Adaptation, or the conversion of historical or fictional narratives into film, has been a common practice for many years. It is this very practice that has bound the two medias of film and narrative together. It has brought readers and viewers together in understanding a similar storyline with a similar structure. Sometimes, filmmakers have adapted films from novels successfully because of their ability to accurately portray the structure, characters and plotline from the novel throughout every aspect of the film. In Adaptation, or the Cinema as Digest by Andre Bazin, he discusses the novel and film Man’s Hope by Malraux. He stated “ the style of Malraux’s film is politely identical to that of his book, even though we are dealing with two different artistic forms, cinema on the one hand and literature on the other.” This suggests the two creative vehicles are stylistically alike in that they both reflect an organized storyline with characters, themes and motives. In this paper I am going to spotlight the dialectic between the two artistic forms by identification through a close viewing experience of the subject, style, syntax and sound.
The film, A Clockwork Orange, by Stanley Kubrick, gives us a true understanding of how this World contains various types of people, some of which might be called, ‘crazy.’ This film takes us into a world that is unfamiliar to most of us, in that the violence of this film is unlike many other films of its time. Based off the novel originally written by Anthony Burgess, Kubrick shows us that films can enhance our reading experiences and bring us outstanding film work in conjunction with the novel. Published in 1962, this dystopian yet futuristic novella was adapted into a film less than ten...
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...lay, Kubrick received Oscar nominations in all three categories.” (Bozzola, “A Clockwork Orange”)
Works Cited
1. Alexander, Geoffrey. "The Kubrick Site: The Hechinger Debacle." The Kubrick Site: The Hechinger Debacle. Visual memory, n.d. Web. 09 Dec. 2013.
2. Bozzola, Lucia. "A Clockwork Orange (1971): Movie Info." RottenTomatoes.com. Rotten Tomatoes, n.d. Web. 08 Dec. 2013.
3. Naremore, James, and Andre Bazin. Film Adaptation. New Brunswick, NJ: Rutgers UP, 2000. Print.
4. Ebert, Roger. "A Clockwork Orange." RogerEbert.com. Roger Ebert, 11 Feb. 1972. Web. 10 Dec. 2013.
5. "Stanley Kubrick’s Legendary Film Techniques." LAvideoFilmmaker.com. LA Video Filmmaker, n.d. Web. 09 Dec. 2013.
6. Jeffrey, Victoria. "The Role of Sound Music and Sound Effect in the Film Industry."Entertainmentscene360.com. Entertainment Scene 360, 9 Jan. 2008. Web. 10 Dec. 2013.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Wizard of Oz, The Movie. Director Victor Fleming, Metro Goldwyn Mayer, 1939.Film Youtube Feb 12th . 2014. Retrieved March 1st. 2014.
to read. A Clockwork Orange is an interesting book, to say the least, about a young teenager, named Alex, who has lost his way, so to speak, and commits several serious crimes. These crimes that Alex and his “droogs” commit include: murdering, raping, beat downs, robbery, etc.
...vernment that led them into such a crisis. In stating that this movie is a valuable piece of our cultural history, it is not to say that this film should be taken as a historical piece only. There is a danger in relying on material culture for historical knowledge. This danger exists in the fact that during the course of years, creative intentions become lost, and only the product remains. To rely on this film for historical knowledge, rather than cultural information, would be gravely wrong. This is because this film was not made to be historically informative, and centuries from now, society may not know that Kubrick's suggestive names, distortion of actual history, and cultural bias were simply vehicles used to convey an opinion. So these same vehicles that make this film effective as a societal criticism make it inaccurate as a source for historical knowledge.
The film, “A Clockwork Orange,” is, to me, an almost exact replica of today’s society. Basically, one kid, who seems to have come from a financially sound home and community, goes through about three stages--1. He violates the laws society has set forth to maintain order. 2. He is caught and punished for his crimes against society. 3. He feels remorse for his violence and sexually deviance (although, at the end of the film, he’s back to his old, delinquent self).
Very few modern or even classical novels present a psychological tale like that presented in Anthony Burgess's magnum opus and controversial novel, A Clockwork Orange. The novel follows the protagonist and narrator, Alex, who is not a given a surname until the film adaptation. Alex, while the protagonist of the novel, is a violent person up to the second to last chapter of the novel. However, the underlying psychology behind every one of Alex's actions rings true and presents a compelling argument about the nature of free will, violence, and what makes a man human.
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
Phillips, W. (2002). Thinking about film . In Film an introduction (pp. 403-438). Boston : Bedford/St.Martin's .
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
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.
Just about everyone can voice their opinions on a film that viewed as we all do after leaving the theatre. It may be found to be useful when a friend or individual is interested in seeing the film themselves. However, I believe the only way that you could understand a film is by analyzing the film beyond the average person. When one begins to analyze they begin to develop an understanding of the film and may grow to love the film. The director Hitchcock is a fairly well known director. He has directed many different films from Vertigo to Psycho that are found to be popular with the viewers. In this paper I am going to analyze certain elements that spoke out to me during the film. Those elements that spoke to me the most during the film was the lighting techniques, camera movement, and symbols.
... The Web. 18 Nov. 2011. Dirks, Tim. A. The "Film History of the 1970s.
When deciding what movie to do for this particular paper I faced a few issues. I knew what the requirements were, but I wanted something different and something I could have fun watching and writing as well. So, after looking around and pondering movies for weeks I finally decided on a perfect choice The 60’s directed by Mark Piznarski?
Authors who write of other times and places help us to better understand our own lives. Discuss A Clockwork Orange in terms of that statement.
Prince, Stephen. "Viewing Kurosawa." The Warrior's Camera: The Cinema of Akira Kurosawa. Princeton, NJ: Princeton UP, 1999. 24. Print.