A Clockwork Orange (1971) – Film Analysis

Film Poster. Note the pyramidal structure, mirroring the structure of society, with the perceptive eye of the elite at the top.

By: Jay

A Clockwork Orange is another installment in the Kubrick canon, and ranks as yet another crucial film rife with deep social and psychological meanings.  The film is adapted from the famous novel that places Alex DeLarge in a dystopian future where society has degenerated into a trashy, concrete mess.  Gangs of thugs titled “droogs” run rampant, and Alex himself is a young gang leader.  The film will raise the question of the use of mass pyschological warfare and control techniques from behaviorist psychology as a means for creating a populace controlled by a scientific elite.

Kubrick considered his film a piece of social satire that would question the notion of totalitarian regimes brainwashing the public into an android state. If the subject could be conditioned through a kind of shock therapy, the loss of willpower would ensue and the “droog” of the future – the future man, would be a controlled slave.   However, my analysis differs from what you see in the typical approaches to reviews of clockwork.  I think Kubrick presents another angle – a Nietzschian/elitist angle that the totalitarian scheme is, in fact, the norm.

In the opening milk-bar scene with the mannequins, the bar is full of sexual imagery.  The film continues this motif throughout, combining sex with violence as the social norm.  Alex’s parents are completely docile and impotent, having no idea of the actual state of world affairs.  Strangely, Alex has an affinity for Beethoven, despite his predominate brutishness, which often plays over scenes of violence or sex, including rape.

Alex and his “droogs” engage in “ultra-violence,” and end up raping the wife of a liberal activist who opposes the state’s draconian control measures.  Later, Alex attempts to rape a wealthy woman who lives in a country estate and is caught.  What we see here is a prophetic view of the future of man’s world.  A globalized, 1984-style slum, where a few elites and intelligentsia live outside the urban areas.

The intelligentsia like the writer and the behaviorist therapist seeking to cure Alex have a faulty view of human nature, and this is the key.  The film is full of sexual (and other bodily function elements) images which display the fact that most men are led about by their bodily desires, and contribute nothing to society.  The liberal activists and therapists continually try to make Alex a “productive” member of society and seek to influence him with religion and other salves.   However, the crucial point of the film is that Alex remains Alex.  Read more of this post

Batman and the Joker as the Apollo/Dionysius Archetypes

The Apollonian/Dionysian Dialectical Dichotomy

Contributing writer David Shankle gives yet another angle on Batman: Dark Knight 

 
After revisiting Christopher Nolan’s Dark Knight, viewing the juxtaposition between Batman and The Joker in a Nietzschean context made a lot more sense.

Nietzsche, in The Birth of Tragedy, used the Apollonian/Dionysian dichotomy from Ancient Greece to explain the constant struggle between Apollo’s order (law, beauty, reason) and Dionysos’ chaos (hedonistic appetites, drunkenness, sexual urges, primal instinct). The light side and the dark side. Thus, as this reasoning goes, to totally repress the darkness would be to remain ignorant, and thus misunderstand reality as it as only understood in the Apollonian context. So Nietzsche proposed that these two elements were not opposing, but rather complementary.

Batman, the Dark Knight, represents Apollo. He operates on vitruous principles and seeks law, order and justice above all things. The Joker represents Dionysos: he seeks chaos and ultimately the disruption of order. He doesn’t value material things. When rewarded with a room-full of money, he dispassionately doused it with gasoline and set it on fire. He is therefore a philosophical villain, viewing the order enforced by Batman as a mere illusion. The Joker intends to show Gotham City that these delusions of order, their “system,” is feeble. This is further highlighted when The Joker talks to Harvey Dent (Two-Face) in the hospital. Read more of this post

Strawson’s Idea of Perception as Theory-Laden for the Philosopher, Alva Noe’s Action in Perception, and the Larger Transcendental Preconditions

Noe's "Action in Perception"

By: Jay

(c) copyright, all rights reserved.

A.J. Ayer and other logical positivists have contended that the problem of perception is a central issue in modern epistemology and metaphysics. Ayer himself argued from a position of phenomenalism to what he termed “sophisticated realism.” Ayer represented more or less the end of the “psychologistic” approach to perception, even with later defenses of realism, and P.F. Strawson gives a biting critique of Ayer in his article “Perception and Its Objects.” Likewise, Alva Noe has argued for what he terms an “enactive approach” to perception, outlined in his Action in Perception. In this paper, I will compare the criticisms of both, in regard to the empiricist and psychologistic approach, as well as arguing that Strawson’s view of theory-laden approaches and common sense realism are also crucial for Noe’s thesis.

In order to understand Strawson’s criticisms of Ayer, it is necessary to first understand Locke’s view of perception and then move from this to the application of Strawson’s insights, to Noe, and then my argument for the necessity of a larger context as a precondition resulting from where both are correct.  John Locke argued that human perception is akin to pictures of objects, received from sense impressions that in some form exist in the mind as concepts, or ideas. Locke is, of course, a seminal thinker, along with Hume and Berkeley, in British Empiricism. In this view, the human mind is conceived of as a tabula rasa, or blank slate, which passively receives impressions from the external world, which are then stamped upon the mind, as a kind of seal in wax, or picture in the mind. There are no innate ideas.

In this view, perception is thus not direct, but indirect, or mediated by sensuous qualities or “accidents” (in the classical terminology) we perceive of the object. Objects in the world possess primary and secondary qualities, and these qualities we receive as impressions through sensation are then the only data we pick up from experience. The mind is viewed here, though anachronistic, as a blank tape in a camcorder, which records the impressions. The self or subject then views them, as if there were a “little man,” or homunculus inside the mind of the subject. For Locke, the mind can never penetrate to the substratum, or reach beyond the veil of the senses. Hence, it is an indirect or mediated realism. The objects of the external world are indeed objects with a real ontological status; they have being. However, the mind of the subject can never penetrate to the world in itself, and this ends up being the chief problem for classical empiricism. The Lockian view, what Strawson calls “scientific realism,” ends up presenting us with systematic illusion.[1]

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Snake Breaks Into the Nashville Country Scene!

Political commentator and tough (‘Merkan) guy, Snake Plissken (aka ‘Rattler”) describes his experiences concerning breaking into the Nashville country scene. Well, we should say, his plans to break in. Eventually. Snake also tells stories and gives tips on alluring women and writing a hit song.

No Apologies for the Southern Avenger by The Southern Avenger

The Soothsayer of the Soaked Synthesizer…

A hilarious exchange broke forth after viewing this wise sage’s video. -Jay

Jay The swampish swami
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Patrick The Lakeside Locutor.
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Jay The aquatic adept.
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Jay The hydraulic hierphant
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Patrick The bishop of the bayou.
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Jay The Berean of the Bog.
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Jay Im literally crying Im laughing so hard.
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Patrick The Riparian Rabbi.
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Lemony Snicket’s Film – Esoteric Analysis

Film Poster

By: Jay 

Lemony Snicket’s: A Series of Unfortunate Events represents a deeper attempt at “hidden in plain view” revealing of occult secrets, than anything you might find in the more popular Harry Potter series. Harry Potter is an overt kind of participation in witchcraft, but Lemony Snicket’s is something else. It presents, in fact, a much more realistic and subtle allegory for the modern intelligence panopticon-inspired control system. Harry Potter focuses on superstition, while Lemony Snicket’s focuses on the actual workings of the cryptocracy. 

Admittedly, I have not read the book series, but I have seen the film several times and read in depth analyses of both, and it’s pretty obvious what the message is, if you have eyes to see. The most prominent symbol in the film is the eye, and particularly the symbolism of the eye as the All-seeing Eye. The eye here is not so much an Egyptian or religious symbol, but rather in the sense of the panopticon of control by secret societies. The eye is the means by which the populace is watched, as well as by which information enters the mind.  In the film, the Baudelaire children, having been orphaned by their apparently dead parents.  From the beginning of the DVD, we see this imagery, as the kids are attached to the marionette strings of Count Olaf, the antagonist/evil genius. 

Count Olaf holds the Baudelaire children on a marionette string with panopticon All-seeing Eyes

There is endless speculation and pyschonautery concerning the meaning of the eye among the conspiraciologists, but we need not jump to the extreme for understanding its real esoteric significance. Yes, there is the evil eye and yes, there are All-seeing Eyes that had to do with Egypt, but when you consider the modern relevance of this symbol, it has much more to do with technological surveillance of all areas of life and thus a constructed control grid than it does necessarily with ancient Egyptian deities. Indeed, the symbol itself is just a symbol of divine providence or omniscience. What the referent for “divine” here, or whose “eye” is meant is entirely up for grabs. It could refer to intelligence agencies, such as the old MI-5 Logo or the proposed DARPA logo (which is probably the most likely reference), or perhaps to Satan. Count Olaf, as well will see, will have “devilish” and God-like characteristics. Read more of this post

The Professor’s Back! The Jay Show – Cher and Peter McWilson Live!

Your Local College Professor

Amusing Post Where I Play a Sufi Muslim

I was roped into doing this by a buddy of mine on a blog he writes for, and couldn’t resist. I play the Sufi mystic in the comments. Those familiar with comparative religion and perennial philosophy will get a kick out of this. -Jay

What Do Muslims Know About America Before They Move Here?

 

Welcome Party for New Mosque in Tennessee

 

This is not a rhetorical question, I’m looking for an answer: What do Muslims know about America before they move here?  Read more of this post

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