The State Cures:
an analysis of A Clockwork Orange (film), "Where Did The Future Go?" (essay by Randy Martin), and "Ideology and Ideological State Apparatuses" (essay by Althusser)
an analysis of A Clockwork Orange (film), "Where Did The Future Go?" (essay by Randy Martin), and "Ideology and Ideological State Apparatuses" (essay by Althusser)
One of the various ideologies presented in the film adaptation of “A Clockwork Orange” is the concept of changing a criminal. Different characters represent different state apparatuses—the government, the prison system, religion, and even education/literacy. They all take a moral/ideological stand on the new treatment which our faithful narrator, Alex, goes through.
The Priest is against the treatment once he sees what has become of Alex. He argues for freedom of choice and individuality. This position is vastly different from the religious ideology which was present in the past: pre-determinism reigned, and no matter what you chose, your salvation was destined to be (or not to be) long before you existed. Now, salvation goes hand and hand with choice. Does Alex, being robbed of his “choice” to be good or be bad, have a shot at redemption as one who cannot choose?
In agreement with this sentiment is the character who is surrounded by books, representing literacy and education and intellect. He does not recognize Alex as the man who brutally rapped and murdered his wife several years ago—at least, not at first. Instead, the man takes pity on Alex and believes the treatment is a despicable device being used to hurt the common man.
The Prison System labels its members with numbers instead of names. Individuality, choice, and freedom are stripped as a means of punishment to criminals. The problem of criminal violence is (hopefully) solved by rehabilitation and isolation from society. Unfortunately, the prison system (as portrayed in “A Clockwork Orange”) does not cure anyone.
The scientists, backed by the government, argue instead for a new treatment. Unlike the prison system, this treatment is supposed to “cure” all criminal violence. In a presentation, one of the scientists state that the prison system simply spurs hypocrisy; it teaches criminals to “fake smile” and “rub elbows” until their release. There is no true change, and thus society is still a victim. Alex is the first person to be rehabilitated by this treatment and freed in just two years.
Randy Martin reminds us in his article, “Where Did The Future Go?” about the war. The war on terror, the war on drugs, the war on low test scores, the war on violence. There is always a war on something, he proclaims, and if we look to “A Clockwork Orange” we can see what war Alex plays a part in. Using Martin’s words, “a new regime of discipline and punish” is the new treatment which Alex undergoes. Ironically—or, fatally…as in thanks to the fates—the film starts off with the interesting juxtaposition of classical music and violence. During Alex’s treatment, we witness the same thing: classical music juxtaposed to the violence presented by the films. One scientist even leans over to the other and mutters something about punishment before responding there is nothing they can do about Alex getting sick during the music.
“Protection” plays an interesting role in this film. The police are there to serve and protect, and yet, as soon as Alex is freed, he is beaten by a gang of cops who happen to be his old droogs. At the end of the film, the character representing the government argues that he is doing things “for his protection, for your protection.” Everything, in can be argued, is done “for your protection.”
The Priest is against the treatment once he sees what has become of Alex. He argues for freedom of choice and individuality. This position is vastly different from the religious ideology which was present in the past: pre-determinism reigned, and no matter what you chose, your salvation was destined to be (or not to be) long before you existed. Now, salvation goes hand and hand with choice. Does Alex, being robbed of his “choice” to be good or be bad, have a shot at redemption as one who cannot choose?
In agreement with this sentiment is the character who is surrounded by books, representing literacy and education and intellect. He does not recognize Alex as the man who brutally rapped and murdered his wife several years ago—at least, not at first. Instead, the man takes pity on Alex and believes the treatment is a despicable device being used to hurt the common man.
The Prison System labels its members with numbers instead of names. Individuality, choice, and freedom are stripped as a means of punishment to criminals. The problem of criminal violence is (hopefully) solved by rehabilitation and isolation from society. Unfortunately, the prison system (as portrayed in “A Clockwork Orange”) does not cure anyone.
The scientists, backed by the government, argue instead for a new treatment. Unlike the prison system, this treatment is supposed to “cure” all criminal violence. In a presentation, one of the scientists state that the prison system simply spurs hypocrisy; it teaches criminals to “fake smile” and “rub elbows” until their release. There is no true change, and thus society is still a victim. Alex is the first person to be rehabilitated by this treatment and freed in just two years.
Randy Martin reminds us in his article, “Where Did The Future Go?” about the war. The war on terror, the war on drugs, the war on low test scores, the war on violence. There is always a war on something, he proclaims, and if we look to “A Clockwork Orange” we can see what war Alex plays a part in. Using Martin’s words, “a new regime of discipline and punish” is the new treatment which Alex undergoes. Ironically—or, fatally…as in thanks to the fates—the film starts off with the interesting juxtaposition of classical music and violence. During Alex’s treatment, we witness the same thing: classical music juxtaposed to the violence presented by the films. One scientist even leans over to the other and mutters something about punishment before responding there is nothing they can do about Alex getting sick during the music.
“Protection” plays an interesting role in this film. The police are there to serve and protect, and yet, as soon as Alex is freed, he is beaten by a gang of cops who happen to be his old droogs. At the end of the film, the character representing the government argues that he is doing things “for his protection, for your protection.” Everything, in can be argued, is done “for your protection.”
Works Cited
“A Clockwork Orange.” Dir: Stanley Kubrick. Warner Brothers Pictures. 1971.
Althusser, Louis. "Ideology and Ideological State Apparatuses." La Pensée, 1970. Translated from the French by Ben Brewster. Transcribed by Andy Blunden. http://www.marxists.org/reference/archive/althusser/1970/ideology.htm
Martin, Randy. "Where Did The Future Go?" LogosOnline. 2006. http://www.logosjournal.com/issue_5.1/martin.htm
No comments:
Post a Comment