A Clockwork Orange Essay Example

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5A CLOCKWORK ORANGE — SEQUENCE ANALYSIS

A Clockwork Orange — Sequence Analysis

A Clockwork Orange — Sequence Analysis

This sequence analysis will cover the time of 0 – 20 in the film a Clockwork Orangedirected by Stanley Kubrick. The film was released in 1971. In the start of this sequence we can see the terrifying near-future world shown in this film to be closer to reality. The film is set in a thought provoking and disturbing dystopian future, where the violent youth culture blind and alienate the futuristic citizens are in the totalitarian government state. Initially, A Clockwork Orange was extremely misinterpreted by its viewers, and hostility grew towards it as it was said to influence gang culture.

Mise-en-scene

The film follows Alex and his droogs antics while encountering violence and rape prior to the preordained capture of the main character believed to be brainwashed owing to his criminal behaviour. It is clear that the director is trying to display the relationship between conditioning as well as the morality of dignity and freedom by using violent youths. Basically, the film has it has a profound psychological as well as social meaning, which questions the concept of totalitarian regimes that always brainwash its people into a robot state. In the opening sequence, it is evident that the director has encoded different factors such as the red screen (at the beginning) that symbolises violence and blood and the slow synthesizers that depicts the sci-fi era. The main character (Alex) is a charming, sociopathic criminal interested in Beethoven (classical music), rape, as well as violence.

The audience through mise en scene are introduced to Korova Milkbar; words like vellocet have been featured; thus, supplementing to the whole disorientation that the viewer experiences. The positioning of the female mannequins can be seen as subservient positions, and this is exacerbated when they are made sexual objects as well as artistic. The audiences’ emotions and morals are played by Kubrick who encourages them to stay away and also sympathise with the lead role. It is interesting to note that the film shows sexual exhibitionism is not only associated with the young ultra-violent delinquents like Alex, rather it is a wide social occurrences that affects all within the society regardless of class or age. The importance of furniture appears to be discomforting as well as sexual whose purpose is to distract the viewer clear of Alex’s character. Alex’s jolly tone, his language and his voiceover makes the film’s mise-en-scene; for that reason, enlightens how the character as well as his world is viewed by the audience. Still, the film’s theatrical setting as well as no facial close-ups, leaves the viewers confused in the film. Still, the film often uses shadows and back lighting in framing its characters. This is evident when Alex and his droogs are beating an old man. While entering an abandoned casino, the director uses back lighting so as to make the characters entrance appear more dramatic. With regard to the costume, the film uses contrasting costumes. The droogs costumes are fairly dull and plain that matches. Alex together with his droogs wears white pants and shirts, black boots as well as black hats. Still, the costume of Alex changes throughout the film.

Cinematography

The theme of sexuality occurs throughout the film, but is very clear at early stage of the movie. The cinematography in the film is undeniably spectacular.  The director focuses on extravagant shadows as well as consistent light patterns. The film starts with an intriguing close-up of Alex, the lead actor. In the film, the camera gradually pans out, showing characters dressed oddly as well as a profligately designed set (Rowland, 2012). The director used the wide-angle lenses, and it was not self-indulgent as well as pointless: instead, it was completely in line with the film tone as a whole. The director used extreme wide-angle lenses in both handheld shots as well as dolly shots as shown in the record shop scene, where Alex is walking around the shop. Though most viewers would fail to recognise the established carnivalesque atmospheric tone the director is attempting to convey the feeling of by choosing the soundtrack as well as restricting camera movement.

Throughout the film the motif of male genitalia is strong, especially at time between 3.20 and 30.45 when we can see display of dildos, phallic noses, and large codpieces. As can be seen with the use of innovative camera angles the director is implying to the audience that a sense of hallucinatory enchantment can be conveyed rather than an intimate instant of sexual carousing. In the film, editing styles has been used by the director so as to capture audiences as well as set the complete distorted film’s tone. For instance, the director uses long tracking editing is utilised in in the recording studio, whereby Alex movement is followed by a long camera shot all through the store in one shot. Besides that, slow editing has been used in the film when Alex walks into a record store to meet two ladies, and takes them to his mother’s house for sex.

The audience are addressed personally by Alex through non-deigetic sound, which possibly enables them to assume that they can have a sense of insight into world of Alex. The music attributes in the film are transferred to the visual narrative. Basically, Alex’s rendition ‘Singin’ has made the scene nauseating and troubling for the viewer given that the song shows the twisted sociopath nature that exhibits inflicting pain as well as havoc and torture on others. The movie soundtrack is comprises mainly of classical music. In the film the Nadsat language fits ideally and it looks like an audio poetry; thus, it makes the audience to feel part the cast because of the informal utilisation of the voice over. Still, it can disconnect us simultaneously because it is not a dialect that is understood completely by the audience. Finally, the theme of ambiguity can once again be seen with the non-deigetic sound used by the director which makes the audience to feel both excluded and included.

References

Rowland, T. (2012, September 2). A Clockwork Orange (Stanley Kubrick, 1971): UK/USA. Retrieved 2016, from SBCC Film Reviews: http://sbccfilmreviews.org/?p=17564