Man's Evolution In The Film, 2001: A Space Odyssey

The Dawn of Man. Four simple words introduced what is remarked as one of the greatest films of all time. There is no spoken dialogue within the first 25 minutes and the last 23 minutes of the film. “2001: A Space Odyssey” is an ambiguous film. The broad range of audience captures various interpretations of the film. The main theme seems to be about the evolutionary process of mankind interwoven with elements of a higher or extraterrestrial entity guiding this evolution. There are some film theories that suggest this movie was all propaganda used in conjunction with the space race that occurred during World War 2. Some even go as far as to say that the same set used in “2001: A Space Odyssey” was used to fake the moon landing of 1969. However, theories with more evidence suggest that the iconic monolith doesn’t represent aliens or “God”, but instead represents the cinema screen of which we are viewing. The artistic importance of “2001: A Space Odyssey” is derived from its ability procure various conclusions.

While I thought that Peterson’s descriptions sufficed to help the readers see how apes were treated – dead or alive, the pictures were more shocking. Originally, I skipped over the pictures, but they served to help bring Peterson’s words to life. Prior

‘The Dawn of Man’ sequence is based in a prehistoric time period and the most important theme of this sequence is nature. Kubrick shows the two stages of nature before showing us as the audience how humans evolved as a species. The various shots of land are staged in altered settings within different time zones, which express the Earth as a large place. With no characters and no type of dialogue, the non-diegetic sound of birds chirping is a representation of nature. The sound of the birds in this sequence created a natural atmosphere and made it believable for the viewer.

     The following paper will analyze the movie, “2001: A Space Odyssey” by Stanley Kubrick” and “The Centinel” by Arthur C. Clarke. Although there are many themes present between the story and the film, the following are the most dominant. I will be discussing Scientific themes, Religious and Moral Themes, and Clarke’s development of the short story into a full-length film.

As Ali's face dissolves to a flashback, non-diegetic music accompanies the overview of Algiers. The musical motif which begins as the camera starts to pan is exemplary of the parallel relationship between the aural and visual elements in the film. As Joan Mellen has highlighted, the arabic soundtrack, as if from another world, expresses the

The first movement, Mars, the Bringer of War emphasizes bass and low brass using an unusual 5/4 rhythm. The greatest moment in war-torn Mars comes shortly before the end as the orchestra rises to a massive climax, supported by organ and gong. It is a moment of sheer terror, transformed into a still darker terror, as the same two-note motif is repeated in a lower register but still highly dissonant. This is the first 'spiritual' moment of the work, in my opinion: the wrath of God at the warring, sinful nature of Man and the consequences of this, as I

In the science fiction film, 2001: A Space Odyssey. The director, Stanley Kubrick, portray his masterpiece in an ambiguous understanding where he examines topics such as extraterrestrial life, the dealings with technology and the human evolution. Throughout the movie, Kubrick depicts the facade, monolith as an instrument in awakening intelligence. Moreover, the protagonists go through a drastic change of struggle to explore on the idea of technology and extraterrestrial life.

The first movement is “Mars, the Bringer of War.” It begins moderately quiet with mainly percussion and strings attacking the ostinato in a march like 5/4 meter. Brass begins to crescendo its way in before the terraced dynamics of the upper woodwinds begin. It is a moderately fast piece. The main goal of the piece is to create a war-like sound. The beginning creates a sound that feels like troops are gathering and it continues until both sides attack, recuperate, and attack again with full force (during the coda). The tenor tuba carries the melody while the march-like rhythm keeps reappearing. As the piece

The bone structure of an African Great Ape is more suited for a knuckle walk than a bipedal walk (kamrani, 2007). They have the capability to walk a bipedal walk, but typically only do so for short bursts (kamrani, 2007). There are many reasons for the knuckle walk to be favoured by the ape (kamrani, 2007). African Great Apes have less stability control over their heads than humans, who favour a bipedal walk (kamrani, 2007). Compared to humans, The African Great Ape has arms that are longer than its legs, hands that are more robust because they bear more weight and force, and backs less specialised for weight distribution (kamrani, 2007). All of these differences cause Apes to use a knuckle walk because it is better suited to their skeletal

2001 originated from Clarke's short story, "The Sentinel." This, in no way, takes away from the originality of the film. An obvious benediction of the movie is Kubrick's use of music. The classical pieces intensify the sense of awe. From the ape man to the star child, the music detaches us from the events. We view them as we would events in a documentary. Kubrick deliberately adds, deletes and modifies. Hal never reads the lips of the astronauts in the book. This is a stroke of genius in the motion

Even though the film is essentially a visual experience, the use of sound has become extremely important in modern film. The modern viewer hears a complicated soundtrack that is as meaningful as the image on the screen. Three elements comprise the film's soundtrack: the dialogue, the sound effects, and the musical score. The proper balance and mix of these elements produced the essential emphasis required, which created the desired effects. As explained by Joseph Boggs and Dennis Petrie,

Most of the science fiction works contain a crucial message that the writer wishes to convey to the viewers. There are two categories of film message, one is positive and the other is negative. A positive message is one that is expected to have favourable outcome to the audience, and continuously aiming to promote better societal changes. In contrast, a negative message is one that could deliver threats or unpleasant information to the audience, which could have significant impact on the normal order of the society. This essay will argue that if the message contains positive elements, then it is not a bad sign to embed science fiction works with a message. First, this essay will suggest that the well-integrated message within a particular

Recently, our class read the book and watched the movie 2001: A Space Odyssey. The book is written by Arthur C. Clarke and the movie was directed by Stanley Kubrick. The book was written as a framework for the movie, so the two are mostly the same. But, while there were similarities, there were also some major differences.

The main instrument used in the film music was orchestra which was perfectly aligned with the theme of characters in the film at various points. Steiner developed the music in the symphonic fashion which allowed the film to hit a high score musically and became a symphonic fashion. The usage of the cycle of operas was brilliant with a soothing tune to the ears. The “Main Title” music opens with King Kong’s three-note motive; heard throughout the entire score in many sections and guises, but always identifying King Kong himself.

Literature can, at times, have a fascinating connection with film. Whether it is a film or a piece of literature, both are written by someone that wants to leave an impact on an audience. However, movies and books have different roles. They each have different strong points wherein books give better characterization, stronger revelations, and inner conflict, but movies create a better mood with music and visuals, showing much more emotion. It's a totally different kind of experience, of course, and there are a number of differences between the book and the movie. The novel of 2001: A Space Odyssey by Arthur C. Clarke, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The movie version of 2001: A Space Odyssey, directed by Stanley Kubrick, on the other hand, is essentially a visual, nonverbal experience. It avoids intellectual verbalization and reaches the viewer's subconscious in a way that is essentially poetic and philosophic. The film thus becomes a subjective experience, which hits the viewer at an inner level of consciousness, just as music does, or painting. Utilizing its verbal medium, Clarke is able to explain his narrative, whereas Kubrick creates a visual and audial experience, through means of ambiguity, in which the viewer sees everything, is told nothing, and in which one cannot detect the presence of the film as one at all.