The use of music as a motif in (Stanley Kubrick, A Clockwork Orange 1962)] creates a lens so that the viewer is able to recognize the trend that violence has to destroy an individuals identity. Although Alex (Malcolm McDowell) clearly associates violence with his own individual identity and sense of self, he consistently reveals the impossibility of remaining an individual in the face of group-oriented violence. The images that music create coincide the destruction of Alexs identity, either through compliance to a groups style of violence or through failure to embrace the similarity of group actions associated with violence. As the movie progresses, musical imagery follows the exit and return of his personal identity as a role of his involvement in violence. Musical references highlight the power of violence to eliminate individual identity in favor of group identity, showing the destructive effect that violence has on the human personality. All of these factors show how music is used as a motif to show the roller coaster ride of Alexs journey throughout the film.
One musical image, the "ode to Joy" from Beethovens Ninth Symphony, illustrates the manner in which violence steals the identity of an individual and replaces it with that of a group. As Alex puts on the last movement of Beethovens symphony, he "feels the old tigers leap in [him]" , and he forces himself on the two young girls he has brought with him to his den. The rape of these two girls by Alex appears to constitute an individual act of the self, and indeed the vocal section in the last movement of Beethovens Ninth Symphony begins with an individual voice, without any accompaniment. Alex offers this explanation: "I am serious with you brothers over this. ...
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... dominating group identity. Alexs association of violence with joy permits the viewer to understand Beethovens "Ode to Joy" as a direct comment on the universal interconnectedness of those who engage in violence. The linking of Alexs personal violence to a concerto contradicts the notion of a personalized style of violence: The concerto soloist cannot exist outside the combined identity of the group. Group violence in prison leads to a dream in which Alex literally becomes an instrument of the orchestra, a material object without individual character or identity. In the end however Alex departs from a violent way of life. This announces the return of individual identity. In helping to clarify the role that violence plays in the destruction of individual identity, musical references in Kubricks work reveal the annihilation of self as the ultimate end of violence.
Many scenes involved ironic contrasts between the tone and the surroundings. On several occasions the background music was cheerful and upbeat while the physical settings and scenery were terribly dark, dreary and depressing. One good example of this is the scene where Andy was helping the guards with their taxes. There was upbeat and cheerful music but the room and the surroundings were dark and gloomy. This hint of happiness represents how Andy’s hope ...
... artistic vision and the disorganization relating to the Hollywood mob. Ultimately, Tod can no longer recuperate from the brutal crowd and the cacophonous sound of the siren. Instead, he loses his artist status by conforming to the status quo, more specifically, becoming like all the people he wants to paint.
Dazed and Confused is a film that follows a plethora of characters on the last day of school before summer vacation. Although lacking in tangible plot, it makes a bold attempt to encompass and present the zeitgeist of the 1970s. In my opinion it is as if Dazed and Confused was produced in hopes of making those viewers who lived through the 1970s feel a sense of nostalgia. The film’s trajectory, harnessing of zeitgeist, and soundtrack are all very similar to George Lucas’s American Graffiti—a film that also successfully rooted in nostalgia. Dazed and Confused was released in 1993 and, like American Graffiti, was able to look over its shoulder to determine what music stood the test of time. The film attempts to epitomize what it meant for someone to grow up in the 1970s. Its success depends on its ability to recreate the spirit present in that era. In this paper I will talk about how the use of the popular soundtrack functions with the overall narrative, show ways in which characters actually interact with the music, how the soundtrack functions in a specific scene, explain my personal relationship to the soundtrack, and touch briefly on how the meaning of the film has changed over the course of time.
Distinctively visual language and cinematic techniques highlight to the responder the particular literal and metaphorical experiences characters are faced with, within a text. Peter Goldsworthy’s novel Maestro, Don McLean’s song ‘Vincent’ and the intriguing film Australia by Baz Luhrrman, explore the ways in which the human experiences of an individual’s connection to landscape is fundamental in shaping one’s sense of identity, personal growth and development. Composers further explore the realisation that our lives can be enriched by an understanding and appreciation of art as well as a deeper understanding of the importance of love and lust. The depiction of characters is conveyed through distinctively visual images to highlight the subsequent development of courage and resilience leads responders to a deeper understanding of how human experiences can create a sense of individuality.
Traditional analysis of Beethoven's use of Sonata Allegro form tends to focus on harmonic or melodic movement and key relationships. This study stretches such investigations to include questions of historical context and philosophic motivations that drive a composer to structure music in a certain way. Ultimately this leads to an inquiry about how these traditions affect us as listeners, and more specifically how they relate to gender issues in a musical tradition primarily made up of male composers.
A Clockwork Orange is a frightening fable about good and evil, and the meaning of human freedom.
And a Clockwork universe is comparing the universe as a mechanical clock, it’s a perfect contraption, but every aspect of it is science controlling it. So, I asked questions after each paragraph about Alex. With Alex being a deviant criminal in the beginning due to his environment which wasn’t his fault for being the way he was to being put through “treatment” that cured him to be a perfect citizen, he still wasn’t fully “cured”. Once Alex was put into the real world he became the perfect victim, and he was put through horrific acts just like he used to do to his victims and tried to commit suicide. With jumping out a window Alex’s new conditioning isn’t a thing anymore, he doesn’t get ill when subjected to violence and is able to listen to his favorite song by Beethoven without getting sick also. Once Alex figures out that he doesn’t get violently ill when subjected to these things government officials apologize to him and compensate him for their fault. The camera pans out and Alex just smirks at the camera, so will he learn from this experience and learn new ways to cope with violence or was it all a waste and goes back to his
...es Art an inner power struggle. Subsequently, Art becomes resentful. Art’s resentment towards Vladek does not allow him to emotionally mature. Yet through writing Art forgives his father and becomes a man.
This is Beethoven’s eighth piano sonata, Op. 13 in C minor, and the title, given by the publisher, literally translates to “with pathos or emotion”. C minor emphasized the expressed emotions because it was assumed to be a dark and gloomy key signature. In this composition there are contrasts between perseverance and agony, which embodies the idea of articulating the depths of emotion. Throughout the Baroque and Classical periods, composers developed specific designs with the intent of displaying emotions. Philosophical and artistic movements that occurred heavily influenced these methods of approach.
Alex goes in for treatment to cure his ultra-violence. The treatment is a conditioning method where he is to watch terribly movies with his eyes held open. After many, many views Alex gets sick at the slightest hint of any voilence or sex.
Amidst a population composed of perfectly conditioned automatons, is a picture of a society that is slowly rotting from within. Alex, the Faustian protagonist of A Clockwork Orange, and a sadistic and depraved gang leader, preys on the weak and the innocent. Although perhaps misguided, his conscientiousness of his evil nature indicates his capacity to understand morality and deny its practice. When society attempts to force goodness upon Alex, he becomes the victim. Through his innovative style, manifested by both the use of original language and satirical structure, British author Anthony Burgess presents in his novella A Clockwork Orange, the moral triumph of free will within the controlling hands of a totalitarian society.
In reality, we as humans, go through sturdy trails throughout our lives. Many people find numerous things to get through whatever they’re going through. People tend to depend on some form of art such as: music, movies, dance, and so much more art related work to help with them with whatever struggle they’re facing. Morris Dickstein, author of this article, is distinguished Professor of English at the Graduate Center of the City University of New York and senior fellow of the Center for the Humanities, which he founded in 1993 and directed for seven years. Within the article, Dickstein explains how a form of art helps people get through depression simply because songs, dance, and movies are inspired from natural emotions. There is an unknown
The final two instances demonstrate the extreme emotional power that music holds over the lives of individuals. In defense of his bond with Antonio, Shylock invokes animal imagery as a strong emotional defense against the forfeiture of his bond. Perpetually invoking these images, Shylock also includes a line which states, “when the bagpipe sings i’th’ nose; Cannot contain their urine; for affection; Mistress of passion, sways it to the mood” (4.1.49-51). Shylock recognizes the immense power that music has over emotions. Music is able to bypass all cognitive faculties and permeate the deepest fathoms of our emotional capabilities, thus exploiting them. To find music included in a passage riddled with animal imagery permits a reader to understand the intensity of music, being a conduit that can access an individual’s deepest fears. Fear is the inherent system that drives animals to survive, much like the way it drives Shylock to maintain his way of
His clothing, his words, his overall attitude. The distinction between the two is triggered by the gentle sounds of Ludwig Van. Beethoven. The.. & nbsp; The psychology of Alex would be that of a serial killer. He is a classic.
In this novel Alex shows his freedom of choice between good and evil, which is that, his superiority over the innocent and the weak. In the beginning of the novel he chooses to be evil, he shows us that by committing violence act like stealing, raping, and also murdering an innocent person which he got arrested for and put into prison for about 12 years. The amount violence he commits shows his abuse of power and his decisions toward evil. The violent acts that are described in this novel are very graphical and are intended to shock the reader but they also show that the suppression of others is wrong, because it is destructive to the natural rights of humans. Alex consistently chooses evil and violence to show his freedom of choice, ?Now I was ready for a bit of twenty-to-one . . . then I cracked this veck" pg 7. Alex beats, rapes, and robs the weak and ...