The Symbolism of Stanley Kubrick's A Clockwork Orange

First, let’s do a brief recap on the origin of the story. The novella under the same name was written by Anthony Burgess in 1962. Burgess was a writer who got his artistic start in the Royal Army Medical Corps by composing performances in the Entertainment Section of the 54th Division. He eventually transferred to the Education Corps and was given the task of teaching soldiers The British Way and Purpose– a collection of essays on justifying the British Empire and future establishments of welfare states and criminal punishment. Its overall message was that of fighting totalitarianism and injustice through “individual responsibility.”

One could take a step back and realize that Burgess was arguably involved in Psychological Operations (PsyOps) due to his indoctrination of British propaganda and beliefs. The mission was to convey this idea of how all soldiers and civilians needed to be “Responsible Citizens” who held up certain roles in society.

Burgess often times mocked these beliefs, even though he was tasked to convey them on a regular basis. He did seem to support this idea that entertainment is being used as a tool of distraction- an argument I present in my hip hop conspiracies book called SACRIFICE: MAGIC BEHIND THE MIC with talk of Francis Bacon’s manipulation through entertainment:



… he plays an instrumental role in this Illuminati/transhuman agenda because he allegedly had all these ties to the secret societies in question and showed them that you could use entertainment as a form of manipulation. You could capture an audience’s attention with a play (or music and film) much easier than preaching at them. The entertainment speaks to us on a subconscious level as well, implanting a message or theme into our mind. It’s a universal language that can speak to us through allegory and symbols.

http://illuminatiwatcher.com/illuminati-...rk-orange/

Burgess’s best known novel is A Clockwork Orange, which became an international success once it had been filmed by Stanley Kubrick. Burgess came to hate it and told Playboy in 1971, of all his books it was the one he liked least. But without A Clockwork Orange would anyone have taken an interest in Burgess?

This question becomes more interesting when considered in light of information revealed in Roger Lewis’s controversial biography of the novelist. Lewis was a fan of Burgess, and started his biography with the man’s knowledge. Lewis then spent twenty-years working on his Burgess biography—the time it would take Burgess to write twenty novels, several screenplays, a library of books reviews, and the odd symphony or two. Lewis was scathing about Burgess, like the love-struck schoolboy disillusioned by the humanity of his object of devotion—this time it’s Anthony, not Celia, who shits!

It’s a scurrilous biography, but does capture something of Burgess, bit all too often this is lost in Lewis’s almost tantrum like rancor. Around the 280-page mark, Lewis details his meeting with a British secret service man who informed the Welshman that Burgess was not wholly responsible for A Clockwork Orange. Rather it was a work of collaboration with the British secret services.



Lewis was told by his source that A Clockwork Orange was about:

....the mind-control experimentation conducted by Dr. Ewen Cameron at the Allen Memorial Institute in Montreal, between 1957 and 1963, and the Remote Neural Monitoring facility that operated out of Fort George Meade. The CIA were funding controversial research programmes into electronic brain stimulation. They induced exhaustion and nightmares in patients; they put hoods or cones over people’s heads to broadcast voices directly into their brains; they irradiated the auditory cortex or inner ear. When patients had their own speech played back to them, incessantly, they went insane. There was a misuse of civili