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2001: A Space Odyssey

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Structured societies are becoming an increasingly large problem, in which members of the social construct must either conform or they will inevitably suffer from isolation. In Kubrick’s film 2001: A Space Odyssey the audience is presented with a futuristic rendition of the year 2001, where society’s emphasis on structure and rules are exaggerated to the extreme. Technology is exceedingly advanced in the fictitious utopia, and in turn a problem poses humanity – humans must work increasingly hard to further advance and a reliance on technology is built. The late 1960 film, depicts a decrepit and remote space travel where social interaction borders obligation and non-existent because of the structure. Nevertheless, such a structured society inevitably …show more content…

White becomes a predominant colour, and instructions and structure appears to be extremely predominant. Witnessing characters such as Heywood Floyd, having a conversation with his daughter that can only be said to be lacking emotional depth. As Floyd talks to his daughter via the video “telephone” system on the star craft, an uncanny display of conversation between father and daughter is witnessed. Floyd appears to remain very emotionally restrained despite talking to his own kin, his first topic of interest being that of where his wife is and his obligation to notify his wife that he “telephoned”. Followed by the topic of his daughter’s birthday present, it is noted that the conversation neglected more intimate topics such as the well being of the other party or the idea of missing their presence – given that the father-daughter pair are thousands of miles away apart. Kubrick manufactures a rather emotionally detached society and according to Naremore whom references Volker …show more content…

Ironic character growth oftentimes becomes the most important aspect of Kubrick’s films, with characters cycling the conformed and the psychotic. Evident in all of Kubrick’s films such as Clockwork Orange, Lolita, Full Metal Jacket, etc. In 2001: A Space Odyssey, a once structured crew of space travellers soon find themselves at death’s door, albeit not to the dangers of space travel but to their own creation. However, as Fry Carole states, “But finding images for Dave's transformation offers an even greater challenge than visualizing man's genesis and final development as a toolmaker and user. For a new species to develop, an old species must die” (Carole 339). The inspiration and pressure placed onto a character to evolve isn’t so easily found, rather it’s often a chain of consequences, coincidences, and luck and plot devices that lead to Bowman’s transcendence. Despite HAL 9000 killing Frank Poole, due to the fear of being shut down there is a reluctance to kill Bowman. Perhaps, due to a bond it’s created together with David. Despite being a machine, HAL could still be viewed as a child, with its father being David Bowman the mission commander. The two spending their time together playing chess, drawing and critiquing, a significant bond was born for HAL. Inevitably, building a bond for Bowman as well, however under the

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