El debate ideológico de Althusser y Kubrick en el cine aporte ideológico en las películas de full metal Jackes, el resplandor y la naranja mecánica

Abstract

This research develops a critical analysis of three films directed by Stanley Kubrick—A Clockwork Orange (1971), The Shining (1980), and Full Metal Jacket (1987) —with the aim of examining how these works express, problematize, and question the ideological debate proposed by Louis Althusser regarding Ideological State Apparatuses (ISAs) and the processes of subject formation. From this theoretical perspective, the study approaches cinema as a privileged space for observing how ideology operates symbolically, narratively, and visually in shaping identities and social behaviors. Through a film analysis focused on characters, key scenes, and narrative resources, it becomes evident how institutions such as the State, the family, the school, the military, and systems of scientific control act as instances of interpellation and disciplining of the individual. Each film presents subjects who are molded by power structures that regulate their behavior, their morality, and their relationship with authority. Furthermore, the study identifies visual, symbolic, and auditory elements that reveal the constant tensions between power, ideology, and subjectivity. Kubrick not only depicts these mechanisms of domination but also challenges them, exposing their internal contradictions and dehumanizing effects. In this sense, it is concluded that Kubrick's cinema functions as a critical device that denounces systems of social control and problematizes the production of conformist subjects, highlighting the progressive loss of human autonomy within repressive and normative frameworks that limit individual freedom and the capacity for resistance.