Abstract
This article examines the aesthetic result from the relation between images and sound elements of the film A Clockwork Orange by Stanley Kubrick. The theoretical framework comes from the concepts of aesthetic categories treated by Sanches Vazquez, the concept of ugly by Umberto Eco, the categories of sound and listening modes included in the Theory of Production Film Sound (Film Sound) proposed by Michel Chion, and formulations of aesthetics in the light of semiotics of C. S. Peirce. It is concluded that the sound code helps to highlight the ambiguity present in most of the film, especially in times of application of state and system violence. Analyzing some scenes according to the wiretaps reduced, causal, and semantics, it could be said that music, by adding elements to the scene to contrasting aesthetic imagery, produces a sense of the grotesque highlight the mixture of pleasure and horror, and sometimes by comic presence.
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