inventive slang-language called "Nadsat" for others. Many

“Nevertheless, when the first American edition of A Clockwork Orange was published in 1963, it had not only a glossary but an afterword by Stanley Edgar Hyman. The glossary confirms the preponderance of Slavic-based or more particularly Russian-based coinages, and the afterword still stands as the most comprehensive discussion of nadsat. Even though Hyman surprisingly confesses himself unable to read Burgess's book without

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.