“<i>A Clockwork Orange</i>: Stanley Strangelove”

Kael, Pauline

doi:10.1017/cbo9780511615306.008

Cited by 4 publications

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“…What fi lms will he watch, and why? In Kubrick's depiction of the Ludovico Treatment Kubrick's 'visionary warning against "the Establishment"' fi nds its clearest image (Kael, 1972). The drugged subject is led to a theater, empty save for Dr Branom and her clinical partner, Dr Brodsky, who sit up top in a control booth.…”

Section: In 'The Torture Chair'mentioning

confidence: 99%

Stanley Kubrick’s A Clockwork Orange as art against torture

Strange

2010

Crime, Media, Culture

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Kubrick’s A Clockwork Orange ( ACO) has generated considerable debate over the effects of violence and its representation, but its depiction of torture has inspired little scholarly consideration of the film as art against torture. Produced in the early 1970s, it expressed the era’s wariness of liberal states’ potential to abuse power and to violate individual rights in the name of social good. The aversion therapy to which the main character is subjected was not the stuff of fantasy but was familiar to contemporary critics of the penal welfare complex and the covert tactics of the Cold War. ACO resonates anew in the early twenty-first century, as officially sanctioned torture, justified in the so-called Global War on Terrorism (GWOT), provides fresh cause to question what is sacrificed in the name of security.

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Section: In 'The Torture Chair'mentioning

confidence: 99%

Stanley Kubrick’s A Clockwork Orange as art against torture

Strange

2010

Crime, Media, Culture

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“…Many of them reacted with other kinds of negative moral emotions. Pauline Kael ([1972Kael ([ ] 2003, for instance, insinuated that Kubrick cultivated a perverse attitude toward (sexual) violence. She accuses him of targeting the voyeuristic lust of the viewers, which provokes her repulsion; her judgment, however, that he does not even achieve this goal, makes her react with nothing but contempt for the film's aesthetic design.…”

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confidence: 99%

Feelings in Conflict: A Clockwork Orange and the Explanation of Audiovisual Emotions

Eder¹

2008

Projections

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Controversial films like Stanley Kubrick's A Clockwork Orange represent a challenge for current theories of emotion elicitation. Combining theories of emotional appraisal, film comprehension, and the formal analysis of film, this article outlines a model of audiovisual responses to films that distinguishes between four levels of information processing and corresponding emotional reactions: 1. the perception of images and sounds triggers perceptual affects, sensations, and moods; 2. the development of mental models of a represented world, its inhabitants and events, calls forth diegetic emotions like sympathy, empathy, and situation-related feelings; 3. grasping indirect or more abstract meanings leads to thematic emotions; and 4. reflection on the communication process and its elements (text, producer, recipient) leads to communicative emotions. These four levels of emotional reactions interact in time, leading to the development of complex emotion episodes.

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The End of Family in Kubrick’sA Clockwork Orange

McEntee¹

2015

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“A Clockwork Orange: Stanley Strangelove”

Cited by 4 publications

References 4 publications

Stanley Kubrick’s A Clockwork Orange as art against torture

Stanley Kubrick’s A Clockwork Orange as art against torture

Feelings in Conflict: A Clockwork Orange and the Explanation of Audiovisual Emotions

The End of Family in Kubrick’sA Clockwork Orange

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