Stanley Kubrick's Film, 2001: A Space Odyssey

From this scene until the end of the sequence, Kubrick plays with different editing techniques. When this ape is observing skeleton, the shot cuts to a low angle shot of the monolith. This shows the audience that the ape is thinking about the monolith. When the ape smashes the skull with the bone, it cuts to a shot of a dead tapir. The quick-cuts of the crushed bones and another cut of a beaten tapir illustrates that the apes are no longer scared of tapirs or any other predatory creature. It gives the apes a sense of power and dominance over their so called predators. This method of editing not only becomes an insight to an ape’s thoughts but it also seen as a depiction of mankind’s predatory instincts. The music also invokes the feeling of power because it indicates a connection between the outskirts of space and this major breakthrough of human evolution. As a result of evolution, the apes have a newly-developed intelligence as well as a dietary change that primarily consists of

The music interacts with dialogue in the film; the techno beat is, at times, accompanied by vocals, which correspond with not only what is happening in the scene, but also the internal diegetic dialogue—another important motif.

There are an abundance of similarities found in the visual and audio representations in Arthur C. Clarke's short story, "The Sentinel", and those found in director Stanley Kubrick's film, 2001: A Space Odyssey. Clark actually aided Kubrick in writing the script for the movie, which was in no small part based on the work of literature the author had previously written (Soriano, 2008). To that end, Kubrick's film functions as an example of many of the concepts originally denoted by Clark in "The Sentinel". While many of these ideas were mere thoughts and strands of notions that were not fully developed within the short story, Kubrick's work had the length and budget to fully actualize many of these concepts that both works of art are ultimately based on. 2001: A Space Odyssey functions as a way to elucidate many of the important concepts that Clarke initiated in "The Sentinel", some of the most important of which are the ineffable nature of existence and man's finite role in it.

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

The directors; Norman Taurog, King Vidor, Victor Fleming, Mervyn LeRoy, and George Cukor, cleverly conceal the films explicit meaning using classical cinematic invisibility. However, by looking at the films cinematographic

In the Mood for Love (2000), Rainer Werner Fassbinder’s Ali: Fear Eats the Soul (1974), and Stanley Kubrick’s 2001: A Space Odyssey (1968) are all able to convey the main social messages at the

Kubrick’s 2001: A Space Odyssey is a film largely defined by a split between human visceral drives, and mechanical narrative detachment. The film appears to privilege visceral

The basic plot of the movie is that for around the first 20 minutes it takes place at the dawn of man, or civilization. It starts with some ape looking creatures going about life until; they come across a black stone or monolith. The monolith apparently does something to the apes and gives them the intelligence to use bones as clubs. It then shifts a great deal of time in the future; the first scene is a shot of space with a big spaceship. At this point the movie focuses on a doctor named Heywood Floyd who is on a journey to Clebius (a place on the moon) for a secret mission he can’t tell anybody about. Later at Clebius the black monolith is seen again, and the movie shifts one again. This time we are introduced to a ship that is on a mission to Jupiter. The ship consists of 5 crew members, three of whom are in a state of hibernation in capsules, and a HAL 9000 robot. Later the HAL robot malfunctions due to unknown circumstances and kills 4 of the 5 crew members. The last crew member left alive named Dave manages to turn HAL off then he goes to Jupiter by himself. Then for about the next 10 minutes there’s this really eerie sequence with all kinds of colors and weird things going on. Then the movie ends with Dave seeing himself at different ages of his life and then there’s a giant fetus overlooking earth.

It was definitely an experience, but not all movie’s had an effect on me, for example-2001: A Space Odyssey was too slow and I got irritated to some scenes, I felt like it was just plain boring. During our discussion hours we start with our tutor asking what we liked in a movie and what we didn’t like. Most of the time I’m quiet cause I’m thinking what I liked about a movie, for me to like a movie is simple ‘The Story’ if the story is intriguing then I’m hooked. But when asked what you didn’t like about the movie, I realized people actually say, that one shot ruin the whole movie for a person. As a viewer it doesn’t affect me cause for me one shot doesn’t tell the whole story but as a filmmaker I think it’s vital to know what that respective

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

I chose the film 2001: a Space Odyssey for few reasons: The beginning dramatic lunar eclipse with the Strauss’s soundtrack playing. The apes looked real and the sound of the apes seemed real. We see ape men and their main preoccupation is the struggle for survival. They have limited knowledge of the world around them. Actually, all the apes were actors, except for the two baby chimpanzees. The sunrise and “the dawn of man” appeared across the screen. The ape men are afraid and jump around but the leader approaches the object and reaches out to touch it but at the last moment withdraws. Finally, the ape men encountered with this strange piece of masonry. reaches out to make contact with it again and this time he successfully touches

The movie falls into the crime, thriller and drama genres. Providing well-balanced attention to all three throughout. This plays into the movie's overall feel, that being European with an undertone of Hollywood. Coming from French filmmaker Luc Besson It is no wonder the pacing of action among drama appears very selective and not reflective of Hollywood action movies in terms of narrative or characterisation which is often supplemented for spectacular visuals. Instead, we see Besson’s work falling into a middle ground, wooing the

Classical film theories are generally divided into two main camps. They have been categorized as Formalism and Realism. The formalist approach looks at the structure and form of the film. It analyzes the method by which the story materializes and how it forces the viewer to react based on the way it is presented. It incorporates character development, photographic composition, camera movement, set design, editing, etc. to that end. The realist approach scrutinizes how a film represents “reality.” It is a mechanical reproduction of reality that strives for objectivity and realism.The primary focus is always every day, true-to-life characters and dilemmas, and the real life situations they are found in. Commonplace themes are the rule. To achieve realism in cinema it was necessary to direct attention to the physical and philosophic problems of ordinary existence. People emerge as victims of forces beyond their control in a world at times seemingly spinning out of control. Although there are also a few similarities, formalism and realism can be shown to offer substantially different approaches to the art of filmmaking and the study of film.

Each of the filmic tracks can potentially develop an autonomous temporality entering into complex relations with the other tracks. Film 's multitrack nature makes it possible to stage contradiction between music and image... A quoted piece of music, with its own rhythm and continuity can accompany an image track characterized by a different rhythm and continuity. Thus the cinema offers possibilities of disunity and disjunction not immediately available to the novel. The possible contradictions between tracks can become an aesthetic resource.