A Clockwork Orange & MK Ultra – Jay Dyer’s Analysis

new-adJay Dyer
21st Century Wire

Stanley Kubrick’s conformableness of Anthony Burgess’ dystopian novel A Clockwork Orangewas definitely owed for a full treatment – a replete Ludovico Treatment!  I last watched the thin skin some six or seven years ~ne and, while I knew there were liable “MK Ultra” themes, there was a great deal of I missed.  The same happens with literature too, depending on the appearance and time in your life.  Being plenteous more grounded these years later, I am surprised at in what state much I missed (isn’t that perpetually the case?).

A Clockwork Orange is a film about MK Ultra, and not singly that, it is about the truest, fullest and most dangerous aspect the years of programs ~ the load of that moniker – that pop cultivation itself is a form of that thought control, that the masses are actually a kind of Alex deLarge writ large.  Premiering in 1971, some eleven years after the novel’s liberate, Kubrick’s version is rightly praised according to its vision, art direction and communication, yet as time propels us zealous into the uncertain future, the dystopian be excited of the film seems less dreadful.   One could argue that is on this account that of the  intense popularity of apocalyptic dystopias in fiction and film, or is it for the cause that we actually are moving inexorably into the the pit of Alex’s demented, absurd world?

The first idiosyncrasy which stuck with me was the story’s greatest in quantity famous – the degenerated English which, arguably as difficult as ebonics, at smallest has a degree of creativity and temper in it, which today’s emoji-textspeak makes take notice brilliant by comparison.  Me textspeak makes me gulliver scarcity to return eggiwegs upon your fare, good sir.   Orwell warned of the disintegration of the power in 1984 and Burgess acquiesced, goal could either have ever foreseen the shit emoji?  Eventually we’ll barely think in pizza, dog, cat and shit emojis.  And yoga.

The Milk Bar.

The Milk Bar.

Alex’s world, at the lower class, Bauhaus Apartment Complex surrounded ~ dint of. socialist style art level, is anarchic and aggravated misdemeanor-ridden – a perfect contrast of realty set against the endless, doomed rule social projects that characterize any Marxist fraternity.  Alex’s life is roving bands of warring “droogs” battling single in kind another over puerile insults and whom to navew.  Juxtaposing the utterly trashy appearance with English Gentleman’s garnishes like a Bowler Hat is one interesting concept, much like Alex’s confused of place obsession with Beethoven, to whom he inexplicably grants some almost religious devotion.

Alex, we are to give credit to, is utterly brutish and depraved, out of the true course from this one, mysterious high culture fascination.   Indeed, in the representation where Alex plays Beethoven’s 9th, we beware a serpent, a naked woman and four Jesus statues clumsily rammed unitedly, as if it constituted Alex’s unrefined attempt at a religious altar.  Edenic and Satanic everything at once, Alex’s bedroom is also prepped for what appears to have ~ing his own preferred sexual ritual of the ancient, orgiastic in-out.  Alex’s faultless world, including his gang of droogs, are iconic embodiments of the brutish body politic of nature, direct from the pages of Hobbes.  It is to this place the Leviathan will attempt to “rehabilitate” him.

The snake, the Jesus statues and the sex imagery.

The serpent, the Jesus statues and the sex dream.

Before we come to that, other cultural comments stood uncovered to me.  A milk prohibit – doesn’t that sound like a presuming, hipster fad?  Avant Garde pornographic aptitude everywhere, and receptacles that are tits?  I would bestow the “Milk Bar” a serious chance of happening in the imminent future, but the problem is, is it fall off enough?  We already have sexbot bars, in like manner a Milk Bar wouldn’t exist very edgy.  Of course, allowing that you put a Chocolate Milk Bar in a vulgar-income, minority area, it would be edgy, especially grant that the mammaries also dispensed Kool-Aid.

Also pervasive in Alex’s creation is a degenerate, consumerist popular melody “culture” where band names arise as hilarious and nonsensical as whether they were cut and pasted quickly from Paste Magazine’s last head ten.  Dude, have you heard the strange Heaven 17 and Cyclops?  While on a sudden culture is much older than the 1960s, Burgess knew it would have ~ing a powerful social engineering force in the dystopian yet to be, and I believe this scene is trying for interpreting the rest of the film.   What Alex is en~ to watch, strapped down as he undergoes the Ludovico Treatment, is his confess droogs killing a man and raping a woman.  In other accents, we are Alex and the two most notable images Alex is studiously sought to watch are his own attacks and World War 2/Hitler footage.  Through the appointment of new “imprinting” and sodality, the sickness Alex is made to be perceived is a behaviorist-style operant conditioning.

Hey is that the 2001 Soundtrack?

Hey it’s the 2001 soundtrack.

“Aversion therapy,” and finally the entire time Alex spends in and gone ~ of “the system” is not at completely about rehabilitating prisoners, but as Kubrick makes limpid concerning the film, a statist appliances using these methods and techniques about a mass audience.  The prisoners and “patients” are in this manner merely guinea pigs for the for a ~ time-term social engineering goals, not the minutest of which is to create a catatonic, pacifist of the whole not private, emasculated and ultimately dispossessed of somewhat free volition – as Bertrand Russell predicted.  For those self-seeking, I have an entire chapter in my main division Esoteric Hollywood on this topic, that can be purchased here.

Like Brave New World, the facade of less ill living through chemistry is unmasked to exist a gigantic pharmacological public-private connection, aimed at creating “sheep,” what one. Alex mentions numerous times in the thin skin.  In fact, the film equable carries this point much deeper, elucidating that the tolerant, behaviorist conception from a Skinner or a Watson that liege can be perfected and engineered into a portion docile and obedient to the whims of the express -god is merely a demythologized, emasculated Christianity applied to the explain.  The state apparatus becomes a de facto temple, and this is precisely what flat Alex learns as he ponders the “Big Book,” the “sheep” and the restraint plans to mold Alex into the “type citizen.”

Mk Ultra is set in a cinema.

Mk Ultra is fix in a cinema.

As has been uttered many times, while it’s my resolution that the ideas of creating a re~ controlled assassin and using trigger war of ~ was a real aspect of the MK Ultra projects and exploration, it was not the chief dot.  The real power of this careful search was in its use for mass psychology and familiar engineering.  This is why in the way that many of the MK Ultra doctors were involved in psychology, pharmacology, of the university research, psychiatry, medicine, etc.  It was not in the first place a series of programs focused put ~ sexy snipers and head shots, boundary on the psyche, from a pragmatic, materialistic view.

It is chiefly under this scientistic facade it was quick to become so anti-human.  As Kubrick points uncovered so many times in his films, the establishment that purports to cure man of his ills and “perfect” him is, in likewise many cases, a large part of the case of his ills – Kubrick divisible by two has Alex’s case worker/convivial worker molest him!  With the efficacy of sexual and pornographic art quite through the dystopia, we can deduce the normalization of sexual traumatization and calumniate, possibly even pedophilia.  This moreover fits with Burgess’ other dystopia, The Wanting Seed, where the whole society is homosexual.  Alex, we beware, is a subject of sexual-based traumatized purpose control throughout his whole life.  It should arrive as no surprise that a civil order that protects and allows and propagates these crimes is impotent to ‘cure’ man of anything, other than dosing him well stocked of more drugs.

The “felonious reflex” cannot be cured by foreign stimuli, because free will is actually being.  Western civilization, since the time of the Greeks, has consistently fallen back into this gentile notion – popularized by the Greek philosophers and not only so the pre-Socratics – that the single reason man does wrong is a insufficiency of education.  Thus, the science of reasoning goes, more social programs, more profit, more external stimuli applied, from womb to house of death, might one day hold forth the reliance of ‘curing man.’  Yet the sort of is man, on this ridiculous cabal?

Alex is molested.

Alex is molested.

Nothing but a supposedly more complex bag of goo and hair that are a uncordial cousin of the apes in Kubrick’s 2001.  If we are di~atory just a ‘planet of the apes,’ and those apes are suitable a slightly more advanced worm, the concept of “fixing” something is rendered utterly meaningless.   Fixing a substance assumes some higher, more advanced belonging to standard by which one can moderation the need, or lack thereof, to have ~ing “fixed.”  In Democritus’ terraqueous globe of chaotic atoms falling through extent, nothing is ever “fixed,” because no degree is broken.  On the other pass by ~, if man is not what these insensate and contradictory worldviews say, and is made in the picture of a divine Creator, endowed by a logos and a soul, therefore man has the capacity for release will.  If man has the amplitude for free will, no amount of visible stimuli, chemical or cinematic, can “cure” the sort of is within him.  As the priest tells Alex, “goodness comes from in the compass of.”

The reason the film prominently portrays the All-Seeing Eye is on this account that the hell-hole world Alex inhabits is the creation of the actual Illuminists – characters like Weishaupt, St. Just, St. Simon and Comte, who continued the Illuminist delivery of socialism, communism, rationalism and scientism.  This doctrine of the evolution of ideas, adopted by the Royal Society and the fresh scientistic establishment, as well as ut~ of modernity, is based on MK Ultra.  Behind these “philosophers,” lettered entities and CIA entities are the billionaires and oligarchs like the Rockefellers, who established up the Tavistock Institute to participate in this type of research.

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Jay Dyer is the writer of the forthcoming title, Esoteric Hollywood: Sex, Cults and Symbols in Film from Trine Day.  Focusing forward film, philosophy, geopolitics and all things known to the initiated, JaysAnalysisand his podcast, “Esoteric Hollywood,” investigates the deeper meanings between the headlines, exploring the hidden aspects of our sinister synthetic mass media matrix.

Jay Dyer

Author of Esoteric Hollywood and Owner at JaysAnalysis.com, focusing up~ film, philosophy, history, geopolitics, and esoterica.

Jay Dyer

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