Hard Violence and Soft Violence

Delaney 2022-04-24 07:01:01

I know that "A Clockwork Orange" was introduced in the [10th Screening Room] when I was in junior high school. Banned identity and Malcolm McDowell's handsome face in the '70s are the only things I remember at the time. "Because it was full of violent images, it was blamed for several murders of violence," the narrator said, and I immediately concluded that I would never watch it.

There is still a slight resistance to "violence aesthetics". "Kill Bill" didn't last for 20 minutes and felt that Sick was too bad, so he had to give up. "Fa" is not to be watched in one go, but in this film, the exaggerated and bright makeup of the characters, the strange decoration of the future British social family, the deliberately lengthened British pronunciation of the tail, and the multiple embedding of the symphony, all make the whole film The film is like a gorgeous stage play. Contrary to Woo's favorite slow-motion motion of white pigeons flying all over the sky, "Fa" uses fast motion to express the whole process of three-some. The protagonist even sang "Singing in the rain" leisurely during the crime.

In "Battle Royale", adults attempt to achieve absolute domination by forcing junior high school students to kill each other, using frightening brutal and hard violence. And the little characters in "Fa" are victims of soft violence. Whether it is "cured" or "recovered", the male protagonist is just like a clockwork orange, being used by politics. Being cured as a so-called "good person" is only because the individual has no choice. I agree with what the priest said, "Goodness should be a choice from the heart." The result is that social violence succeeds in suppressing individual violence.

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Extended Reading

A Clockwork Orange quotes

  • Frank Alexander: [hears knocking on the door] Who on Earth could that be?

    Julian: I'll see who it is.

    [goes to the front door]

    Julian: Yes, what is it?

    Alex: [barely audible] Help... please... help... help.

    Julian: [opens the door and Alex collapses at the doorway. He carries Alex into the house] Frank, I think this young man needs some help.

    Frank Alexander: [surprised by Alex's poor condition] My God! What happened to you, my boy?

    Alex: [voice-over] And would you believe it, o my brothers and only friends. There was your faithful narrator being held helpless, like a babe in arms, and suddenly realizing where he was and why home on the gate had looked so familiar, but I knew I was safe. For in those care-free days, I and my so-called droogies wore our maskies, which were like real horror-show disguises.

    Alex: [nervous] Police... ghastly horrible police... they beat me up, sir.

    [sees Frank has a foul look on his face, apparently not believing him]

    Alex: The police beat me up, sir.

    Frank Alexander: [excited] I know you!

    [pauses]

    Frank Alexander: Isn't it your picture in the newspapers? Didn't I see you on the video this morning? Are you not the poor victim of this horrible new technique?

    Alex: [relieved] Yes, sir! That's exactly who I am and what I am, sir. A victim, sir!

    Frank Alexander: Then, by God, you've been sent here by providence! Tortured in prison, then thrown out to be tortured by the police. My heart goes out to you, poor, poor boy. Oh, you are not the first to come here in distress. The police are fond of bringing their victims to the outskirts of this village. But it is providential that you, who are also another kind of victim should come here.

    Frank Alexander: [finally remembering Alex's state] Oh, but you're cold and shivering. Julian, draw a bath for this young man.

    Julian: Certainly, Frank.

    Alex: [as he is being carried off by Julian] Thank you very much, sir. God bless you, sir.

  • Alex: Hey dad, there's a strange fella sittin' on the sofa munchy-wunching lomticks of toast.

    Dad: That's Joe. He lives here now. The lodger, that's what he is. He rents your room.