A Space Odyssey contains narration in the screenplay, as does the screenplay for Eyes Wide Shutand The Shining has some sparse title cards. Adapted every film he made from a novel, excluding his first two films: Killer's Kiss and Fear and Desire both from original source materialand A Space Odyssey
Similar to these novels, ACO raises religious and philosophical questions of human freedom and moral choice. ACO could have been the story of an average teenager who likes to listen to pop music and go to parties with his friends.
Instead, Burgess creates the narrator and protagonist Alex who adores Beethoven and spends his nights raping and killing helpless people with his gang friends Georgie, Pete and Dim. In order to maintain law and order, the police strike back as violently as the juvenile trouble makers.
When Alex and his friends attempt to burglar a manse, Alex is betrayed by one of his companions and is arrested by the police. Instead of serving the stipulated sentence of fourteen years, he undergoes the so-called Ludovico technique which is supposed to cure him from his evil inclinations within fourteen days.
During this treatment, scientists condition Alex against violent stimuli by exposing him to violent films and classical music. As a consequence, he feels an unbearable sickness whenever he is confronted with violence or classical music.
The impossibility of violence in thought or action makes him a mechanistic creature — a Clockwork Orange. Back in the free world, Alex has to face a new situation.
As he awakens in hospital, he realises that he can bear violence in thought and fantasy. This experience marks the beginning of a new life for Alex which is characterised by a free and conscious choice against violence. It will be argued that his novel is a religious warning and an insistent call to the individual reader and the Christian Church: Freedom is permanently threatened and freedom can only be obtained when the freedom of moral choice is guaranteed.
In this paper, the examination of religious themes and a comparative analysis serve as tools to outline the religious aspects of ACO. These problems can be categorised into four major themes: Freedom and bondage, violence and suffering, the relationship between man and God, and innocence and guilt.
The implication of these themes in ACO will be discussed in the first part of this paper. However, the reference to religion and Christianity in ACO is not confined to these general themes.
On another and more specific level, the story of Alex can be viewed as an analogy to the life of Jesus Christ as it is narrated in the Bible. They will be supplemented by a fourth argument that is not strictly related to the biblical narrative but to Christian history after the death of Jesus: As a matter of fact, the deeds and intentions of the two figures are rather contrary in terms of their moral impetus.
Therefore, it is not the moral differences but the structural similarities which will be analysed.The documents that came out a few years ago showed how C.J.
was pretty much a dictator for the group and unresponsive when a few brave people pointed out issues C.J. had. These lack of checks and balances go all the way up the leadership chain.
In the s, Anthony Burgess imagined his own futuristic London in A Clockwork Orange, rehearsing the themes of control and the loss of self introduced by Huxley. In this 45 minute radio interview, novelist Ariel S.
Winter discusses how he approached Georges Simenon, Raymond Chandler, and Jim Thompson as pastiches and reveals the Hard Case Crime editing style.
a clockwork orange The dustjacket of the Heinemann edition of Anthony Burgess's A Clockwork Orange () promises that "it will take the reader no more than fifteen pages to master and. Anthony Burgess is best known as the author of brilliant novels such as A Clockwork Orange and Enderby; but he has also produced a substantial body of non .
Anthony Burgess, A Clockwork Orange (London: Penguin Group, ), p. All other references are to this edition and are given in parenthesis in the main body of the text.