Anthony Burgess, Stanley Kubrick and A Clockwork Orange

Acknowledgements
Contents
Notes on Contributors
List of Figures
Introduction
	1 This Book
	2 A Clockwork Symposium: A Clockwork Orange—New Perspectives
	3 Novel and Film
	4 Novel and Film: Reception
	5 This Book: Structure and Organisation
		5.1 Part 1: Anthony Burgess and Stanley Kubrick
		5.2 Part 2: Language and Adaptation
		5.3 Part 3: Twentieth-Century Contexts: Architectural, Art Historical and Theoretical Approaches.
		5.4 Part 4: Twentieth-Century Contexts: A Clockwork Orange and the Cold War
		5.5 Part 5: A Clockwork Orange in Twenty-First Century
		5.6 Part 6: Music and a Clockwork Orange
		5.7 Afterword
	Notes
Anthony Burgess and Stanley Kubrick
Dangerous Arts: The Clash Between Anthony Burgess, Stanley Kubrick, A Clockwork Orange, and the World
	1 Introduction
	2 Here Beginneth Twenty Years of Tribulations
	3 Challenging Burgess’s View
	4 Conclusion
	Notes
“A Major Statement on the Contemporary Human Condition”: Anthony Burgess and the Aftermath of A Clockwork Orange
	Notes
Language and Adaptation
Scripting A Clockwork Orange
	1 Introduction
	2 History, Context and Myth
	3 Surveying the Script Material
	4 Adaptation
	5 Openings and Endings
	6 Conclusion
	Notes
‘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
	1 Introduction
	2 Cinematic Adaptation of Literature
	3 The Fidelity Debate
	4 Fidelity in the Adaptation of A Clockwork Orange
	5 Breaking Nadsat into Categories
	6 Methods
	7 Findings
	8 Types of Core Nadsat Words Omitted
	9 Conclusion
	Notes
“Language, Language”: The Social Politics of ‘Goloss’ in Time for a Tiger and A Clockwork Orange
	Notes
20th Century Contexts: Architectural, Art Historical and Theoretical Approaches
Art and Violence: The Legacy of Avant-Garde Art in Stanley Kubrick’s A Clockwork Orange
	1 Images and Violence
	2 Avant-Garde Strategies in A Clockwork Orange
		2.1 Dada, Surrealism and Sexual Violence
		2.2 Destruction of All Values
	3 Conclusion
	Notes
Architecture and Freedom in A Clockwork Orange
	1 Introduction
	2 Defensible Space in A Clockwork Orange (1971)
	3 Municipal Modernism in A Clockwork Orange (1962)
	4 Brutalism and the Location Scouting of A Clockwork Orange (1971)
	5 Conclusion
	Notes
Glazzies Wide Open: Spectral Torture, Kubrick, and A Clockwork Orange (A Brainie by Fifteen Thinks)
	Notes
20th Century Contexts: A Clockwork Orange and the Cold War
When Burgess Met the Stilyagi on a White Night: Subcultures, Hegemony and Resistance in the Soviet Roots of A Clockwork Orange’s Droogs
	1 Introduction
	2 Stilyagi: The Origins
	3 Burgess in the USSR
	4 A Matter of Style and Music?
	5 Conclusion: Language of the Pagans
	Notes
Alex’s Voice in A Clockwork Orange: Nadsat, Sinny and Cold War Brainwashing Scares
	Notes
A Clockwork Orange in 21st Century
A Thing Living, and Not Growing
	1 Introduction
	2 The Anthropocene
	3 The ‘Technocene’
	4 Conclusion
	Notes
A Clockwork Orange and its Representations of Sexual Violence as Torture: Stanley Kubrick and Francis Bacon
	1 Introduction
	2 Home Invasions and Sexual Assaults
	3 Attack on the Catlady
	4 The Rape of Ms. Alexander
	Notes
Music and A Clockwork Orange
Transforming Variations: Music in the Novel, Film, and Play A Clockwork Orange
	Notes
David Bowie and A Clockwork Orange: Two Sides of the Same Golly
	1 Introduction
	2 Dressing and Posing like a Droog
	3 Bowie’s Version of Ultraviolence: Say Droogie don’t Crash Here!
	4 A Clockwork Bowie: Who the Fuck’s Gonna Mess with Me?
	Notes
Afterword
Index