How is the spectator affected in A Clockwork Orange?
Alignment
is the process of identification with something or someone. The way spectators
are encouraged through macro and micro features relate to characters emotions
as well as adopt their points of view. The emotional impact of a film
frequently depends on spectator alignment with central characters.
It
is portrayed that Alex almost has two personalities and characters; on one
side, we see him as a typical teenage boy whereas the other side of him
portrays him as a violent rapist and murderer, which for many makes Alex
difficult to align with. This is subtly shown through the first time that we
see Alex. Although he is the first character that we are placed with, as well
as being portrayed through a close up; to the spectator it may become difficult
to align with Alex. Firstly, his costume, hair and make up reflects his
personality as unknown, and may make the spectator become unsure, therefore
alignment may not occur instantly as it stereotypically would with the
incorporation of the cinematography and the fact that he is the first person
the spectator is met with. Secondly,
Alex takes on an impression, which portrays him with psychotic, unhinged
behaviour. Alex takes on the classic evil stare, through his eyebrows, which
instantly conveys a hint about his personality. Alex’s deep breathing then
continues to add to this effect, furthermore making the spectator feel less
aligned with the protagonist.
The
false eyelashes attached around Alex’s right eye could also convey the fact
that he has two personalities and two characters in fact. This could give
reason as to why the spectator feels even less aligned with Alex. It subtly
conveys something about Alex that the spectator should be unsure about.
Most
films and filmmakers will encourage an audience or shared emotional response.
One way that this can be done could be by playing on audience fears and
phobias. A Clockwork Orange most definitely tackles this, and was banned after
its initial release in 1971. Another factor that could contribute as to why the
spectator does not align with Alex could be a subtle hint towards homophobia,
which was still seen as a norm. Alex’s eye could veer towards a female aesthetic;
therefore the spectator may not align with Alex due to this.
Stanley
Kubrick shoots Alex through macro and micro aspects that would typically
encourage a spectator to align with this character, however, because of the
narrative, at the beginning of the film especially, it is more difficult for
the spectator to align with him. For example, throughout most of the film, Alex
is positioned central within the shot. This would usually encourage a spectator
to align with this particular character, however still the spectator does not.
Stanley Kubrick also incorporates a backstory for Alex, which again would
usually promote a sense of allegiance or alignment in the viewer, however in my
opinion these micro factors have no affect on the alignment that the spectator
feels due to the actions that Alex performs.
However,
as the film develops, the alignment that was absent in the first half of the
film begins to alter. Once Alex is arrested, imprisoned and forced to under go
treatment, alignment begins to appear more coherently with the spectator. We
see Alex become institutionalised, and strangely feel sympathetic towards him,
disregarding his past.
In
my opinion, it is narrative that is the strongest form of persuading and
encouraging the spectator into an alignment with Alex; as the narrative
develops so does our alignment with Alex. At the beginning, we do not align
with Alex due to what is told through the narrative, despite all other factors
encourage us to align with the protagonist.
