Clockwork Orange
Full Metal Jacket (especially 0:52)
In the first sequence, Alex DeLarge listen to the Ninth B eethoven. The interest explodes when Kubrick focuses on simple and quick installation with dividing the image of Jesus Christ. Canonical is not an image: Christ is not depicted on the cross, but in a particularly blasphemous. The statuette in question shows four identical embracing Jesus and seem to simulate a ballet. Nevertheless appear to excerpts of the classic Catholic iconography: Jesus turns his eyes to heaven at the time of maximum pain, bleeding from the wrists, as well as the bleeding head due to the crown of thorns. Behind Jesus, the drawing of a woman with her legs open and the snake is there in front of Alex in her mo 'of the male genitalia. Kubrick, in time to music, constantly stresses the ordeal of Christ and elements typical of the violence suffered by him, the image repeated and the music of Beethoven to give Alex an opportunity to imagine unimaginable ultraviolence.
In the second sequence, however, there Kubrick stup isc and with one of his usual elegant and trolley. Against the background of a scenario gu err, squat three men appear to be right, intent on a strange operation. At first their clumsy ballet and their unusual position they mislead us: it may be due to any war strategy. In reality, tr and are the elements of a small film crew and obviously found the right angle to shoot the scene. Kubrick manages to build an image almost alienating. Between the cameraman and the boys immortalized creates a space clearly visible with the task of screening and divide. It is a separation that is especially noticeable when the crew parade in front of two soldiers carrying a stretcher. Despite the distance in space is virtually nothing, the film is enormous. It seems that the cameramen and soldiers in war are located in two different worlds and parallel. Kubrick has replicated what happens at the cinema, presenting the necessary distance between the director and profilmic (but also between film and spectator), to create the fiction. This is even more evident when the parade starts at the end, the three players come in front of the main characters Full Metal Jacket, who recite a joke by one. Some people in the full set of a movie with John Wayne, some say he wants to do the horse, the bison who pissed off and who is the General Custer. Finally, someone asks "and the Indians, who makes them?" - "It's up to the Japs to the Indians." The reference to western movies, as well as to highlight the concept of fiction, is to replicate the real situation of war where soldiers are. The music proposal also sharply contrasting and very playful too, suggests that you are not experiencing the event of war soldiers, but you're watching a film in the film.
Aesthetically speaking, the two sequences are very different, but they are united by the same sense: the spectacle of violence. In both cases exacerbates Kubrick and reveals aspects of their activities. Whether that Clockwork Orange Full Metal Jacket are movies about violence. Violence, because of its excess, is show. It is inherent in our culture, though not always appear so clear: there are cultural forms that we tacitly inciting violence. Violence is always performance: latent in the life of every day, but clear, obvious and disconcerting in the films of Kubrick. We think the image of Christ on the Cross: For centuries, the Christian-Western culture shows us Jesus exclusively depicted at the moment suffering of death. As you celebrate Christmas, the symbol of Catholicism is not a cute and chubby baby, but a man tormented by terrible tortures. The crucifix is \u200b\u200bin the classroom, the towers, squares, offices, and jewelry worn around the neck. The violence done to Jesus is shamelessly exhibited by anyone, and it is blatantly become the symbol of a religion that preaches love and peace.
Only blind eyes can see smut in the sequence Kubrick. The director has not served to emphasize something that already exists, the hypocrisy of our society that is offended by the violence in front of Alex, but in reality since the depths of his constitution has motivated the boy to behave in that particular way.
In the second sequence is exactly the same thing. The goal is to mold the youth of a society through violence and the violence. Born to kill . Even in Here the violence is reflected in the propaganda (and therefore performance) of war. Together with the crucified, newsreels of war or the news from the front are some factors that have characterized the man, both before and after Christ. From Thucydides to Caesar's account of Military History has always had a considerable educational value. With the advent of the photos and motion images in the chronicles of war are a much more direct way of writing to arrive at all, and what is shown is not the conflict. What is shown is the value of manhood, and in some fundamental aspects of play that legalized violence that is war. The war presented glorify violence, but it is said openly.
Therefore, it is Christ on the cross or a newsreel of the war, the meaning is the same: the surface structure of our society bans all forms of violence, but the legalization, channels it controls and in various ways. Quell'esibizione of violence that we refuse to see in everyday life becomes indispensable and backwashing in the films of Kubrick. Kubrick has the power to take what the company and refuses to put before our eyes in the most extreme form possible. And while disgusted and moralists, we are forced to watch: Alex DeLarge is a clear symbol, closed and locked in a movie theater and vision, a metaphor of man and society, Alex is perhaps what is most distant from us but there is also us , mixture of hunger and animality of vision.
We would have to increase enormously the speech, because Kubrick does not deserve so few lines, or a post on a blog. We should say that his film is a cinema watching a film that reveals how eager both our voyeurism especially towards the forbidden and the terrible. In a nutshell: Kubrick presents us with obscene, or in front of everything that gets on stage and performed for his monstrous character. Kubrick shows what it shows, be it a bleeding Christ, the sex described by most as pornographic or crazy shooting war. And when the show is really obscene, it is no longer latent and manifest, the audience rejects what he sees, he refuses to look at, but can not refrain from doing so.
