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…mehr
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 historyof the script; the politics of authorship; and the legacy of both-including their influence on the songwriting and personas of David Bowie!
Matthew Melia is a senior lecturer in film, media and English literature at Kingston University, UK. He is co-editor of The Jaws Book: New Perspectives on the Classic Summer Blockbuster (2020) and a special edition of Historical Journal of Film, Radio and Television: '50 Years of A Clockwork Orange' (2022). Georgina Orgill is the Stanley Kubrick Archivist at University of the Arts London, UK, where she is responsible for managing the Stanley Kubrick Archive. She is a qualified archivist with an MA in Archives and Records Management.
Inhaltsangabe
Introduction. By Matt Melia and Georgina Orgill.- Part 1: Authorship and A Clockwork Orange.- Chapter 1: Dangerous arts: the clash between Anthony Burgess, Stanley Kubrick, A Clockwork Orange and the World. By Filippo Ulivieri.- Chapter 2: Fresh Juice From A Clockwork Orange: Anthony Burgess's Novel and its Aftermath. By Andrew Biswell.- Chapter 3: Evolving A Clockwork Orange. By Matt Melia.- Part 2: Language and Adaptation.- Chapter 4: "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. By Jim Clarke and Benet Vincent.- Chapter 5: 'Language, Language': The Social Politics of 'Goloss' in A Clockwork Orange. By Julian Preece.- Chapter 6: Adapting A Clockwork Orange. By I.Q Hunter.- Part 3: Architectural, Art Historical and Theoretical Approaches to A Clockwork Orange.- Chapter 7: 'The Violence of the Image OR HowStanley Kubrick Visualised Anthony Burgess's Novel'. By Dijana Metlic.- Chapter 8: 'Architecture and Freedom in A Clockwork Orange'. By Joe Darlington.- Chapter 9: Glazzies Wide Open: Spectral Torture, Kubrick and A Clockwork Orange. By Murray Pomerance.- Part 4: 20th Century Contexts for A Clocwkork Orange.- Chapter 10: 'A particularly bad film of, like, a concentration camp': Jews and Germans in A Clockwork Orange'. By Peter Kramer and Nathan Abrams.- Chapter 11: When Burgess met the Stilyagi on a white night: Subcultures, hegemony and resistance in the soviet roots of A Clockwork Orange's droogs.' By Cristian Pasotti.- Chapter 12: 'Alex's voice in A Clockwork Orange: Nadsat, Cinema and Cold War Brainwashing Scares'. By Joy McEntee.- Part 5: A Clockwork Orange in the 21st Century.- Chapter 13: 'A Thing Living and Not Growing'. By Ajay Hothi.- Chapter 14: 'A Clockwork Orange and its representations of Sexual Violence'. By Karen Ritzenhoff.
Introduction. By Matt Melia and Georgina Orgill.- Part 1: Authorship and A Clockwork Orange.- Chapter 1: Dangerous arts: the clash between Anthony Burgess, Stanley Kubrick, A Clockwork Orange and the World. By Filippo Ulivieri.- Chapter 2: Fresh Juice From A Clockwork Orange: Anthony Burgess’s Novel and its Aftermath. By Andrew Biswell.- Chapter 3: Evolving A Clockwork Orange. By Matt Melia.- Part 2: Language and Adaptation.- Chapter 4: “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. By Jim Clarke and Benet Vincent.- Chapter 5: ‘Language, Language’: The Social Politics of ‘Goloss’ in A Clockwork Orange. By Julian Preece.- Chapter 6: Adapting A Clockwork Orange. By I.Q Hunter.- Part 3: Architectural, Art Historical and Theoretical Approaches to A Clockwork Orange.- Chapter 7: ‘The Violence of the Image OR HowStanley Kubrick Visualised Anthony Burgess’s Novel’. By Dijana Metlic.- Chapter 8: ‘Architecture and Freedom in A Clockwork Orange’. By Joe Darlington.- Chapter 9: Glazzies Wide Open: Spectral Torture, Kubrick and A Clockwork Orange. By Murray Pomerance.- Part 4: 20th Century Contexts for A Clocwkork Orange.- Chapter 10: ‘A particularly bad film of, like, a concentration camp’: Jews and Germans in A Clockwork Orange’. By Peter Kramer and Nathan Abrams.- Chapter 11: When Burgess met the Stilyagi on a white night: Subcultures, hegemony and resistance in the soviet roots of A Clockwork Orange‘s droogs.’ By Cristian Pasotti.- Chapter 12: ‘Alex’s voice in A Clockwork Orange: Nadsat, Cinema and Cold War Brainwashing Scares’. By Joy McEntee.- Part 5: A Clockwork Orange in the 21st Century.- Chapter 13: ‘A Thing Living and Not Growing’. By Ajay Hothi.- Chapter 14: ‘A Clockwork Orange and its representations of Sexual Violence’. By Karen Ritzenhoff.
Introduction. By Matt Melia and Georgina Orgill.- Part 1: Authorship and A Clockwork Orange.- Chapter 1: Dangerous arts: the clash between Anthony Burgess, Stanley Kubrick, A Clockwork Orange and the World. By Filippo Ulivieri.- Chapter 2: Fresh Juice From A Clockwork Orange: Anthony Burgess's Novel and its Aftermath. By Andrew Biswell.- Chapter 3: Evolving A Clockwork Orange. By Matt Melia.- Part 2: Language and Adaptation.- Chapter 4: "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. By Jim Clarke and Benet Vincent.- Chapter 5: 'Language, Language': The Social Politics of 'Goloss' in A Clockwork Orange. By Julian Preece.- Chapter 6: Adapting A Clockwork Orange. By I.Q Hunter.- Part 3: Architectural, Art Historical and Theoretical Approaches to A Clockwork Orange.- Chapter 7: 'The Violence of the Image OR HowStanley Kubrick Visualised Anthony Burgess's Novel'. By Dijana Metlic.- Chapter 8: 'Architecture and Freedom in A Clockwork Orange'. By Joe Darlington.- Chapter 9: Glazzies Wide Open: Spectral Torture, Kubrick and A Clockwork Orange. By Murray Pomerance.- Part 4: 20th Century Contexts for A Clocwkork Orange.- Chapter 10: 'A particularly bad film of, like, a concentration camp': Jews and Germans in A Clockwork Orange'. By Peter Kramer and Nathan Abrams.- Chapter 11: When Burgess met the Stilyagi on a white night: Subcultures, hegemony and resistance in the soviet roots of A Clockwork Orange's droogs.' By Cristian Pasotti.- Chapter 12: 'Alex's voice in A Clockwork Orange: Nadsat, Cinema and Cold War Brainwashing Scares'. By Joy McEntee.- Part 5: A Clockwork Orange in the 21st Century.- Chapter 13: 'A Thing Living and Not Growing'. By Ajay Hothi.- Chapter 14: 'A Clockwork Orange and its representations of Sexual Violence'. By Karen Ritzenhoff.
Introduction. By Matt Melia and Georgina Orgill.- Part 1: Authorship and A Clockwork Orange.- Chapter 1: Dangerous arts: the clash between Anthony Burgess, Stanley Kubrick, A Clockwork Orange and the World. By Filippo Ulivieri.- Chapter 2: Fresh Juice From A Clockwork Orange: Anthony Burgess’s Novel and its Aftermath. By Andrew Biswell.- Chapter 3: Evolving A Clockwork Orange. By Matt Melia.- Part 2: Language and Adaptation.- Chapter 4: “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. By Jim Clarke and Benet Vincent.- Chapter 5: ‘Language, Language’: The Social Politics of ‘Goloss’ in A Clockwork Orange. By Julian Preece.- Chapter 6: Adapting A Clockwork Orange. By I.Q Hunter.- Part 3: Architectural, Art Historical and Theoretical Approaches to A Clockwork Orange.- Chapter 7: ‘The Violence of the Image OR HowStanley Kubrick Visualised Anthony Burgess’s Novel’. By Dijana Metlic.- Chapter 8: ‘Architecture and Freedom in A Clockwork Orange’. By Joe Darlington.- Chapter 9: Glazzies Wide Open: Spectral Torture, Kubrick and A Clockwork Orange. By Murray Pomerance.- Part 4: 20th Century Contexts for A Clocwkork Orange.- Chapter 10: ‘A particularly bad film of, like, a concentration camp’: Jews and Germans in A Clockwork Orange’. By Peter Kramer and Nathan Abrams.- Chapter 11: When Burgess met the Stilyagi on a white night: Subcultures, hegemony and resistance in the soviet roots of A Clockwork Orange‘s droogs.’ By Cristian Pasotti.- Chapter 12: ‘Alex’s voice in A Clockwork Orange: Nadsat, Cinema and Cold War Brainwashing Scares’. By Joy McEntee.- Part 5: A Clockwork Orange in the 21st Century.- Chapter 13: ‘A Thing Living and Not Growing’. By Ajay Hothi.- Chapter 14: ‘A Clockwork Orange and its representations of Sexual Violence’. By Karen Ritzenhoff.
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