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
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.
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.
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
The savages and Kurtz, in fact, belong to the heart of darkness. The description of the scenery by Marlow adds something vital meaning to the title of the novel. The wild scene, thick and impenetrable jungle, the pictures of the natives hiding in the dense jungle, the silence and the dangerous stillness of the river Congo, the thick fog, all these features are suggestive to the title Heart of Darkness. The outer physical setting intensifies the horror and the fear among the readers. The reading about the description of
During the ten years that Nolan took to write the screenplay for Inception, Nolan has carefully hidden so much detail for the audience to absorb and interpret, that it’s almost impossible to catch every single clue. From the names of the characters, to specific reappearing numbers, to the exact length of the film, every little detail has a purpose and meaning, and every single detail builds up on Nolan’s goal- to incept the audience. As somebody that has watched Inception 5 times, I can definitely tell you that although Inception isn’t one of those alien-space-battle type of movies, it is without doubt included in the genre of science-fiction. The film is a story about human beings, with a human problem and solution- but nothing in the film would have happened without the scientific content. And Inception wouldn’t be as much of a well-known film with millions of conspiracies and theories, if it wasn’t for the ambiguity and Nolan’s sneaky inception on the audience.
The Odyssey by Homer takes place after the Trojan War and tells the arduous and frustrating story of a demigod and his journey to return home. Correspondingly, The Long Walk by Slavomir Rawicz is about a group of people and their extensive journey to freedom, however this story takes place during World War II. Despite the difference in time period and setting, a common theme is found in these works. The
It was prompted that, although illustrating a well-kept storyline and pleasant detail, the language would be too challenging to comprehend. Inconsistent with such beliefs, the novel was a success. Although, this was not instant, as its renowned reputation had only escalated in the 1970s, which was somewhat due to Stanley Kubrick’s film version in