2001 space odyssey film analysis essay
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Stanley Kubricks 1968 film 2001: A Space Odyssey is actually a masterpiece in the science fictional genre. Based upon a story simply by Arthur C. Clarke, the film epitomizes the features of science fictional works, including a great overarching motif questioning the role of humanity in the universe. The film can just as well end up being classified as an epic, offered its span and breath of air, as it begins with the origin of humans through a depiction of progression from primates, through the history of a space mission happening millions of years later. Plot practically needs a back couch to cinematography and design in 2001: A Space Journey, in which Kubrick employs multiple cinematographic tools including music, mise-en-scene, editing, lighting, design and style, and script elements.
The mise-en-scene in 2001: An area Odyssey is merely extraordinary, since each image captures the tension and existential angst that pervades the movie. Because the almost all the film takes place in space, a spot with no all-natural source of mild, Kubrick achieves his cinematographic goals simply by judiciously utilizing chiaroscuro. In several scenes, the darkness plays as much of a role as the light. When Dork is about to disconnect Hal, he moves through different portions from the ship, many of which are well-lit, others which are dark. The distinction between light and night parallels themes of good and evil in the film. In a previous picture, Hal has locked Dork outside, an act that can kill the man. To show the magnitude with the situation, Kubrick opts for a mise-en-scene that is certainly cosmic: displaying the ship and its get away pod jointly in one taken. Doing so depicts how very small the avoid pod is usually compared with the primary part of the deliver, and also shows the profound, dark vastness of space in which they are adrift. These types of scenes may be directly contrasted with individuals at the dawn of person sequence at first of the film, when Kubrick uses a choco toned filtration system to represent elements inside the distant past; sepia staying the color of old photos.
In terms of lighting, Kubrik worked well carefully to generate a film that looked at once natural, allowing for suspension of disbelief, but also symbolic and cosmological in opportunity. According to Schwam (2010), who wrote a book regarding the making of 2001: A Space Journey, Kubrik countless lighting authorities during forethought to develop lighting that would look natural, and at the same time achieve a photographic effect (n. s. ). In many scenes, the lighting can be blended with the special effects technology, all of which was achieved with no use of digital technologies or perhaps computer movement, as is completed today. In 2001: A Space Odyssey, visual effects were done inside the camera or with projection, and fact, fresh computer-generated results actually have created upon this, (Perisic, 2k, p. 1). Thus, Kubrick set the stage pertaining to future scientific research fiction filmmakers to achieve preferred visual effects employing lighting and special effects to create an otherworldly atmosphere that audiences