2001 in film

Comparing and Contrasting 2001: A Space Odyssey and “The Sentinel” Tracy Goldman HUMN425: Science Fiction Georgia State University   Comparing and Contrasting 2001: A Space Odyssey and “The Sentinel” 2001: A Space Odyssey is a film based on Arthur Clarke's short story, "The Sentinel." The purpose of this paper is to explain the similarities and differences between “The Sentinel” and 2001: A Space Odyssey. There are many similarities and differences between “The Sentinel” and 2001: A Space Odyssey.

The Tragic Irish Romance: A Film Review of Disco Pigs (2001) The film, Disco Pigs (2001), by director Kirsten Sheridan presents the tragic romance of two teenagers living in Cork, Ireland. The plot of the film revolves around the friendship of Darren (Cillian Murphy) aka. “Pig” and Sinéad (Elaine Cassidy) aka. “Runt” as they grow up together in a small town. The friendship, however, begins to take on a more romantic “twist” when Pig becomes jealous of Runt’s burgeoning relationship with Marky (Darren

Kubrick's two epics, Spartacus and 2001: A Space Odyssey, frame the beginning and end of this decade and thusly

began her career in Sweden as an actress in both films and staged acts (Lunde, 2011). According to Ascheid (2003), Leander also was a recording artist that had songs in many different languages such as in French and in her native language, Swedish. Although Leander was in the film and music industry, she was not very well known beyond the proxemics of her homeland in Sweden (Ascheid, 1999). In 1936, Leander was first discovered by the German film industry for her staged musical role in Axel an der

Human made structures in this film are curved and spherical. However, before our main characters are presented with the monolith for the first time the rooms and spaces they inhabit are square and sharp in nature. The meeting room on the Clavius, HAL’s core on the Discovery. This impending doom is a subtly hint by Kubrick, an indication that the monolith is about to appear, the sharp lines and dark interiors replace smooth curves and white walls. All this gives a sense of dread and powerlessness

At the beginning of the film, Wit, Susie was a bit distant and impersonal. She did not maintain much eye contact with Professor Bearing, nor did she initiate the use of broad openings to engage with her about any possible underlying concerns or needs she may have. Her facial expressions demonstrated disinterest, and her tone was very flat when she did speak to Professor Bearing. Such is the case after Professor Bearing’s emesis. When Susie walked into the room, she did not address or even acknowledge

How can a film with fewer than forty minutes of dialog, the first word spoken nearly half an hour into the film, be considered one of the greatest of all times? 2001: A Space Odyssey (1968) is a symphony of sight and sound, rich and compelling, exploring the gritty innermost workings of space exploration and displaying the final frontier in all its wonder and mystery. Director Stanley Kubrick’s masterpiece is a visual and auditory sensation, the likes of which had never been seen before its creation

“Lagaan” (2001) is written and directed by Ashutosh Gowariker, and produced by Aamir Khan who is also the main character of the film, Bhuvan. The film is based on the Indian villagers under British raj, and during Victorian period, the late nineteenth century. The story happened in 1893, when the whole Indian village was suffered by drought and high taxes. Then under the lead of Bhuvan, the villagers won the cricket game, and forced the British to revoke the taxation and withdraw the village. The

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

Science fiction’s presence in film is nearly as old as film itself. With humble beginnings, film pioneers such as the French George Méliès set the genre in motion. At first, simple pastiches to Jules Verne pervaded, whether it be adventurous astronauts on a trip to the moon or the maiden voyage of a (then) futuristic airship. Then, come the German avant-garde, the expressionist masterpiece Metropolis proved that the science fiction film could go beyond the trivial and occupy a place of legitimate