The Transmediation of Ambivalence. Violence and Music in Burgess's A Clockwork Orange and Kubrick's Film Adaptation.
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- Ekphrasis (2067-631X), 2019, v. 22, n. 2, p. 26, doi. 10.24193/ekphrasis.22.2
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Works matching Clockwork Orange, A (Film)
Results: 18
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스탠리 큐브릭 감독의 영상 스타일 분석 연구 (그의 영화“시계태엽오렌지(1971)”를 중심으로)
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- Journal of Digital Convergence, 2017, v. 15, n. 9, p. 453, doi. 10.14400/JDC.2017.15.9.453
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3
The Ludovico Effect of Intermediality in A Clockwork Orange: The Novel and the Film.
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- Anachronist, 2022, v. 20, p. 102, doi. 10.53720/XIYI2506
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4
Kubrick's Neobaroque Spectacle: An Aesthetic Analysis of Artificiality and Violence in A Clockwork Orange.
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- Issues in Ethnology Anthropology, 2017, v. 12, n. 2, p. 489, doi. 10.21301/EAP.V12I2.7
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5
The metaphor of dance in Stanley Kubrick's 2001: A Space Odyssey, A Clockwork Orange and Full Metal Jacket.
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- Journal of Adaptation in Film & Performance, 2012, v. 5, n. 1, p. 51, doi. 10.1386/jafp.5.1.51_1
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6
From Alex to Riefenstahl: Nazism, propaganda, and Stanley Kubrick's A Clockwork Orange (1971).
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- Historical Journal of Film, Radio & Television, 2022, v. 42, n. 1, p. 60, doi. 10.1080/01439685.2022.2018562
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7
Labouring on A Clockwork Orange (1971): finding the voices of creative, technical, and administrative workers in the Stanley Kubrick Archive.
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- Historical Journal of Film, Radio & Television, 2022, v. 42, n. 1, p. 24, doi. 10.1080/01439685.2022.2018560
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8
The legacy of A Clockwork Orange in The Great Ecstasy of Robert Carmichael (Thomas Clay, 2005) and Bronson (Nicolas Winding Refn, 2009): 'all form and no content'?
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- Historical Journal of Film, Radio & Television, 2022, v. 42, n. 1, p. 75, doi. 10.1080/01439685.2022.2018558
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9
Spielberg, iconophobia, and the mimetic uncanny.
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- New Review of Film & Television Studies, 2009, v. 7, n. 1, p. 51, doi. 10.1080/17400300802602940
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10
Kjubrikovo čitanje Bardžisa: Značaj kostima za razumevanje Paklene pomorandže.
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- Issues in Ethnology Anthropology, 2016, v. 11, n. 2, p. 477, doi. 10.21301/EAP.V11I2.8
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11
Understanding vernacular experiences of film in an academic environment.
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- Art, Design & Communication in Higher Education, 2005, v. 4, n. 1, p. 49, doi. 10.1386/adch.4.1.49/1
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12
'Let this be Kubrick's final word. Do you hear us Warner Bros.?': Fan reception to the death of Stanley Kubrick and his final film, Eyes Wide Shut.
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- Journal of Fandom Studies, 2018, v. 6, n. 1, p. 21, doi. 10.1386/jfs.6.1.21_1
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13
Embodiment and Violence: From Lived Experience to Imagistic Givenness: Embodiment and Violence: From Lived Experience to Imagistic Givenness: C. Ciocan.
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- Sophia, 2025, v. 64, n. 1, p. 229, doi. 10.1007/s11841-024-01050-w
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14
The Shared History of Stanley Kubrick's A Clockwork Orange (1971) and Ken Russell's The Devils (1971).
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- Historical Journal of Film, Radio & Television, 2022, v. 42, n. 1, p. 8, doi. 10.1080/01439685.2022.2018557
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15
Utopia Gone Wrong: Mirages of Communist Totalitarianism in the Clockwork Mirror.
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- Historical Journal of Film, Radio & Television, 2022, v. 42, n. 1, p. 103, doi. 10.1080/01439685.2022.2018555
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16
Escutas da imagem: as resultantes do som nos componentes semióticos da linguagem visual.
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- Discursos Fotográficos, 2014, v. 10, n. 16, p. 269, doi. 10.5433/1984-7939.2014v10n16p269
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17
Feelings in Conflict: A Clockwork Orange and the Explanation of Audiovisual Emotions.
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- Projections: The Journal for Movies & Mind, 2008, v. 2, n. 2, p. 66, doi. 10.3167/proj.2008.020205
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18
Ambiguities of Violence in Beethoven's Ninth through the Eyes of Stanley Kubrick's A Clockwork Orange.
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- German Quarterly, 2011, v. 84, n. 2, p. 159, doi. 10.1111/j.1756-1183.2011.00109.x
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- Article