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.