-ups
to emphasize upper body and the faces of the characters. The predominance of these
shots encourage the Lacanian mirror-image. The viewer sees him/herself as Alex and
begins to relate or empathize with him. Even though he is performing hidious acts of
violence on society, the viewer sees him as the good guy and society as the enemy. The
mirror is seen throughout the movie. Alex's wallpaper is covered with pictures of mirrors
and in the "home" scene, which is dicussed later, a mirror covers the entire hallway. These
elements seduce the audience and pulls them into the action.
The film begins with a close-up on Alex's face. His head is slightly lowered as he
stares intensly into the camera. The set of false eyelashes draws an emphasis on his eyes.
He has a look of evil but, since he is still so young, has a look of, not innocense, but
freshness. He is full of youth and has his whole life in front of him. The camera pans out
and we see that Alex is toasting the viewer. He is seated next to his "droogs" who are
seen slouching in their seats and seem uninterested. Alex, however, invites us into his
gang by raising his glass of "Moloko-plus." This action allows us to enter the narrative.
Alex then says, "There was me, that is Alex, and my three droogs, that is Pete, Georgie,
and Dim, Dim being really dim, and we sat in the Korova Milkbar making up our
rassoodocks what to do with the evening. . ." He speaks in his own language of nasdat
(which translates into the word "teenager.") This language sets Alex apart from the rest
of the world and takes the audience along with him. The viewer experiences a whole new
dimension. We are invited into the film and taken along on a crime spree, hosted by Alex
When Alex commits an act of crime, he is always accompanied by music and many
times, an image of a performer with an audience. This gives the viewer the concept t...