The other piece of art, “2001: A Space Odyssey” is the science fiction movie by Stanley Kubrick. The plot of the film is separated into three sections that are set in different intervals of time. Kubrick is inspired by “The Sentinel” while making the movie. Whereas “2001: A Space Odyssey” and its source of inspiration, “The Sentinel” differ in the number of relics, the result of their mission and the outcome of the technological advancements; they are also similar in the function of the sentinel and the monolith, colonization ambition and dependence on technology. However, only the monolith shows a remarkable progress, both of the pieces has a figure that represents the transition phase between ancient times to the qualified future.
The famous science-fiction film, 2001: A Space Odyssey, directed by the stalwart filmmaker, Stanley Kubrick, can be described as one of the seminal works ever in the history of world cinema. The film succeeds in leaving a very lasting effect on the minds of the audience with its sheer quintessence of content and aesthetic portrayal on the screen. An introspective analysis of the contextual work can make one understand how the filmmaker exudes his cinematic prowess via the use of impressive cinematic techniques that simply catapult the affective appeal of the narrative. What is extremely intriguing is the fact that the entire narrative is intertwined in spite of the episodic nature of the various stories. These stories come together to construct
2001: A Space Odyssey as a Hero’s Journey Chloe O’Connor Arthur C. Clarke’s 2001: A Space Odyssey can be considered something of a pseudo-hero’s journey story, with a greater focus on the ultimate reason the hero must make their journey. In this iteration of the hero’s journey, humankind is the hero. The quest they must depart on is evolution to a higher form through Dave Bowman’s individual journey, though he is certainly not the ultimate hero, merely the catalyst for the hero to truly be heroic. While 2001 certainly does not follow the traditional structure of a hero’s journey, it may still be considered to be so, as evolution of the hero is central to the idea of the hero’s journey and this is unmistakably a story of metamorphosis. For
Arthur C. Clarke’s 2001: A Space Odyssey was a science fiction novel ahead of its time when it was first published. Humankind had not yet set foot on the moon, yet Clarke dreamed of reaching for the stars. This dream, however, was accompanied by some questions. 2001: A Space Odyssey offered its reader the chance to debate, among other things, the definitions of evolution and intelligence and also made them doubt their reliance on their trusted electronics. The first question that is posed in 2001: A Space Odyssey is that of creationism versus evolution, starting with the moment where the man apes first come into contact with the monolith.
Regardless of my views on the outcome of this film, its content also has a lot of storytelling within its deep subject matter. Films today usually forego character development and story progression as improvement in technology and visual effects would be the only effective instrument in catching the eye of the audiences. It is rare nowadays that films would tell great epic stories, without the extensive use of visuals. Therefore my full praise can only go to the innovative technical aspect of the film balanced well with concise story
This style is utilized across the film to show the difference thematic during all acts of the film. In the journal article Music, Structure and Metaphor in Stanley Kubrick 's 2001: A Space Odyssey shows director’s soundtrack are mainly consisted on several relationships between the music used on the film and the narrative of the story as well as the constructive thoughts of the symbolism around the thematic of the film which lead the creation of a unique, continuity language with a central philosophical idea that constantly evolves through the course of the film (Patterson 447). The next two final scenes are represented as the rapid development of the tribe in compare with another similar group the habitat. The first scene shows the tribe doing their regular activities, but in this case in a different way if compare with the first exposition of the same tribe for the first time at the beginning of the first
When they cruise away, Zeus demolishes their boat to rebuff their irreverence (Homer, Odyssey). Odysseus alone escapes. He at last goes to the island of Calypso, where the story started. The astounding “Odyssey” has a tripartite plot, however moves more in spirals than in a straight line. While the “Iliad” portrays a man inconsistent with his general public, a man separated, the “Odyssey” depicts a man who travels far, endures much at that point comes back to his legitimate place in the public arena… the “Iliad” is terrible, the “Odyssey” is comic importance the story closes in harmony and acknowledgment.
It appeared the building was possessed by some evil power (Kubrick suggested it could be because the house was built on the Native Americans’ cemetery) that killed some of visitors and workers. The spirit or demon was interested in Danny’s abilities, but the boy used them to call help and save himself and his mother. Jack died (froze to death in the movie) and joined the ranks of people affected by the Overlook Hotel. Kubrick’s The Shining can be called the most famous screen adaptation of this novel. This status remains despite the fact the director cut and changed some aspects of the original story.
ESSAY 2001: A Space Odyssey, by Stanley Kubrick is the focus for the visual experiment regarding colour in the final project of (Colour and Lighting) course. The director thinks clearly that, there’s a basic problem with people who are paying attention with their eyes: Those who won’t believe their eyes won’t be able to appreciate this film (Agel, 1970). A colour analysis of the film was generated by averaging out the colours which appear in the film. The resulting scenes or images were placed in a grid in Adobe Photoshop software which can be read from left to right and top to bottom to give a graphic sense of the film progression, in effect a graphic outcome to the film. In a state of proper arrangement, by considering graphic means of representing the film in relation to colour context, the graphical representation of the film was laid out as a linear sequence.