The internal stories haven't a "plot"; they aren't that kind of story. The 2001: A Space Odyssey Community Note includes chapter-by-chapter summary and analysis, character list, theme list, historical context, author biography and … Danny's single eye and HAL's eye. Gyorgy Ligeti's "Atmospheres". Perceptual and Conceptual Knowledge. GOT FB AND CONTACT INFO, The Monolith and its Symbolic, Unnatural Conjunction, See You on the Way Back -- Meeting with the Russians, The Eternal Return Waltz Redux and Aries Vistas, Grave Potential for Cultural Shock and Social Disorientation -- The Conference, The Crater, Tycho, and the Communion Cup and How We're Not Seeing What We Believe We're Seeing, The Role of the Photographer in an Interview with HAL, Poole, and Dave, and a Great Big Question Concerning HAL, Chess with Poole (Alternate Moves and Simultaneous Views), Sketching with Dave, an Oracle from HAL (whose Eye is not What it Seems to be) and More Chess. The Dreamless Sleep of the Hibernators. When MGM released 2001: A Space Odyssey in April of 1968, it was clear that they had set a new standard for the cutting edge. Again, the Eye of HAL Which is Not There. These deconstructive elements are plainly there, alongside his tremendous effort to make things look real and believable, and play with a purposeful sense of disorientation that when locked into exposes a puzzle that annihilates the sense of reality. The most important thing which must be kept in mind with Kubrick's films is there is the surface or principle story and then the internal or sub-story. For instance, at the end of The Shining Kubrick zooms in on Jack seemingly appearing in an old photograph of The Overlook, and he is holding what looks like a little slip of paper, a little rectangle of white in the palm of his hand, as if displaying it for us, but what is it? The impossible convergence above the monolith (we have alreasdy seen the earth was just above the lunar horizon and the sun way off to the side). everything you need to sharpen your knowledge of 2001. The Crater, Tycho, and the Communion Cup and How We're Not Seeing What We Believe We're Seeing
A Brief Primer on Stanley Kubrick's Counting of Shots in His Films
Among those things examined: The use of still photography. The floor of the bedroom is as if what was the ceiling of the Space Station where we saw the Hilton and Howard Johnson's Hotels. This greatly affected the formulas for making a film and the style in which the story is told. Indeed, the sub rosa elements of the internal story may be discreet but they are enough in evidence to complicate the surface story with an aura of attractive, indefinable mystery, which is one of the reasons viewers return to Kubrick again and again. Dave's shattering of the glass and Alex's drinking of the wine. To work with the "reason" and "why" of the internal story line is to try to settle into Kubrick's sensibility, examining how these internal stories form a dialogue in his oeuvre with repeating themes and ideas, elaborated upon from film to film. Examining the use, in 2001, of Francois Boucher's La Tendre Pastorale and the painting from Hitchcock's The Man Who Knew Too Much
The antrhopomorphizing of the Aries. The sunrise section. The bone becoming the satellite. The stewardess revolves 180 degrees to enter the pilot cabin when instead she should have revolved 90 degrees and exited through the portal foremost to the camera. See, of course, Eyes Wide Shut and the invitation for Bill to go to where the rainbow ends. One may not notice this deconstruction the first, second or third time one watches the film. Sample given. The Photographer, Gayane and a Disorienting Introduction to the Ship, Atmospheres, Shot 361
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