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An essay paper on a clockwork orange
An essay paper on a clockwork orange
An essay paper on a clockwork orange
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Luis Buñuel’s surrealist classic An Andalusian Dog (1929) and Stanley Kubrick’s dystopian masterpiece A Clockwork Orange (1971) have influenced the variously disturbing visions of filmmakers and artists for many generations. The success of these films comes two-fold for both filmmakers, as they were able not only to impress their peers, but to stir up controversy and backlash. Through violent imagery and sexually explicit behaviour, these films garner the disgust of religious and political organizations alike, however, ultimately have reached mass audiences. Both films contain a deeply personal and unique visual aesthetic and while each individual shot could be deconstructed for social, political, or psychological implications, Buñuel himself …show more content…
The meticulous structure of Kubrick’s film breeds a vivid depiction of the life of a disturbed youth, while the haunting imagery of Buñuel’s horrorshow contemplates a slew of human emotions in rapid succession, but without much character building or narrative structure. These films intersect in their use of graphic imagery and visual trickery to create a dream-like state of self reflection in the audience. Kubrick takes advantage of multiple visual techniques that were burgeoning and bending with the evolving technology of filmmaking and ever-present madness of filmmakers. Kubrick employs multiple long, moving shots as well as extreme wide angle lenses that distort the viewer’s sense of time and space. Buñuel, in contradistinction, follows certain visual conventions, such as single, close-up shots involving important actions, while involving disturbing imagery and inconsequential sequencing of images and scenes to also distort the temporal revelations of the audience. These differences are what drive the individual visual distinctions of each film, as they are ultimately very different films on their surface, however, their use of unique editing techniques mirror one another and set them apart from other films of their
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
The world is plagued with an inseparable mix of good and evil. People make mistakes, but often start out with good intentions. Often times actions live in the grey zone, a combination of good intentions but bad outcomes. In Mark Haddon’s novel, The Curious Incident of the Dog in the Night-Time there are many decisions that could be considered morally ambiguous. The story is told from the perspective of an autistic fifteen-year-old, Christopher Boone, who is investigating the death of his neighbor’s dog. His mother, Judy Boone supposedly died two years back, when in actuality she ran off to London with another man and, in turn, has been shut out of Christopher’s life. His father, Ed Boone hides the truth involving Christopher’s mother, pretending
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
Though attacked as obscene in Orem, Utah in 1973, the book does not meet the legal definition of obscenity. While it contains possibly offensive language and violent imagery, these are not all that make up the novel. It is a powerful social commentary; a warning against growing lazy and desiring a quick fix to the problems of society. To be legally defined as obscene, a work must be completely lacking in redeeming social value. However, A Clockwork Orange has both social and literary value. It is a shocking warning of what t...
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
The Clockwork Orange Research Paper The Clockwork Orange unfolds in the streets of a dark, mysterious, futuristic city. Alex, the 15 year old leader of a violent gang that goes on a rampage involving: mugging, a convenience store robbery, a rival gang fight, grand theft auto, gang rapes, vandalism, and arson. Alex, who entices himself with all these violent acts, eventually gets jailed for his crimes. Alex will undergo a "reform" treatment called Ludovico's Technique. A behavioral-brainwashing procedure involving certain types of elements to his learning, the treatment would last roughly two weeks, after which the criminal is completely unable to even think of committing either crime or a complete one.
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
Films are created to tell a story, to tell an effective story a broad range of techniques needs to be used in a successful way (Brown, 2012.) The ‘Two Pills’ scene from the film The Matrix (1999) uses these techniques in a way that creates a strong representation of the characters and storyline. The techniques used include cinematography, the soundtrack and the editing. In addition, mise-en-scéne is used to enhance the narrative through dialogue, costume, setting and lighting to create a highly emotional reaction from the audience.
Reisz , K. & Millar, G., 2010. The Technique of Film Editing. Oxford: Taylor & Framis.
In this essay I will be analysing the use of cinematography in two films, using Peeping Tom (1960) directed by Michael Powell and Psycho (1960) directed by Alfred Hitchcock. The reason why I choose these two films is because although they are from the same genre, and from the same period, the methods both films use are similar and at the same time completely different.
The link between expressionism and horror quickly became a dominant feature in many films and continues to be prominent in contemporary films mainly due to the German expressionist masterpiece Das Kabinett des Doctor Caligari. Wiene’s 1920 Das Kabinett des Doctor Caligari utilized a distinctive creepiness and the uncanny throughout the film that became one the most distinctive features of externalising inner mental and emotional states of protagonists through various expressionist methods. Its revolutionary and innovative new art was heavily influenced by the German state and its populace in conjunction with their experience of war; Caligari took a clear cue from what was happening in Germany at the time. It was this film that set cinematic conventions that still apply today, heavily influencing the later Hollywood film noir genre as well as the psychological thrillers that has led several film audiences to engage with a film, its character, its plot and anticipate its outcome, only to question whether the entire movie was a dream, a story of a crazy man, or an elaborate role play. This concept of the familiar and the strange, the reality, the illusion and the dream developed in Das Kabinett des Doctor Caligari, is once again present in Scorsese’s 2010 film Shutter Island.
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Some people may say a dog is just a dog, but for me they are extremely desirable. Dogs are a person’s best friend. They make me cry, laugh, and I wish never adopted one because they do smell. Although, dogs smell, it should not be a justification to not obtain one. I mean what does not smell? I never realized how taking care of a dog could change my life; until I saw how they sleep throughout the day, they are always there to comfort me, and how they provide a responsible way of living.
When I was nine years old my grandparents adopted a two year puppy named, maximilian. We, of course, called him Max. When we went to the kennel to pick out a new dog Max didn 't seem like an option. He was a scrawny little puppy tucked in the corner of the shelter. Max was a boisterous springer spaniel mix, and when we first got him he was black and white. Overtime his white fur was masked by black spots, similar to age spots, which made him uniquely mine. Max was suppose to my grandfathers new hunting dog when he was newly adopted. However, at the very first gunshot Max bolted and my grandfather spent a three hours looking for Max in the woods. After the hunting incident my grandfather wrote Max off and, he became my dog.