Marketing the A Clockwork Orange myth Perko, Manca
Historical journal of film, radio, and television,
01/2022, Letnik:
42, Številka:
1
Journal Article
Recenzirano
This article examines the 'A Clockwork Orange myth'. It argues that this myth came about due to the controversy surrounding Anthony Burgess's book and its ban in some parts of the world and due to ...the controversy surrounding Stanley Kubrick's cinematic adaptation of the book. Based on extensive research at the Stanley Kubrick Archive, article examines the background and details of Stanley Kubrick's commercial decision to embrace and even take advantage of these controversies for promotional purposes. The article considers the influence that the myth surrounding both the film and the book had on the promotion and how it was used in the film's marketing strategy. The article provides insights into the public reaction to Burgess's book and Kubrick's film; the surrounding censorship issues that resulted; and the publicity campaigns that emerged for the film in response to the growing media controversy following its release.
can cause foodborne intoxication due to the production of the surfactant lichenysin. The aim of this study was to measure the production of lichenysin by food isolates of
in LB medium and skimmed ...milk and its cytotoxicity for intestinal cells. Out of 11
isolates tested, most showed robust growth in high salt (1M NaCl), 4% ethanol, at 37 or 55°C, and aerobic and anaerobic conditions. All strains produced lichenysin (in varying amounts), but not all strains were hemolytic. Production of this stable compound by selected strains (high producers B4094 and B4123, and type strain DSM13
) was subsequently determined using LB medium and milk, at 37 and 55°C. Lichenysin production in LB broth and milk was not detected at cell densities < 5 log
CFU/ml. The highest concentrations were found in the stationary phase of growth. Total production of lichenysin was 4-20 times lower in milk than in LB broth (maximum 36 μg/ml), and ∼10 times lower in the biomass obtained from milk agar than LB agar. Under all conditions tested, strain B4094 consistently yielded the highest amounts. Besides strain variation and medium composition, temperature also had an effect on lichenysin production, with twofold lower amounts of lichenysin produced at 55°C than at 37°C. All three strains produced lichenysin A with varying acyl chain lengths (C11-C18). The relative abundance of the C14 variant was highest in milk and the C15 variant highest in LB. The concentration of lichenysin needed to reduce cell viability by 50% (IC
) was 16.6 μg/ml for Caco-2 human intestinal epithelial cells and 16.8 μg/ml for pig ileum organoids. Taken together, the presence of low levels (<5 log
CFU/ml) of
in foods is unlikely to pose a foodborne hazard related to lichenysin production. However, depending on the strain present, the composition, and storage condition of the food, a risk of foodborne intoxication may arise if growth to high levels is supported and such product is ingested.
Origin stories represent the information on the beginnings of forming collaborations, specifically in pre-production, in Stanley Kubrick’s film crews. The common perception of Kubrick is that he was ...a brilliant tyrant with little to no ability to cooperate. The manner in which I challenge these myths is by analysing Kubrick’s work practice as seen in the eyes of his co-workers and approaching it from a more sociological point of view.The vast information available on the relationships between Kubrick and individual workers on his crew appears to take the form of data given in forms of interviews left to individual interpretation. Connecting them and looking from a broader theoretical perspective opens room for debates that have not been addressed from that angle. This paper presents the stories of origin that provide the information on the collaborative relationships and consequentially Kubrick’s (un)collaborative nature itself. I explore the crew formation and indications it had for their career and their attitude towards film industry. Forming a good relationship can undoubtedly result in a good collaboration. But was that the case with Kubrick and how did it work?Information obtained from interviews, data acquired from Kubrick’s archive in London, and a careful analysis of the practices in the production permit to draw a conclusion on the nature of collaboration in Kubrick’s crews.
This thesis sets out to challenge the mythology surrounding Kubrick's filmmaking practice. The still dominant auteur approach in Kubrick studies identifies the director's filmmaking practice as ...autonomous, with little creative input from his crew members. Following the recent shift in research that focuses on the collaborative nature of Kubrick's working practice, I argue for a different perspective on creative practice in film production. The working process in Kubrick's crews is shown to exhibit strong collaborative features and to encourage individual creative input. This thesis is based on the examination of historical evidence acquired from the Stanley Kubrick Archive in London and an extensive collection of mediated and personally conducted interviews with Kubrick's collaborators. The historical discourse analysis employed in this thesis is rooted in New Film History methodologies and, with its findings, leads to an alternative perspective on film history. The challenge to the accepted view (or myth) of Kubrick is achieved with the use of discourse sources from production and from the archive, presented in the form of stories from pre-production to the promotion stage of film production. The outcomes of the research reveal other ways in which Kubrick collaborated and these alternative perspectives are then used to build an argument around collaboration in Kubrick's films. With its focus on challenging Kubrick mythology by revealing the unheard voices in the production process, thereby challenging the common perception of them as 'noise', this thesis questions the applicability of authorship theory to the study of filmmaking practice. As such, it represents an important original contribution to the field of Kubrick studies.
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