Theme Of Violence In A Clockwork Orange And Bonnie And Clyde

1. Sobchack’s argument pertaining to on -screen violence that she wrote thirty years ago was that any violent acts portrayed in movies back then was to emphasize the importance of an element in a story, an emphatic way of engaging the viewers and forcing them to feel what the movie was about. It gave them a sense of the substance of the plot which would allow them to feel for the characters and yearn for good to overcome evil. In other words, the effort made to engage audiences through depictions of violence created violence that was artistic and well done, or as Sobchack writes, violence was “aestheticized.” Violence was incorporated into film in a stylistic

Society has been subjected to many violent acts over the course of its history. Although violence is immoral and wrong, somehow people everyday condone and commit violence for countless reasons. Many Hollywood films glorify mindless violence to their advantage and captivate audiences through its entertaining shock value and rake large box office profits. Car chases, crashes and glorified gladiator sword fights are all familiar scenes in which violence is portrayed in an unrealistic glamorised manner.

Harold and Maude, a movie directed by Hal Ashby and released in the 1970’s, did not receive much attention and popularity when first released. Since the movie depicted obsession with suicide through a 20-year-old character Harold, the movie received backlash because during the 1970’s there were high rates of suicides among teenagers and college students. However, over time college students found the movie very entertaining, therefore bringing the movie into the lights and making it a cult hit. In Blue Velvet, a neo-noir mystery film directed by David Lynch and released in 1986, received a variety of critical responses from a wide range of audience, but this movie’s unique style earned Lynch his second nomination for Best Director. The idea of innocent getting caught in a web of evil is portrayed through the character Jeffrey Beaumont, who first encounter’s a severed ear in a grassy abandoned field. In this paper I will compare and contrast these two movies that include key actors Bud Cort, played as Harold, and Kyle MacLachlan, played as Jeffrey and include a few key points that have made these movies enjoyable to watch.

In his book, More Than a Movie: Ethics in Entertainment, F. Miguel Valenti examines nine “hot buttons” of violence – “creative elements that filmmakers use to manipulate viewers’ reactions to onscreen violence.” (99) These elements, posited by researchers conducting The National Television Violence Study (Valenti, 99) are “choice of perpetrator, choice of victim, presence of consequences, rewards and punishments, the reason for the violence, weapons, realism, use of humor, and prolonged exposure” (Valenti, 100) .

From the The Godfather to The Last Airbender, classic and forgettable movies alike all had to go through the MPAA to receive the glory or infamy they are remembered for today. During Jack Valenti’s 38 year reign over the MPAA, he set the standards of how movies would be rated for years to come. The MPAA’s rating system has become outdated when compared to America’s constantly changing societal standards which has allowed filmmakers to push the boundaries with their films while still getting the ratings they want.

Quentin Tarantino is well known and often criticized for his depiction of violence in his films. Although at times graphic, Tarantino’s violence holds a purpose. This paper will look at two films, Jackie Brown and Pulp Fiction, and their depiction of violence and the aesthetics used. It will also look at classic film conventions and ultraviolence aesthetics used by Tarantino.

In its opening credits, Spike Lee’s Clockers features photos of dead young black men sliding across the frame. These images of lifelessness are paired with a somber ballad with lyrics pondering a place of solace and understanding, a place inaccessible to the black male despite compliance or revolt. The viewer is confronted by this slideshow of bloodied black bodies for nearly three minutes. There are cuts to crowds at crimes scenes. People stand, talking or looking on in silence, seemingly desensitized to the spectacle of a dead youth, separated only by the yellow tape which commands them not to cross. The front cover of a newspaper appears on the screen, “TOY GUN, REAL TRAGEDY”-- a young boy killed in a case of misunderstanding. This evidence of a robbed childhood establishes the reality of the community depicted in the film. A community stricken by poverty the fear of imminent violence, it is home to main character Strike, and many other young men who are yet still boys. Clockers stands with other independent films in their allegiance to what critic Manthia Diawara terms “New Black Realism” (594). These films aim to translate authentic interpretations of black life, many

Graphic violence is today a rather common and somewhat natural characteristic of modern cinema, but before Bonnie and Clyde, it certainly was not. Arthur Penn introduced it in 1967. Before Bonnie and Clyde violence in film was hinted at or just implied through various sorts of acting techniques. Arthur Penn decided to show the audience the real, brutal and raw side to violence, using brilliant camerawork but more importantly, top-notch special effects and masterful visual skills. In Bonnie and Clyde the violence never feels fake, but terrifyingly real. Take for example the first graphic scene of the film, in which Clyde shoots a store owner’s face clean off, as he tries jump aboard the robbers’ getaway car. The man’s head basically explodes, splattering blood and pieces of brain all over the car window, and Penn shows us, the audience, this (although not in a Tarantinto-splasher-like way, but nevertheless) in a quite unromantic but very powerful and dramatic way. The scene is almost reminiscent of the famous scene from Battleship Potemkin 3 where the mother is shot in the face, and her

Development and adaptation of the western genre has occurred throughout the twentieth century in relation to the shift in context, this is still relevant. Stereotypes of a western genre and the context are determined by the time in which the film is being produced. The time in which they were produced determine how social construction, gender ideas, values and attitudes, the setting and SWAT codes are demonstrated. I have chosen to present this speech by looking at the film studied in class, and a film of my choice and how the difference in context has changed in the tie of these two films.

Films throughout American history have focused on such a wide array of topics – a lot of them having to do with the time period in which they were produced. Some of these topics appear all throughout the history of film, one of them being crime. No matter where you go or where you look, whether it be in a certain place or a certain time period, you can’t escape crime; it’s always there – which is why I think crime is such a popular topic in American films. One of the most popular crime films in America is Bonnie and Clyde – a 1967 film, set during the Great Depression, about a woman who leaves home with a man whom she just met and soon falls in love with to rob banks. However, this movie has a bit of a twist: Bonnie and Clyde, the criminal couple, are portrayed throughout the movie as heroes – the audience is actually sort of invited to root for them to not get caught by the laws and to escape. This unusual crime film illustrates a liberal perspective by portraying Bonnie and Clyde, the criminals, as the heroes and the cops, as well as the banks, as the antagonists. The uniqueness of this film kind of shows how America in the 1960s felt about crime and how the cops and the banks are a part of a failing system in society at the time.

I think that A Clockwork Orange is a book worth reading because it is relatable, makes you think, and is interesting. The author, Anthony Burgess, was born February 25, 1917. At the young age of two his mother passed away. He was brought up by his aunt and later his stepmother. Even with such an unstable childhood Burgess continued on to enroll in college and major in English. He had a passion for music, which he expressed in the main character of A Clockwork Orange. Burgess wrote several accomplished symphonies in his day, as well as over fifty books. He was diagnoses with a brain tumor at about age 40 but well outlived his doctor’s expectations continuing his artistic output until his death from lung cancer at age 76.

t was a hot summer day in the year 2011. Everyone is walkin’ around with popsicles, ice cream, and cold refreshments. Then, there is me, with a warm bottle of water and a bag of hot Cheetos I dreadfully regretted buying. I thought, this must be how my story ends, but just as I had given up hope, my younger brother walks by with a cold Sprite! The moment he leaves it, I dash over faster than you could say the word pop, and snatched up the can. Just as I took my first couple sips, i seemed to have been caught in a daze. Because after what seemed like the shortest 20 seconds ever before, i drop the can. Yes. Drop. The Sprite splashes all over the sidewalk and makes a big crash. My little brother yells at me for spilling his soda, but i ignore him, staring in astonishment at what was supposed to be my big break. You know what they say, “ What goes around comes around” or maybe you know it as “You get what you deserve” and for you really frisky people, you can probably identify it as “Karma's a *****”. Either way, i think the main theme that plays out in the story A Clockwork Orange, by Anthony Burgess is that karma always gets you. A Clockwork Orange is about a man named Alex Delarge, who is a teen (around sixteen or seventeen) that is the head of a four man gang in a future England setting. Due to his lack of leadership skills, his buddies turn on him and abandon him as he is apprehended by authorities. While in prison, he is put into a prototype hypnosis program called the

A Clockwork Orange is a film directed by Stanley Kubrick, which explores the examination of the baser human emotions. The movie is set in a not-so-distant ,dystopian future, where an English society is dominated by an extreme culture of youth violence. The society in the film is one that is seemingly dictated by primal instincts, a society where murder and rape are commonplace and sexuality manages to penetrate the facets of their culture; appearing everyone from clothing to home decor. The story is told by the protagonist, Alex DeLarge. Alex is characterized as a psychopath and a juvenile delinquent that finds pleasure in violence and rape, but at the same time, he is intelligent with a sophisticated taste in art, literature and music, being particularly fond of Beethoven's 9th symphony. Alex undergoes a mental transformation when being a subjective to the Ludovico experiment which alters his disposition towards the immoral pleasure-seeking activities that had previously entertained him.

A Clockwork Orange is a 1971 crime film produced and directed by Stanley Kubrick, based on Anthony Burgess’s 1962 novel of the same name. It is a violent and disturbing film but somehow fascinating and enjoyable at the same time. The film presents scenes of rape, physical violence and murder because Kubrick wants to show the audience that these crimes are sickening but it’s combined with wonderful music and dance, which makes the film surreal and even funny.

It shows roughly 12,000 acts of violence, murder and rape being the most portrayed, and over 1,000 studies guarantee that too much screen time for boys increases their aggressive behavior. Such as the numerous crimes inspired by Stanley Kubrick's A Clockwork Orange. If the various murders of teenage boys and the assault of a woman by a man dressed as a droog were not disturbing enough, Kubrick indefinitely took it off the market after a gang rape was conducted