The analysis of Stanley Kubrick's a Clockwork Orange within the frame of Gilles Deleuze's cinematographic images

French philosopher Gilles Deleuze is one of the most important thinkers of contemporary philosophy. He has influenced many fields such as political theory, feminist theory and cinema theory with his thoughts and approaches. Being an intellectual creation, Cinema is in the study of such fields as linguistics and psychoanalysis. Yet, Deleuze finds the power of these areas insufficient to connect with cinema; according to him, it is the philosophy that will build this connection. Deleuze regards the meeting of philosophy and cinema in a common denominator as an attempt to solve a problem that one of them must solve in the framework of its own discipline. Thus, his approach to cinema can be expressed as philosophy thinking together with cinema rather than thinking about each other. Stating that the aim of philosophy is to create concepts, Deleuze describes cinema as a practice of images and places the duty of making the theory of this practice on philosophy. Deleuze presented his thoughts on cinema theory in a two volume study, namely Cinema I (movement-image) and Cinema II (time-image). Until the Second World War, the classical cinema, which was bond to the movement image, began the search for new images with the destruction that was caused by the war itself, and this search led to the emergence of modern cinema basing on the image. This thesis has been created to reveal traces of Deleuze's cinematographic images within the film Automatic Orange, adapted from the novel by Anthony Burgess by Stanley Kubrick, which has led to much controversy ever since its release.