This book brings together a diverse range of contemporary scholarship around both Anthony Burgess’s novel (1962) and Stanley Kubrick’s film, A Clockwork Orange (US 1971; UK 1972). This is the first book to deal with both together offering a range of groundbreaking perspectives that draw on the most up to date, contemporary archival and critical research carried out at both the Stanley Kubrick Archive, held at University of the Arts London, and the archive of the International Anthony Burgess Foundation. This landmark book marks both the 50th anniversary of Kubrick’s film and the 60th anniversary of Burgess’s novel by considering the historical, textual and philosophical connections between the two. The chapters are written by a diverse range of contributors covering such subjects as the Burgess/Kubrick relationship; Burgess’s recently discovered ‘sequel’ The Clockwork Condition; the cold war context of both texts; the history of the script; the politics of authorship; and the legacy of both―including their influence on the songwriting and personas of David Bowie!
Author(s): Matthew Melia, Georgina Orgill
Series: Palgrave Studies in Adaptation and Visual Culture
Publisher: Palgrave Macmillan
Year: 2023
Language: English
Pages: 332
City: Cham
Acknowledgements
Contents
Notes on Contributors
List of Figures
Introduction
1 This Book
2 A Clockwork Symposium: A Clockwork Orange—New Perspectives
3 Novel and Film
4 Novel and Film: Reception
5 This Book: Structure and Organisation
5.1 Part 1: Anthony Burgess and Stanley Kubrick
5.2 Part 2: Language and Adaptation
5.3 Part 3: Twentieth-Century Contexts: Architectural, Art Historical and Theoretical Approaches.
5.4 Part 4: Twentieth-Century Contexts: A Clockwork Orange and the Cold War
5.5 Part 5: A Clockwork Orange in Twenty-First Century
5.6 Part 6: Music and a Clockwork Orange
5.7 Afterword
Notes
Anthony Burgess and Stanley Kubrick
Dangerous Arts: The Clash Between Anthony Burgess, Stanley Kubrick, A Clockwork Orange, and the World
1 Introduction
2 Here Beginneth Twenty Years of Tribulations
3 Challenging Burgess’s View
4 Conclusion
Notes
“A Major Statement on the Contemporary Human Condition”: Anthony Burgess and the Aftermath of A Clockwork Orange
Notes
Language and Adaptation
Scripting A Clockwork Orange
1 Introduction
2 History, Context and Myth
3 Surveying the Script Material
4 Adaptation
5 Openings and Endings
6 Conclusion
Notes
‘The Colours of the Real World Only Seem Really Real When You Viddy Them on the Screen’: The Adaptation of Nadsat in Stanley Kubrick’s A Clockwork Orange
1 Introduction
2 Cinematic Adaptation of Literature
3 The Fidelity Debate
4 Fidelity in the Adaptation of A Clockwork Orange
5 Breaking Nadsat into Categories
6 Methods
7 Findings
8 Types of Core Nadsat Words Omitted
9 Conclusion
Notes
“Language, Language”: The Social Politics of ‘Goloss’ in Time for a Tiger and A Clockwork Orange
Notes
20th Century Contexts: Architectural, Art Historical and Theoretical Approaches
Art and Violence: The Legacy of Avant-Garde Art in Stanley Kubrick’s A Clockwork Orange
1 Images and Violence
2 Avant-Garde Strategies in A Clockwork Orange
2.1 Dada, Surrealism and Sexual Violence
2.2 Destruction of All Values
3 Conclusion
Notes
Architecture and Freedom in A Clockwork Orange
1 Introduction
2 Defensible Space in A Clockwork Orange (1971)
3 Municipal Modernism in A Clockwork Orange (1962)
4 Brutalism and the Location Scouting of A Clockwork Orange (1971)
5 Conclusion
Notes
Glazzies Wide Open: Spectral Torture, Kubrick, and A Clockwork Orange (A Brainie by Fifteen Thinks)
Notes
20th Century Contexts: A Clockwork Orange and the Cold War
When Burgess Met the Stilyagi on a White Night: Subcultures, Hegemony and Resistance in the Soviet Roots of A Clockwork Orange’s Droogs
1 Introduction
2 Stilyagi: The Origins
3 Burgess in the USSR
4 A Matter of Style and Music?
5 Conclusion: Language of the Pagans
Notes
Alex’s Voice in A Clockwork Orange: Nadsat, Sinny and Cold War Brainwashing Scares
Notes
A Clockwork Orange in 21st Century
A Thing Living, and Not Growing
1 Introduction
2 The Anthropocene
3 The ‘Technocene’
4 Conclusion
Notes
A Clockwork Orange and its Representations of Sexual Violence as Torture: Stanley Kubrick and Francis Bacon
1 Introduction
2 Home Invasions and Sexual Assaults
3 Attack on the Catlady
4 The Rape of Ms. Alexander
Notes
Music and A Clockwork Orange
Transforming Variations: Music in the Novel, Film, and Play A Clockwork Orange
Notes
David Bowie and A Clockwork Orange: Two Sides of the Same Golly
1 Introduction
2 Dressing and Posing like a Droog
3 Bowie’s Version of Ultraviolence: Say Droogie don’t Crash Here!
4 A Clockwork Bowie: Who the Fuck’s Gonna Mess with Me?
Notes
Afterword
Index
