1. UNIVERSITY ”Ss. Cyril and Methodius”
Faculty of philosophy
Institute for Sociology
Graduate thesis
Subject
”The deviant behavior in film :
A study on Stanley Kubrick’s “Clockwork
orange” and Neil Jordan’s “The Crying game” “
Author Mentor
Bistra Georgieva Prof. Dr Antoanela Petkovska
2. SKOPJE, 2007
Content
Introduction.................................................................. 3-4
The sociologic meaning of the film.............. 5-7
Subject of research................................ 7-10
Samples of analysis..................................... 11-13
Sociological analysis of the films............. 13
- I movie ”Clockwork Orange” ………… 13-20
- II movie ”The Crying game"................... 20-25
Conclusion.............................................................. 26-28
Bibliography.................................................... 29-30
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3. Introduction
The subject which is a synthesis of two branches of the sociology has arisen out of my
special interest in it and my expressed knowledge of sociology and the film art. The
sociology of the deviant behavior and the sociology of the art are the two areas which
continuously excite tickled my curiosity through the entire education in the area of
sociology, as well as at the one-year School for film in Denmark.
In spite of the wide scope of the subject and the probable constraint for a sociological
approach, still I would like to open it through this graduate thesis, with the intention to
examine the possibilities of joining the two vast areas, the sociology and the film which
means the society in the film.
The main challenge for the choice of the subject: ”The deviant behavior in the film art”,
comes from the general power of the film, which means the two films: ”Clockwork
Orange” and ”The Crying game" specifically. The manner in which they present the
immorality in the society and their influence upon the social consciousness.
Investigating the subjects I faced the main difficulty – the absence of literature which
covers the two sociologies, this has become an additional challenge, one of the tasks
within this work has become exactly that: to find the common thread with which to join
both, and how I could transform them into a sociological analysis.
Trying to analyse why some of my favourite films have left me with a special
impression, I had to treat them based on the different sociology in a way which is specific
in relation to the sociologic theory and in relation to the film art. And in addition the high
aesthetic value of this kind of films offer a deep analysis of the society and the
individuals in it. Thus the film art becomes an asset for conscious or accidental transfer of
the social reality. This means that it may become positive as well as negatively inspiring.
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4. The currently high interest in the subject originates from two sides. The first is the
omnipresence of the deviation in the society. On one side new forms of difference are
occurring, and from the other side the construction of ”sometimes the different
occurrences” in the framework of the normal social behavior. The second side comes out
of the character of the movie as a medium. If it is in the nature of the art is to leave
behind permanent achievements, creations and forms, and for the film, which is a part
thereof, the same is valid: regardless of when it is made, it may retain its high current
value of interest through the time, including and communicating with the audience of
different generations and spaces.
It is considered, that the film is understood as a mass media and it may be treated only
through its function for entertainment, which means as a product of the entertainment
industry, which is still a relatively short-sighted aspect. Therefore exactly with this thesis
I will try to explore into the deeper nature of the film for one sociologist essential, and
this is the influence that it is based upon the society, that in its domain of acting is
personified in the audience.
The currently high interest in the subject is as such exceeding considering the
globalization processes with which they are covered and the medium. According to
Anthony Gidence the globalization of the cinematography may be seen from two aspects.
The first aspect is the effect of which countries produce the films and the origin of the
sources of finance. So, that the studies of UNESCO show that in 1980 about 25 countries
could produce 5 or more films per year, while USA, Japan, South Korea, Hong Kong and
India, during the same time period produced around 150 films, respectively.
The second aspect of the globalization in the cinematography is to be followed like the
films are distributed and presented in other countries near the country of origin. The data
shows that USA has the role of the largest distribution power in the film industry, and
thereafter comes India, France and Italy.
The globalization in the film industry contribute to the possibilities for accessibility of the
film. Through the DVD and its spreading, the audience becomes a much more massive
access than ever, and with this and its influence upon the art of film makes it more
important and worthy for analysis.
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5. The sociologic meaning of the film (functions and tasks of the sociology
of the film)
The sociologic importance of the film as art form can be analyzed from two sides. On
one side is the influence of the social context as part of the making of the film its time
and wide border, as well as the cultural context behind the motives of the creation of one
film. The other the side is the influence of a specific film directly upon the audience, and
indirectly upon the social system. The two sides do not stand on the both half of the axle.
On the contrary. They are mutually connected and in this way appropriate for significant
analysis in the area of the sociology.
In the film history there are numerous examples which clearly confirm the sociological
importance of the movie.
The much appreciated and known film historian Mark Cousins in his study with the title
”The story of the film” follow up the world movie history from the beginning (the silent
film) up to the new digital era.
According to it, one of the most evident influences, impacts of the socio-political
environment is the period after the second world war upon the art of film making known
as ”The new film language of the realism”. This period covers about ten years starting
approximately from the year 1945.
"The film makers were not incurious of the historic events which were around them, for
them, some of them took cameras and started to make films about it” writes Cousins in
his essay.
The new realism in Japan is under strict american censure. For the time of the war 1400
cinema halls were closed in Japan, and with respect to this period in order to prohibit
nationalistic and traditional stories, subjects in the movies. Thus the only inportant film
producer in this period is Jasujiro Ouzu which in his own movie from 1947 process the
5
6. intimate story of the abandoned child and widow, and very discretly at the end of the
movie one of the main characters talks about the selfishness of the people in the modern
society, through this subtly referring to the almost finished war and the people who took
part in it. Through this example in the japanese cinematography of the period, it can be
seen the society determination of the artists which means the borders, which a certain
political regime is placing and the reaction of the artists who live and act in a specific
socio-political context. On the other side again, the case with post-war Italy completely
clearly demonstrates what kind of influence, and traces, the war left due to the content
characteristics of the film. One of the most eminent italian film producers, Roberto
Rossellini, in his own two movies ”Rome, Open city” (1946) and ”Germany year
zero"(1948) illustrate subjects of the brutal German occupation forces in Rome and the
hard way of living between the italian civilians and the american soldiers after the war.
The sociological importance of the movie can be seen also in its possibility to critique
the existing society which means its segments.
As well as each art form and each specific movie need to find its own location in a certain
social context. The manner in which it presents the reality, the place and the time are
between the factors which are relevant for one film so that there is a certain capacity of
influence upon its audience.
Certain film genres are intended specifically for entertainment of the people and these
are not generally less valuable than those which handle more moserious subjects. The
entertainment film industry has its own social purpose and function and such movies are
representing the mass character the film. Their audience usually include a large number
of people from many social groups: male and female, rural and urban population, rich and
poor.
Is the film generally adaptive to improve the society, increase the knowledge and to
increase the moral? Talking in general for the art, one can think that there are such artistic
works. In relation to the movie, it would be those examples in which it is insisted to
fluctuations of the society in more successful through social critique in the sense of
immediate and open attack Due to certain social systems, based upon individual classes,
determined institutions or deviant behaviors presented in a specific society.
6
7. Other movies may become only products, and not producers of the social occasions
because they express a tendency that is already in the society. That to further reflection of
some ideologies, acts which only improve what arises or affirms what is already existing.
In this sense is alos the function of the art generally, and of the movie particularly. ”Not
just to open the eyes of the consumers, but also to prevent to close them again before the
facts, the deeper problems and the tragic alternatives” (Hauser, 1986). The film has its
power in spreading new habits, manners of thinking, behavior. It becomes an inspiration
for opening many questions, it becomes support of certain marginalised groups or
becomes possibly a means for manipulation of the society.
Subject of research (the power of the Biblia pauperum )
The subject of research covers the scope of sociology of the art, which means the sub-
branch the sociology of the film.
The film within this thesis has not been taken into consideration only as an art form, but
also as a field that contains many social aspects which are important for research and
analysis. From all possible subjects which are to study the sociology as a science, I
decided to narrow in the subject to the deviant sociology.
Due to this, the shapes of the deviant behavior in the art of film making is narrower
regarding to my studying.
The appearance, phenomenon of, occurence of the film actually imply the occurrence
and beginning of the mass art. It becomes a mass art above all because of its
technological capabilities. According to this the film is possible as a mass media since it
contains the technological assumptions how: the method of production, multiplication
and expansion.
7
8. This is highlighted by Arnould Hauser: ”The film as an art will not be developed out of a
certain predetermined shape, but of inartistic experimenting with technical discovery”
At the beginning the film wasn’t even an art for ordinary people but thge interest of the
excentric circles in the american society. Its assignment will not be to become an art; as
well as in folk art where singing songs and decorating tools the people didn’t know that
they were part of an artistic process, so also the first producers’ and viewers of films
weren’t conscious that together they created a new art area.
Without much analysis, further it is clear that the chances for success of a good movie
are larger than the chances for success of a good novel or artistic picture. This is due to
the specificity of the film. Each art needs the previous knowledge of ”the language” of
that art, the capabilities of this art, during ”the language” in the film is to perceive
without special previous preparations.
Still also there is a need of multi-sided analysis especially if one takes into consideration
the larger world production of movies. As Hauser says: ”ends the era of idyllic syllables
of the film, having the consideration of the different phases through the film history”.
At the beginning from the start of the movie is to make, create the films with commercial
content, understandable for the wide masses. Over time, the production increases, other
countries start to become part of the film history with this including authors and subjects
with different cultural-social sensibility. Thus the film becomes an art which responds to
a more differential audience, selected according to the manner and the capability to
perceive a specific film.
According to this also the analysis of the relationship between the art of film making and
the society is rather limited, not having the consideration possible statistical information
for the ratings and the audience.
The film work has the role its power and in manner in which becomes mediator of the
reality. Each art is a mediator between itself, which means its ”reading” of certain reality
and the audience. In the case of the film as a medium, it does not ask of the viewers
fantasy and active imagining, creation of pictures, it within itself carries this in its entirety
and exactly that feature makes it a power for the masses.
In this context and the subject of analysis is specific since the question of the deviant
behavior in the society and manner upon which this is shown in the art of film making.
8
9. The space for manipulation is large with experiments showing that of this that be
operated for the freedom of creation of one art. Therefore each author is being given the
responsibility for the creation of a film. Still, the responsibility is two-pronged. In front of
the audience there is the same responsibility but to accepts one act, how much is valued
in its narration and how much artfully will, shall be playd its importance, meaning,
significance. Especially has the sensitive subject of the anti-social occurrences which
meaning and understanding the sociologists constantly to revise in sense of definining
what behavior is the deviant, and what is not.
The normative approach in explanation of the anti-social appearance is affected of norms
in certain society, so according to the existing standards, those which, who are approved
of the majority, are the measures of the deviation:
" behavior that deviate, because it deviates by the average (normally) in the community "
1
.
According to this many occurrences in the society could be put within the scope of the
deviant behavior. One acceptable definition is also that by the authors of ”Social
pathology”, Nelko Stojanovski and Zoran Sulejmanov, It says: ”A deviant behavior of the
individual is the one who provokes a definite reaction in the social environment and that
only then when the environment of such actions results in some kind of sanction 2
.
The questions for that how much, how many and what it may become labelled like the
anti-social lay and Emil Direkm. His functionalistic approach explains that a certain dose
of crime in one society as positive for better integration of the individuals who could be
protected from the criminal.
Which is affected until the homosexuality/ the transexuality, for different of the
biological and the psychological theories which the reason to demand in special types of
the person, the low coefficient of intelligence or the indigenous characteristics of the
individuals, the sociological theories the reason to demand in the society which means in
the framework of basic groups in which the individuals are socializing. In relation to the
treating of the homosexuality as anti-social again Dirkmet’s realizations may be used for
the deviant, this way as a valve through which in the society are imposed new ideas as
1
|urovska,Mileva (2006), Sociology, Skopje,Faculty of Philosophy
2
Stojanovski, Nelko, Sulejmanov Zoran, (2002), Social patology, Skopje, Jugoreklam
9
10. well as new challenges. Exactly this Dirkmet’s principle illustrates Anthony Gidens
explaining that few decades ago that homosexuality was seen as a criminal activity, and
that now it is already a period of shifting of the margins of the society it to become a
mainstream occurrence. He refers also to three main moments for this reversal. First, the
survey of Alfred Knizy in USA from 1940 until 1950 which has attracted the public
attention with the facts for the spreading of the homosexuals but, also helped it is to
overpass the incorrect claims that to group anti-socials with psychic disorders. The
second moment is in the year 1969 so called. Stonewall Riots, which means the violence
in New York between the gay community and the NewYork Police according to which
stimulate movements for freedom of the homosexuals. The third moment is according to
Gidens crucial, and, or this is the danger of epidemy of AIDS in 1980 year, when many
homosexuals were infected and died of this virus.
Those three moments which are mentioned by Gidens, caused large scale media attention
all over the world. Numerous public debates started to treat the subject of the
homosexuality with who is brought and gradually changed the behavior in the society
towards homosexuals and their subculture.
In addition to all sociologinal theories for the explanation and classification of the
deviant behavior, the same in the art of film making receives another dimension. This
dimension of one the side bids possibility for opinion of certain occurrences beside all
sociologic theories in it, only for explanation of the format of the of the deviant and from
other side behavior, for reevaluation of the existing prejudices and views.
The violence within the films and effects of his represents is one regarding analysis in
this thesis. While the second subject is the homosexuality and the transvestitism within
films and the manner in which they are treated in this social phenomenon.
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11. Samples of analysis
This thesis according to the dimensions of the sociologic, the sociology is closest to the
type of descriptive sociologic research, that to affect of research of specific details of
situation, social surroundings and relations in which the individuals are presented. But,
the entire research will become conducted through analysis of two specific films. In this
sense this is theoretical work in which the analysis is created based upon assumptions for
the existing or possible reality presented through the movie. It as a medium actually is a
way of social communication containing in itself all three basic elements of the
communication process (sender of the message- the author team which stands behind the
movie, receiver of the message- the audience and content of the message). According to
this the analysis of the movies which means studying of the content of the message
enables it to find out conclusions for the realization, the attitudes, the values and the
intentions of the sender and to, for, about is presumed or research its influence upon the
audience.
Samples of analysis in this thesis shall be two films from the English language area. The
first from the year 1971 with the title ”Clockwork orange” by Stanley Kubrick, and the
second from the year 1992 , "The Crying game” by Neil Jordan.
The high aesthetic value of the two movies is not a reason less for those to, shall become
regarding this thesis. That to completely different with the style and the narration,
thematic are not generally are similar but, sociologically observed, and in both the
presence of the anti-social occurrences is a central subject.
Still, the citation which follows most precisely explains the reason for the selection of
exactly these two artistic works:
”The who of the artistic act gives social, moral and human value does not lie in the
motives, neither in the content, neither in the characters or the expressive tendency
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12. which accentuate, but in the seriousity, the intelligence and in the consequence, shortly,
in, at the spiritual maturity with which is entering to the problems in the lives”.(Hauser
1986)
Short content:
Clockwork Orange is a movie from 1971, written, staged and produced by the
English director Stanley Kubrick (1928–1999), based upon an eponymous book
from 1962 by Anthony Barges3
. The film is staged in a futuristic Britain where a group
of teenagers each day rave, fight, rape and kill helpless victims. The film is narrated
through the main character Alex, who at the same time is also the leader of the group. He
calls their acts of violence ultra-violence, initially enjoying, but at the beginning of the
second part of the movie when his friends are turning against him and allowing him to be
caught by the police. Convicted of further years prison, Alex agrees voluntarily to be the
subject of a new experiment of the government which presents aversive therapy for the
purpose of reducing the prison punishment, faster and easier healing of this condition of
aggression. So it happens, the successful therapy creates hatred for violence but, with
respect to,followed by the going out of freedom he becomes rejected by his friends and
relatives. Beside this, now he becomes the subject of ”ultra violence” and that of those
who once were his ”victims”.
In the movie almost all scenes of violence are accompanied by music of Ludwig van
Beethoven, and the scenographic positioning reminds of the style of the english pop artist
Andy Warhol.
The Crying game is a movie from the year 1992 written and directed by the Irish
director Neil Jordan (1950–). The movie begins as a psychological thriller, when
soldiers of IRA kidnap a brithish soldier (of Black race). That held as a hostage awaiting
directives for his release or execution. During the night the main character Fergus (soldier
of IRA) becomes close with the british hostage which with him share the story for the
3
Anthony Barges, (1962), A Clockwork orange, UK
12
13. love of his life Dill, leaving him a message for Fergus ”to meet and to tell her how much
she meant to him”. The hostage becomes killed, and Fergus defects in London. He meets
Dill who works as a hairdresser in a salon. Becomes enamoured in it and her sensibility
not knowing that actually she is a transvestite. The story continues in a very intimate and
subtle environment in which Fergus discovers many other things for with each other and
generally for the human nature.
Through the movie there is a specific atmosphere of one subculture of homosexuals and
transvestites, atmosphere recaptured through the election, choice of locations and scene
positioning as well as the music which suitably follows the movie.
Sociological analysis of the films
With the sociologic analysis of these two movies I like to find out on which way the
movies have an own capacity to point out some key problems for which the sociology
general, and, or the sociology of the deviant behavior particularly much discussed, and
not has always been explaining and resolving, during that (the movies) open the questions
of separate in this way in front of the mass audience which follows this medium.
Film I
The movie ”Clockwork Orange” is a complex approach towards the linkage of three
concepts. The concept of violence, the concept of aesthetics and the concept of medium.
Manner in which these three concepts are connected in one consist actually this gives a
film such importance and power. It is not in compliance with questions, on the contrary
being placed such with which brings to suspicion certain assumptions. One, of many
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14. important is for example, the question for this if the violence in the movie inevitably shall
lead to violence in the real world. This again brings with itself the sub-question regarding
manner in which to introduce certain censorship
Making aesthetics of the violence is one of the recognizable characteristics of
”Clockwork Orange”. Visually pure, dashing for everyones eye, the movie resonates with
fantastic scenes of violence in a sense of manner in which they are carried out, the music
with which it is followed, as well as the context in which it is created. The aesthete will
not be only shallow transferred through the scenographic but also all characters towards
who is directed The violence is shown in situations in which the viewer not at all or only
a little will feels compasion towards them. On the contrary. The audience is completely
intimate with the main character, and together with it meets or survives all violent
activities. This alos in the film language is conducted through the decision of the director
the main character it is turn to directly in the camera, which means directly towards us,
the audience. Due to this, the audience stays a passive observer who is only lead on of
one high stylized artistic rolw. All this leading on was in negative or positive sense is in
context of the power of the movie as a medium and the mass effect towards its audience,
and with this also the larger probability for influence upon it.
The violence in this film, and its possibility for transposing in the society reality opens a
discussion for two opposite thesises.
The first, is the negative effect that provokes the movie with its high aesthetical violence
content towards its audience which means the social environment still, this analysis has
organised cultural-social context since already mentioned lack of this kind of analysis in
which it is difficult to come to specific statistical information.
The film is published in the year 1971 in Great Britain and immediately with respect to
this was prohibited for showing. The prohibition was the result of the pressure which had
Stanley Kubrick of the public (in sense of threats with respect to his life for him and his
family). They were constantly blamed that they glorify and that they stimulate the
violence. Actually, the director decides the movie will not be shown in Great Britain,
while in America it became as one of the most watched films of the year. This fact, many
clearly shows the power of the movie as a medium, which means the responsibility of the
artist for the one that to create but, and the responsibility of the audience in the process of
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15. perception of the composition. " Kubrick is not moralist, neither psychologist, he, it will
not explain what shows. The audience is forced itself to decide what it does want to see in
this of the deviant and the price of this freedom including and accepting the risk that also
the Nazi-skinheads will adore "– says the editor of Tashen the editions for movie Yiergen
Miller 4
. One year after the appearence of the movie, a group of adolescents in Britain
raped a seventeen year old girl during singing ”Singing in the rain”, completely identical
imitating one of, from the most notorious scenes in the movie. This fact is only one
example which it can be taken into consideration if is talks for the social status of the
audience who has been watching this film. It is considered, the logic of identification
with the characters of the film generally, leading to a conclusion that the adolescent is the
most loyal audience of ”Clockwork Orange”. Those, in the movie to recognize its the
insurgent nature, the upsurges for destruction, for aggression and delinquency generally.
According to this that to and the easiest purpose for manipulation and create open or
hidden propaganda, or purposelessly which means by intention influence, impact.
All this is socially significant if it is entrusted in context with the reality condition in
Britain exactly at the period at the beginning of the seventies. The official statistics which
Gidence is showing, shows a tendency of increase of the criminality through the years. In
relation to the years and gender statistics for England and Wales of the year 1997, leads
to this that the largest percentage of the boys up to about twenty years is perpetrators.
hereto pops in the eyes the fact of the timely overlapping with the year of release of the
movie and the statistic from 1971 to the year 1997 for the admissions in England, Wales
and northern Ireland.
It has a permanent tendency of increase, and the largest culmination is in the beginning of
the nineties years. According to this can not to bring some objective values conclusions
but, it could be pointed out to the convenient temporary context in which is made the
movie. If it, is reflection of the moral degeneration in the society, the erosion of the
traditional values, or it is only an artistic composition stays irresponsible question.
Possibly also the answer when would be existed, could have contained a synthesis of the
two: the social reality and the vision of it.
4
Müller, Jürgen, Best Movies of the 70s, TASCHEN (series Movie Decades)
15
16. In this context completely relevant to mention is also the choice of the producer basing
his own movie upon the American version of the eponymous book. That is, in the
original English edition of Anthony Barges the last chapter has end in which Alex, the
main character further will not be entranced of the instincts for violence, he is completely
drawn out of the in this way of life and establish his own family. Meanwhile, in the
american version of the book (as well as in the movie) is completely omitted this chapter
and the movie concludes with a pessimistic-ironic statement for the human irrational,
brutal and incapable nature and the impossibility to build social institutions which will be
put under its supervision this is his nature.
Back in the real society, in, at the british context, Gidence presents the condition in the
eighties under the authority of Margaret Thatcher (she was the Premier Minister of Great
Britain from 1979 to 1990) when introducing a new approach towards the criminals
termed ”Law and order”. According to this, the increase of the criminal and the
delinqency is connected with shaking of the moral, collapse of the traditional family, and
with this and the values tied to this. Many public debates and media to emphasize the
crisis caused by the violence and anarchy that and is a threat to the society’s stability. The
deviance is treated as individual pathology, as system on destructive behaviors of
individuals at which depriving self-control and morality that automatic drags and the
choice of the government activities and assets for its decrease. The conservative ideology
of that government decides to increase the funds for the system of criminal justice and to
increase the punishments for prison of the admissions.
But, that of what the movie constantly will reminds is the probable upside-down reality
which are based, according to Kubrick, on the mankind which constantly is stuck in
violence. Much critique and explicitly in the movie this is shown through the scene in
which Alex, main character with respect to the going out of freedom is lay in wait of their
own former accomplices (in the ultra-violence) but, now already entered in the uniforms
of social guardians playing its new role of police which uniform only covers the same
violent nature.
Due to this, on one side ”Clockwork Orange” can realize as a critique of each political
system which is trying to reduce the criminality on the basis of wrong view for the nature
of the man but, this critique it can be to plays and as a promotion of certain kind of social
16
17. supervision. That is, in one transcript of Time Magazine, Fred Hetziger much radically
criticizes Kubrick that in his own movie alludes of the institutions of the fascism as most
appropriate and only possible dampers of the irrational members of the society.
Providing that with the first thesis is confirmed possible negative influences, impacts of
the movie upon the society, the second thesis to affect the positive effect of the movie
actually the violence in it, and the function that has that role.
This thesis is based on the manner in which the film is made, at its completion of the
visual and facility to involve the viewer in a special way. According to this, the audience
is satisfied with watching the scenes of violence, because it is aestethically excellently
made, because the whole torture on the screen is torture towards each other, and the
average viewer only views without at the same time to become compelled truly to
participation, still indirectly taking part. Due to this, the audience becomes excited by
what they watch or like Neils Mauer explains: ”Didn`t shock us the thing that Kubrick
shows in his own movie, but did shock us our reaction as viewers.5
The concept of aesthetics in the film as a medium can be analyzed and on the level of its
influence, impact in the cultural-artistic context.
Because of the specific visual solutions the movie ”Clockwork Orange” is an appropriate
example through which it may be shown as a certain movie with its aesthetic it may
become an indirect or direct inspiration in the cultural-artistic communication.
Due to this, in New York there is an identically arranged bar interior with the same name
as this in which Alex and his gang "Korova milk bar”. Korova is also the name of a night
Club in Liverpool, England.
Other kinds of influences and inspirations taken over from the film are those noticed at
distinctive musical names. For example, parts of the texts of some songs of David Bowie
quoted sentences of the film, as well as some photographs on which he is clad in the
specific clothing of Alex. The style of clothing that is worn by Alex’ gang is the most
commonly ”quoted” by musicians in different circumstances. Due to this, the drummer of
Led Zeppelin for the time of their tour in 1975 often appeared clad in complete white
5
Meyer, Nils, Best Movies of the 70s, TASHEN (series Movie decades)
17
18. trousers and bowler hat. Or in the pop music Kylie Minoque with her tour in the year
2002, was entirely inspired by the film in sense, meaning that she and her dancers were
dressed in the suits of Alex and the scene was decorated according to the film. Even in
India, one progressive group is called “Clockwork orange”.
In the area of the cinematography, long is the list of movies whose references have a
respect to scenes from ”Clockwork Orange”. Quentin Tarantino in his own first movie
from 1992, ”Reservoir dogs”, there is a scene in which during a famous song torture is
being performed. Later in one interview he declares that direct reference is the famous
scene of ”Clockwork Orange” in which the scenes of violence and raping is followed
with singing of the song ”Singing in the rain “.
Anyhow, different artists are inspired by the aesthetics of ”Clockwork Orange”. Pop,
rock and techno musicians, producers, as well as many authors of cartoons movies and
authors of video games, use the stylish solutions to this of the deviant in its quotes,
music, with one to its unique and original aesthetic.
This analysis shows for the influence of the movie due to the cultural-artistic making, is
that the movie generally as a medium, and ”Clockwork Orange” specifically, in this way
leaves personal traces in a certain socio-cultural context.
Social critique
The one that among other things makes ”Clockwork Orange” still current and excellent
for analysis is its fundamental critique of the society. The movie clearly shows that also
with respect to, followed by forty years since its release (fifty years from the publishing
of the book) the structure in the society will not be changed much; structure in sense,
meaning of positioning of the individuals-violators in relation to the system for
supervision and for their resocialization.
Making irony with the ways of the authority for better control of the criminal in the
society ”Clockwork Orange” ”offers” one unsuccessful suggestion. ”the Ludwig’s
method”. In the movie this is a method that promotes the ministry of internal affairs and
is affected of elimination of the criminal reflex within the criminals. In the period in
18
19. which the book has been written, very modern and controversial with their own theories
was Skinner (B.F. Skinner) who actually says that what man needs is technology of
behavior, some kind of social engineering. Thus ” the Ludwig’s method” is a reflection of
the scientific climate in this age when many cases of aversive therapy is appearing. In the
seventies of the twentieth century, the aversive therapy has been used with the purpose to
”change” the homosexuals into heterosexuals and to reduce the sexual deviation of the
young.
In the movie the same is applied with the purpose to destroy the reflex for violence in the
case of Alex. It has opened eyes and one can not close one’s eyes in front of scenes of
violence attended with the music of Beethoven, which escalate in their brutality and
explicitness. The effect is allegedly achieved. Alex is healed of the reflex for violence
with completely immoral methods.
And if the existing methods would be moral in the prisons successful is their attempts for
the resocialization of the offenders of the law in this kind of institutions. Doesn’t the
society itself provoke and produce again such violence?
Theory of labelling completely will, shall be agreed with the movie in the only answer of
all above mentioned questions that actually is not possible to complete a resocialization
into the society that often itself produces and provokes violence.
The interactional tradition in the sociologic theory are focusing on the deviance as a
socially constructed phenomen. The interactionists theirs research directly towards the
questions because some behavior and groups are defined as anti-social, which means on
which in this way they get this label. From here follows the theory of labelling. This
theory interpretes the deviance as a process of the interaction between the anti-social and
the normal. The labels are definitions which come out of the environment itself, which
the individuals then accept as their own. It may be said to the essential critique towards
the society that is shown in the movie ”Clockwork Orange” actually is an elaboration of
this theory. From when Alex is released into freedom under the assumption that his
deviant behavior is completely eliminated, he comes across a society that is completely
”closed” to him. He is already labelled from the surroundings as a delinquent, rapist,
killer, murderer, bad son etc. Alex tries to resocialize himself, first heading him self at his
own parents, who can not accept the fact that their son is not delinquent anymore. So the
19
20. circle starts to spin and now the society is what is disabling him in his own process to
continue ”normal” life. Thus the film placed the question for the possibility of the
resocialization of already labelled perpetrators. The individuals in the society which
already are labelled as perpetrators come across resistances in the middle. According to
this it can be said that the environment with respect to instigator of the deviant behavior
especially in the processes of resocialization of the individuals.
Still, as well as each sociological theory and those have their own flaws. In theory of
labelling the disadvantages are in respect to the impossibility to being explained in
entirety the reasons for the deviant behavior because I dont include factors which are of
high importance for this kind analysis (for example: the factor of unsuccessful
socialization or the belongings to a certain class of the socitey). It as theory is well
besetting for the explanation exactly on the pressure of the social environment towards
the deviating individuals. The individual, in attempt to adapt to new in this way of
behavior almost inevitable comes into a network of the society and its structural
positioning, can not in a sufficient way be avoided.
Due to this, and in the movie the end is too, very real, It is actually only the beginning of
the same story. An ending in which the main character understands that he is actually not
healed, that he remains as he used to be before he was put in prison.
Stanley Kubrick choosing this conclusion, actually points out his vision for the human
nature which was always stuck in violence. But, the essence will not stay only on the
human level. This via the humans indirectly affects the society and the manner upon
which its participants behave, lead and control.
Film II
The production of art works is a social-historic process which depends on a sequence of
factors and is to be achieved in compliance with the natural-cultural, the geographic-
ethnographic, the timely-spacely, the biological-psychological conditions in a certain
context.
20
21. In this sense the movie ”The Crying game" is very interesting regarding for analysis. It
was made in the year 1992 with action located in Ireland and England and treated
subjects of homosexuality and transvestism6
.
The time period in which the film was made overlaps with the period when these subjects
are in the center of the scientific research especially in the kind of studies, during
geographic-ethnographic his occur is overlaps with the conflict between IRA and Great
Britain. So subject for the civil War is only mean through that is interwoven in this time
the controversial topic of the sexual identities and their variations.
According to their own generic characteristics the movie belongs in the genre of Queer
cinema. This genre appears in the nineties and in it are covered the independent films that
treat subjects of queer culture.
In this context is and also theory which affects all controversies about the categorization
of gender and the sexual identification.
One of the theorists of this theory is also Judit Battler. She in his paper ”Problems with
the gender” talks about the linkage between the sexual acts and the sexual identity in a
sense that this relationship is not always so clear as it seems. Exactly the connection
between the gender and the sexual requirement which means attractiveness, which is in
the center of her disscussions is presented through the film. Dill is biologically male. He
identifies him self as a female and desires male. Fergus is a male who is identified as a
male but, desires male and female.
Itself Louer theory is complex, while the movie is self-own perfect illustration of that
complex and controversive subject.
The relationships of identification and promiscuity orientation much is difficult are being
categorized through binary drafts of the male and female types. There is much variations
which through the history existed but, in the last two decades only get larger media and
theoretical importance.
In one social-cultural context thus actuality reacts fluctuations in the awareness of the
people and space for reevaluation of some questions. According to this, on any in this
6
Transvestizam( transvestism), see - Marshal, Gordon (2004),Oksford dictionary of sociology,
Skopje, MI-AN
21
22. way is imposed and the question for who is deviant and who will not be, at the people
whose sexual identities deviate from the binary plan of the genders.
These questions in the movie are placed, positioned through the relation between its
content and its audience. But, this relationship contains in with each other also the other
side. This is the relation between subjects which treat the film like subjects present in the
real society and between the viewers who actually make the social environment.
According to this watching the movie we actually see the social reality and we are in a
possibility to preinspect our own attitudes towards the questions posed for the sexual
identity and its possible deviations from norms in the society. At this, that for which
maybe we are not conscious, and, or that makes the movie a generally powerful medium,
is the manner in which ”The Crying game" and the director Neil Jordan present this and
lead through the story.
Initially with the observation of the beginning, we as viewers, indentify the main
character Fergus as a heterosexual person not having any doubts in his identity. He
plunges into a romantic relationship with Dill who actually biologically is male clad as a
female. The fact that Dill is a male transvestite we the audience-viewers find out towards
the middle of the movie (at the same time when Ferugs finds this out) when already and
we and the are completely ”led on” of their romantic relationship, through the movie
displayed in a wonderfully subtle way.
Due to this, the film faces individuals in our society with the anti-social or ”anti-social”
behavior who shock (disturbing) the instituted social consciousnwss. The one that H.
Butler calls simplified reality which creates rigid binary categories without space for
casual changing, this is what the movie tries to critique and to de-construct the categories
previously showing these the same. But, for different of possibilities it is open, ”The
Crying game” is a film in which sensibility and in this way of represents of between
humans relations are contained that critique.
Due to this, in a relatively subtle way the viewer is ”forced” to reevaluate their own
prejudices towards the homosexuality, and this towards the homosexuality which is
realized such that in completely other phase, phase arisen of heterosexual orientation.
Fergus is plunging unknowingly into an emotional relationship with a male transvestite
and his sexual orientation receives a completely new dimension. This dimension is in the
22
23. framework of the homosexuality and never we as observers will have completely safe
here. If is the sexual attractive of the male partner or still the emotional component and
allegiance were tried for plunging into such a relationship.
This is the behavior and the relationship between Fergus and the hostage, for which one
can only assume that it was homoerotic relationship (due to the phantasies which Fergus
later show in the movie.)
The one that especially makes the movie different is the manner in which he places in
question the anti-social character of the homosexuality. The manner in which they test the
preceding typeings of this occurrence within the scope of abnormal human behavior. The
whole this dilemma the producer in the movie reduces to the human level. Reduces to the
essence of the human relations and their most important reason the love. Entering so
deeply into these relations leaves an open space for reevaluation of categorizing of the
human sexuality. In this sense and my wish to write about this film arose from the
confusion as a sociolog and as a person in rate on this questions whom still is a tabu
subject for an open discussion.
The identities through the movie / ”Where nothing is what it seems to be” 7
The one that the movie ”The Crying game” constantly ”game” is a construction and
deconstruction of the identities. That identities brought, lead to in context with the
environment once have an anti-social auspice, and, or already the following moment
waste the same.
The movie begins with scenes which are a direct reflection of the social reality in this
time, and, or this is the civil war between IRA and Great Britain at the beginning
constructing the picture for the national identities and their mutual tension. The loyalty of
Fergus towards IRA only solidifies his national identity which gradually towards the
7
"Where nothing is what it seems to be”, part of the trailer for “The Crying game”
23
24. middle of the movie fades away in sense, meaning at its insignificance in the new context
(when he moves to London and is an employee in a civil construction firm).
Other transformation of identity happens in the sexual orientation of Fergus. He at the
beginning is presented as a heterosexual person, and later comes into a sexual relation
with a male partner and comes to question his heterosexuality. And along this
transformation of the gender identity in the movie through the character of Dill. She is
male with a female identity and later is transformed into a male, so at the end of the
movie to come back as a female.
This game with identities is actually controversial in itself. The controversion arises out
of the relationship between the movie and the audience which means the social
environment and manner in which she accepts the messages in the film.
If the aversive therapy once was in this way it is transforming the homosexuals in
heterosexuals this film gives one different ”therapy”. Completely intuitive is trying to
devalue the importance of the sexual orientation at this indirect refute all attempts for
their classification in the deviant behavior or more attempts for some of their
transformation. The one that we recognize firstly in the film is one context in which is
highlighted the masculinity of Fergus, where is being presented also his heterosexual
connection with a female volunteer of the IRA. Later, the action in the film is relocated to
London, to the bar ”Metro” which is a bar of queer the culture, in one much more
intimate context recaptured through the film atmosphere. Identifying is the audience with
Fergus, we see what he sees. So, when he for the first time comes into the bar he doesn’t
notices that is ”a little different” bar. This game is also so vital for the whole presenting
of the homosexuality and its deviant precursor. The director’s decision, Fergus to realize
that ”Metro” is a queer bar when already he is in love with Dill is decision which places
the audience in one between space of posture. Exactly this inter-space is actually the
transition and the trasformation of the identities who happens in the society. The whole
movie actually presents one space between in which the society the constructed binary
categories of identities are melted down. IRA/Irish-Great Britain, male-female,
homosexual-heterosexual person, black white.
24
25. Again here will correspond the citation of Neil Mauer but, this time used in the context of
Neil Jordan: ”Didn´t shocked us the one that Kubrick (Neil Jordan) shows in his own
movie but our reaction as viewers”.8
8
Meyer, Nils, Best Movies of the 70s, TASHEN (series Movie decades)
25
26. Conclusion
The starting paragraph of this work was about connecting the two sociologies, the
sociology of art and the sociology of the deviant behavior. Through the analysis of both,
for me very significant movies in the history of the cinematography: ”Clockwork
Orange” and ”The Crying game.
Their analysis only confirm their capacity as artistic statements to present social
occurrences who with the help, assistance of the movie narration enable opening of
socially significant questions.
The problem of the anti-social phenomenons as the violence and the homosexuality are
under ”reading glass” of the sociologists, especially their preinspection in different social
contexts.
Due to this, the violence in the societies constantly is subject of discussion and research,
since his scope and also due to the new forms which are appearing. According to this, the
film ”Clockwork Orange” is still very significante, it is in compliance with questions
related with the possible reasons and social aspects of the violence.
On the other side, in the movie ”The Crying game", are open questions regarding the
homosexuality, which means the meaning that is attached in the society today for the
sexual orientation of the people. Still, i think that the idea of the movie looking through
the sociological prism it is presenting identities which are ”assuming” the individuals in
the society and it is describing their fluidity which disappear the social landtypes for the
deviant behaviors.
Stanley Kubrick was suggesting to Neil Jordan, whose primordial proposal for title of the
movie ”The Crying game” was ”The woman of the soldier”, changed the same,
considering that films with religious or military titles can”reject” the audience and
through this may become financially unsuccessful.
This fact, speeches for the awareness of these two author-directors for their activities and
the reponsibilities which they undertake in placement of a certain art form. In this sense
26
27. the citation which was a description for the reason of the choice of exactly these two
movies receive a different meaning:
”The one who on the artistic act gives social, moral and human value does not lie in the
motives, neither in the content, neither in the characters or the expressive tendency
which accentuate, but in the seriousity, the intelligence and in the consequence, shortly,
in the spiritual maturity with which is entering to the problems of the life”.(Hauser
1986)
Which means, will not only the seriousity, the intelligence and the consequent him give
social, moral and human value of one act, but also the motives of the two producers for
creation of this thesis in this time, age; the content of that works, also in context of the
cultural-political context of the time, of ”Clockwork Orange” like a kind of fortune
telling critique for the future of who is ”convicted” by the society, and ”The Crying
game" for the courage of the content which includes review, summary, report of the real-
existing civil war, through the numerous delicate questions regarding the sexual identity;
and in the characters who are the authors which means, their attitudes stated through their
own works.
A joint thread of both films appears on two functions which they ”perform”:
The first is in the relationship between the art of film making and the audience. The
effect of the art generally, and on these two films specifically, of the momentary
fulfillment of human passions for the aesthetic and the enjoyment therein; the high
aesthetic value. Of ”Clockwork Orange” presented through the spectacular in the manner
and the volume of narration of the story. While in ”The Crying game" through
unambitious (in comparison with the first movie) construction works but via the subtly
the recaptured scenes with precisely chosen music and with terrific actor’s composition.
The second function is more social, since their content which present social problems on
the level of macro and micro sociological analysis. Macro analysis of the social structures
and the social systems, analyzed in the movie of S. Kubrick; and the micro analysis of the
social interaction and the meanings which it receives, in the movie of Neil Jordan, where
the social interaction between the individuals and the meanings of their relationships in
the society reality come in conflict.
27
28. Still, the one that is significant for the two analyzed movies is possibilities for their
further analysis and disscussions, not only in their art sense but also in the sense, meaning
of the provocation that they cause responding to the audience - the social environment.
Due to this, those which are in the respective socio-cultural context ready to recognize
their value and power are witnesses of extra ordinary personal experiences.
28
29. Bibliography
1. Butler, Judith, (1999), “Gender troubles: Feminism with subversion of
identity” pp9-11, Routledge
2. Cousins, mark, (2004), the story of film, the Great Britan, PAVILION
BOOKS
3. Giddens the.,(2001), Sociology- 4th edition, UK, Polity Press
4. Gjurovska, Mileva (2006), Sociology, SKOPJE, Philosophical faculty
5. Hauser Arnold, (1986), Sociology arts I and II, Zagreb, School book
6. Hechinger, Fred M., (1972), A Liberal Fights back, which New York
Times, Sunday, February 13
7. MARSHAL, Gordon (2004), Oxford dictionary with respect to Sociology,
SKOPJE, MI-AN
8. Meyer, Nils, Best Movies of the 70s, TASHEN (series Movie decades)
9. Miller, Jürgen, Best Movies of the 70s, taschen series Movie Decedes)
10. Stojanovski, Nelko, Sulejmanov Zoran, (2002), social pathology,
SKOPJE, Yugoreclam
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