Review Of Stanley Kubrick 's ' 2001 : A Space Odyssey '

Hans Zimmer’s score for the "Interstellar" soundtrack has been considered incredibly unique and aplicable to the movie itself. In fact, the movie’s producer, Nolan said that “I believe that Hans ' score for 'Interstellar ' has the tightest bond

Arthur C. Clarke’s 1951 short story “The Sentinel” is a basis for Stanley Kubrick’s masterpiece 1968 movie 2001: A Space Odyssey. As a result, both stories partially share the same theme and parts of the plot; nonetheless, the movie expands the theme and the plot of the short story, while the latter focuses mainly on the communication of the importance of the discovery. Due to the difference in forms, the two stories use methods most suitable for each of them to communicate the most important moments of the plot. While Kubrick had an advantage of visual and audio-effects that make an indelible impression on the viewer, Clarke’s detailed personal narration makes the reader dive deep into the feelings of the main character to realize the significance

2001 Space Odyssey The film segment chosen was the final scene from Stanley Kubrik^s 2001 A Space Odyssey made in 1968. As the name would suggest, the film is set almost entirely in the future. Already having projected itself over 30 years into the future, it would be safe to assume that this motion picture offers a wealth of imagery and futuristic vision. It does. It is towards the end of the film, however, that Kubrik offers this to us on a much greater scale. In these few minutes, we are presented with the dawn of a new era: a near incomprehensible evolution of humanity. Through many complex design devices, the set design successfully achieves a vision for the future that is neither dystopian, nor entirely utopian, yet extraordinarily

“2001: A Space Odyssey” is a film loosely based on the short story “The Sentinel”. It is based on an alien species that has placed monoliths on different planets in order to evaluate the evolution of mankind. After a space exploration to the moon, the explorers discover the second monolith on the moon. When the sunlight hits the monolith for the first time it sends a piecing signal towards the planet Jupiter. The United States then send another spaceship to the distant planet. The spaceship is equipped with an artificial intelligence computer named Hal. On board the spaceship are astronauts David Bowman, Frank Poole, and three others frozen in cryogenic pods. Hal, the super computer who is in control of the ship, informs the crew that there has been a component failure on one of the antennas. Poole is sent out to replace the component when Hal severs his lifeline. Bowman ventures out to rescue Poole but Hal closes the entry doors and then terminates the lives of the three others on board the ship. Bowman is forced to abandon Poole and go in through the emergency hatch to terminate Hal. He manually shuts down the computer’s memory and logic circuits and continues his journey for Jupiter. Bowman then discovers a third monolith and is sent plunging into a new dimension of time and space. He then stops in a green room, aged

Although extraterrestrials never seen in 2001: A Space Odyssey, let along directly encounter by the characters in it, they play a vital role within the movie’s narrative. The monoliths encountered by the Australopithecines, scientists, and Dr. David Bowman in the desert, on the moon, and orbiting Jupiter, respectively, were all heavily implied to be placed by the unseen extraterrestrials. Each of these monoliths initiated an event that affected the party that encountered it, usually by causing some form of philosophical evolution. Furthermore, Bowman was transported to, lived, and died inside a palatial hotel room, and then was transformed into the Star Child and returned to Earth.

Could you imagine Jaws or Star Wars without their award winning music scores? These particular films follow a distinct successful trend having to do with the iconic duo: director Steven Spielberg and film composer John Williams, who have also worked together on E.T. the Extra-Terrestrial, Jurassic Park, the Indiana Jones movies, and countless other famous movie titles. Music is the world’s most universal language. By itself, it can invoke emotions and create topics of discussion, but music influences movies more than people think. Music in movies is extremely effective and can help establish the tone and mood of any scene or setting with, speed and slow time even with no music, help the audience characterize and connect with characters, and involve and affect the audience mentally and emotionally.

Every scene with the showing of the monolith, all exposes a experience that changes the society. Starting with the Moonwatcher, the invention of tools and technology comes into play, by transforming the apes to uses

Using the films The Graduate (1967) and Back to the Future (1985) I will be analyzing the way film music has changed and stayed the same over the years. Both films were eighteen years apart but used many scores by famous musicians who topped billboard charts and differed in their inspirations of how the music was created to capture certain moments in the films.

Director Stanley Kubrick’s masterpiece is a visual and auditory sensation, the likes of which had never been seen before its creation. The plotline, if such a straightforward word could be used as a description, spans millions of years, and the first word of dialogue is spoken twenty-five minutes into the film. Arthur C. Clarke, the film’s screenwriter, said “If you understand

In the novel 2001: A Space Odyssey, its creator, Arthur C. Clarke, construct the novel in light of a screenplay he wrote in conjunction with Stanley Kubrick in 1964. The book, which was discharged a couple of months after the motion picture, fills in many subtle elements left unsettled in the motion picture. In 1968, the novel was distributed. Arthur C. Clarke distributed a novel in 1951 called "The Sentinel," which motivated Stanley Kubrick to help with 2001: A Space Odyssey. In 1968, Stanley Kubrick distributed the film of 2001: A Space Odyssey. The two space travelers that remained wakeful amid their whole voyage are David Bowman and Frank Poole. The risk of innovation takes a curve when our inability to totally grasp and predict the delayed

In the 2015 movie entitled The Martian, director, Ridley Scott, and music by Harry Gregson-Williams creates a commentary musical score and song choices to match the desolation and plot of the movie. The Martian, which is based upon an Andy Weir science fiction novel, tells the story of a stranded astronaut’s seemingly hopeless attempt at survival. While the movie resonates a depressing and hopeless tone based upon the situation, the musical choices of songs provide the much-needed comical relief. The music also reflects the literal meaning of the scene to emphasize the meaning of the plot. The choice in featured songs connect to the past major unfortunate historical space mishaps, the music foreshadows outcomes for Watney’s ultimate fate.

In 2001: A Space Odyssey, music is used to help keep the audience involved and to enrich the plot. In fact, this film is meant to be a nonverbal experience; it is roughly two and a half hours long and there are actually less than forty minutes of dialogue in the entire thing. The opening song in 2001: A Space Odyssey is Thus Spake Zarathustra which is more fitting in more ways than one. This piece was actually written for Friedrich Nietzsche’s literary work of the same name. The novel is about the step stones that mankind makes from ape to proto-man to the god-like overman. This is also one of the main themes of the film. Thus Spake Zarathustra can be heard at various times in the film when the hominids are considered to have evolved. The Gayane

2001: A Space Odyssey is a novel like no other. It entices the reader to read more after finishing every chapter, whilst providing facts about the universe that may be viewed as dull when explained outside the novel. It combines a reader’s love for complex characters, such as Hal, with an intricate plot surrounding extraterrestrial life, and finally a lingering feeling of the unknown when the novel finishes. One theme in this novel was most certainly the perils of technology. The novel explores technological innovation, its possibilities, and its perils. Hal controlled the navigation, held the controls for inner mechanisms, such as the doors and airlocks and pods, and controlled message relay from the Earth, etc. Given this power, Hal turned into a

The opening History of the World Part I is a powerful orchestral climax, evoking feelings from the audience and emphasizing the importance of the human’s evolution throughout the years. The 2001 Space Odyssey Opening Theme composed by Richard Strauss is played through the beginning of the movie to stress the importance of the beginning of time. This opening can be compared to one of the climax scenes in Lion King, the stampede song where Simba’s father is trying to save his son from the stampeding wildebeest. The effects of both of these song is to build intensity and excitement over the course of the scene playing. In History of the

One reason 2001: A Space Odyssey is my favorite film is because the film introduced me to a new genre of cinema and opened a new world of different types of films to me. I first discovered the film at the age of twelve while coming home from middle school and 2001: A Space Odyssey happened to be playing on TV. I remember walking into my house, and the TV was playing so loud that I naturally walked into the living room to see the cause of the noise. I came upon a scene of this character, Dr. Dave Bowman, traveling through space heading home and as he is heading towards earth, bright neon, colors are rapidly passing him