The Immobilised Body: Stanley Kubrick's A Clockwork Orange

Macris, A

The Immobilised Body: Stanley Kubrick's A Clockwork Orange

Macris, A

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Publisher:: ScreenSound Australia, LaTrobe University
Publication Type:: Journal Article
Citation:: Screening the past, 2013, 37 (0)
Issue Date:: 2013-01

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Field	Value	Language
dc.contributor.author	Macris, A https://orcid.org/0000-0002-2110-2351	en_US
dc.date.issued	2013-01	en_US
dc.identifier.citation	Screening the past, 2013, 37 (0)	en_US
dc.identifier.issn	1328-9756	en_US
dc.identifier.uri	http://hdl.handle.net/10453/30900
dc.description.abstract	A small cinema, new and well equipped. In the foreground, an attendant in a white laboratory coat leans over a figure seated in the front row, fussing over him and obscuring him from the spectators view. The attendant stands upright, revealing the object of his attentions. It is a young man, his arms immobilised by a straitjacket, his body strapped to his seat by black leather belts. The young mans head is crisscrossed by brown cables, to which red clips have been attached. The laboratory attendant bends to resume his work on the patient. With one hand, he plies open the young mans left eye; then, with the other hand, he carefully fits an eyelid lock to the upper and lower lids that forces the eye to remain open. He repeats this procedure with the other eye and steps back. The young mans eyes, cruelly exposed, their whites shining despite the dim light, roll around in their sockets. Instinctively, he squirms and tries to move his head but it, too, is immobilised, fixed to the seats back by a black band that stretches across his forehead. At the rear of the cinema, sprinkled about the back row seats, are other figures in white laboratory coats, silently waiting for the patients treatment to begin. Stacked up against the wall behind them are monitors, their read-outs glowing in the dark. Streaming through the darkness of the cinema is the light of a projector, ready to show a film. As soon as the screening starts, the attendant begins to continuously administer eye drops to his patient the liquid immediately pooling and spilling down his cheeks as if he were weeping.	en_US
dc.publisher	ScreenSound Australia, LaTrobe University	en_US
dc.relation.ispartof	Screening the past	en_US
dc.title	The Immobilised Body: Stanley Kubrick's A Clockwork Orange	en_US
dc.type	Journal Article
utslib.citation.volume	0	en_US
utslib.citation.volume	37	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.for	2005 Literary Studies	en_US
utslib.for	2103 Historical Studies	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
pubs.organisational-group	/University of Technology Sydney/Strength - CPCE - Centre for Creative Practices and the Cultural Economy
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.issue	0	en_US
pubs.volume	37	en_US

Abstract:

A small cinema, new and well equipped. In the foreground, an attendant in a white laboratory coat leans over a figure seated in the front row, fussing over him and obscuring him from the spectators view. The attendant stands upright, revealing the object of his attentions. It is a young man, his arms immobilised by a straitjacket, his body strapped to his seat by black leather belts. The young mans head is crisscrossed by brown cables, to which red clips have been attached. The laboratory attendant bends to resume his work on the patient. With one hand, he plies open the young mans left eye; then, with the other hand, he carefully fits an eyelid lock to the upper and lower lids that forces the eye to remain open. He repeats this procedure with the other eye and steps back. The young mans eyes, cruelly exposed, their whites shining despite the dim light, roll around in their sockets. Instinctively, he squirms and tries to move his head but it, too, is immobilised, fixed to the seats back by a black band that stretches across his forehead. At the rear of the cinema, sprinkled about the back row seats, are other figures in white laboratory coats, silently waiting for the patients treatment to begin. Stacked up against the wall behind them are monitors, their read-outs glowing in the dark. Streaming through the darkness of the cinema is the light of a projector, ready to show a film. As soon as the screening starts, the attendant begins to continuously administer eye drops to his patient the liquid immediately pooling and spilling down his cheeks as if he were weeping.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/30900