When we think of skinhead gangs in London, it's impossible not to conjure up images of shaved heads and heavy Doc Martin boots accompanying particularly racist violence with no respect for authority structures of the state. However, did these gangs start with such a clear idea of ​​their goal? Were they aware that their daily activities would become a “subculture” like the Mods and the Rockers? In his essay, “Skinheads and the Magical Restoration of Community,” John Clarke argues that skinheadism is about restoring community to working-class neighborhoods where that feeling had been lost due to various changes in socio-economic conditions. He says that their sense of exclusion "produced a return to an intensified consciousness of 'Us-Them'" (Clarke, 99). Although the realization of this distinction plays a major role in the formation of any subculture, the Us-Them discourse proves much more complicated in the case of skinhead gangs, and the space these groups occupy in relation to the outside world does not change. do not have such clear boundaries. Examining three different depictions of skinhead culture: the novel A Clockwork Orange (1962) by Anthony Burgess, the non-fiction work The Paint House (1972) by the Collinwood gang, and the film Scum (1979) directed by Alan Clarke, The evolution of this space over time becomes clear. This shift occurs both in how gangs define and perceive themselves, as well as how mainstream society approaches the problem of violence in “Modern Youth” (Burgess, 41). Ironically, the skinhead style began as a way for these working class young people to feel worthy and was in direct opposition to the trend of other young people, such as hippies,...... middle of newspaper.... .. yes, "The people who read it will be those Marxist students and others who contact us to join them in their fight against the establishment" (110). There is certainly ambivalence about mainstream society's literary access to the space that skinheads occupy This is yet another way of breaking down the boundary between Us and Them. Perhaps the sheer violence, language and overall controversial nature of these works is in itself. sort of maintaining boundaries, letting in only those who feel a certain affinity with their world Works CitedClarke, John. In Resistance through Rituals. Ed. by Stuart Hall and Tony Jefferson. London: Hutchinson, 1976. Doyle, Pat and others. Scum. Dir. Alan Clarke., 1979.