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Analysis of the film A Space Odyssey
The similarities and differences between films and other literary works
Similarities between film and LITERATURE
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Recommended: Analysis of the film A Space Odyssey
2001: A Space Odyssey is just that: a long wandering voyage of the body and mind. Stanley Kubrick and Arthur C. Clark collaborated brilliantly. In examining both works, the film and the novel, there are certainly differences, yet the theme and overall idea coincide thoroughly. That this was made in the 1960's augments both accomplishments. The visuals, seen in 2004, are still captivating. What they must've seemed like in 1968! I flout those who received this movie poorly in those days. Would I have received it as well without having a preconceived idea of its greatness? I can only hope I would have known what I was watching. It is rare a movie inspires me to read the novel it is based on. Here is one occasion. On my first viewing of the film, I was baffled by the special effects so my appreciation was attained. This was done when digital effects did not exist. Scenes of the space station, the moon, Jupiter, Earth from space, and the sun are model works at their finest. However, I thought I did not fully grasp the story. After reading the book and seeing the film again, I realized ...
The film is a fairly faithful adaptation of the book. The amateurish style of the book gives it some appeal as a more sleek and sophisticated style wouldn’t evoke a sense of angst’ desperation and confusion that the novel does.
has a knack for being able to portray an erratic man who in one instant is
In conclusion, details involving the characters and symbolic meanings to objects are the factors that make the novel better than the movie. Leaving out aspects of the novel limits the viewer’s appreciation for the story. One may favor the film over the novel or vice versa, but that person will not overlook the intense work that went into the making of both. The film and novel have their similarities and differences, but both effectively communicate their meaning to the public.
In the first 20 minutes of 2001: A Space Odyssey you see a group of monkeys going through evolution. The first change you see is that of a leader. In the beginning, each monkey did their own thing, and was not bound to any organization whatsoever. The monkeys did what they want when they wanted. Then the change begins. A single monkey, by himself, rises to the top of a cliff. He stands and screams. The other monkeys notice him screaming and began dancing and rejoicing. They scream and jump around, in what appears to be reverence for their new leader. Stanley Kubrick shows the change very simply, yet its message is still very clear. The monkeys had never shouted as loud or danced as much as they had previously in the film. Their actions confirm that something in fact had changed.
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
Indeed, I found that this documentary had distinctive and remarkable visuals. I specifically liked the recreation of certain scenes. I liked how when the narrator was speaking about the middle passage the background would change to make it look like if Henry Louis Gates Jr. was traveling back in time to that specific moment. Furthermore, I liked how the filmmakers keep the events in chronological order and how the nar...
Philip K. Dick is one of the more prolific science fiction writers of the second half of the 20th century. His dark plots, themes, and characterizations differ greatly from those who preceded him. This has seemingly translated well onto the big screen, as at last count, nearly ten of his novels and short stories have been adapted into films. Several of these films have garnered critical acclaim for both their movie credentials and use of source material. Blade Runner, originally released in 1982 and based off a 1968 novel entitled Do Androids Dream of Electric Sheep? along with A Scanner Darkly, a 2006 film based off a book of the same name released in 1977, are two such examples. They provide an excellent base to compare the adaptations in terms of visual style, plot authenticity, and characterization. Both movies took alternate routes, yet both were very well received, though one’s financial success is far greater than the other.
In the movie 2001: A Space Odyssey, created by Dr. Arthur C. Clarke and Stanley Kubrick, the plot sequences that are symbolic. The section of the movie called “The Dawn of Man” has many examples of symbolism. First, there are five things in “The Dawn of Man” that show the endangerment of a species. Bones, the search for food, a leopard easily killing an ape, the frightened eyes of an ape during the night, and the first invasion at the waterhole show the Australiopithicine’s weakness and their failure to fully protect themselves against predators and competitors. Next, the conjunction symbolizes an important event in human history. For instance, the eerie yet powerful music that is played during the image of the conjunction symbolizes the spiritual unknown. In addition, the Australiopithic...
I was charmed by this film the first time I saw it, and every time since. It was the synthesis of the journey of mankind into the future and an argument for space as mankind’s ultimate destination. It was the best science fiction film I had ever seen, as it presented several different possibilities and scenarios of what could happen as well as what might happen to man in his quest to conquer space. The introduction of the computer as an artificial intelligence was an added plus. The idea of a machine making the same mistakes as any human being proved out in its own statement: that any glitches in its operating parameters had to be due to human error. Given that machines are incapable of emotions like guile, hatred, fear and sorrow, HAL was nearly as emotional as any organic being. This in itself was a glorious foil for man’s ambitions to discover the wonders of deep space.
The many debates about art cinema versus classical cinema have been going around for a while. The mainstream Hollywood classical film and the art cinema are frequently presented as opposites. In one, the style of the film is bland, while the other seeks to center its focus on the visual becoming central as narrative unity. Throughout the movie directed by Stanley Kubrick called 2001: A Space Odyssey, we see that this film can be classified as an art film. On the other hand, it can also be seen as classical film. Even though these two are the complete opposite and they contradict themselves, they are both apparent in the film.
In conclusion I think that book was amazing to read and I really enjoyed interpreting the different themes but the film added more depth and option for opinions for the story. For example hoe the director decided to present the characters and the ending of the book. The book can talk the talk but the film can walk the walk.
The first chapter of George Bluestone’s book Novels into Film starts to point out the basic differences that exist between the written word and the visual picture. It is in the chapter "Limits of the Novel and Limits of the Film," that Bluestone attempts to theorize on the things that shape the movie/film from a work of literature. Film and literature appear to share so much, but in the process of changing a work into film, he states important changes are unavoidable. It is the reasoning behind these changes that Bluestone directs his focus, which is the basis behind the change. He starts to look at the nature of film and literature, as a crucial part in the breakdown of this problem. It is only through a discussion into nature of each of these, that Bluestone can discover where film and literature seperate, and also develop a close to accurate theory on the laws that direct the course of change from novel to film.
is the same as many other sci-fi films like war of the worlds and mars
Kubrick, Stanley, Dir. 2001: A Space Odyssey. Perf. Dullea, Keir, Gary Lockwood, and William Sylvester. MGM: 1968, Film.
Interstellar, directed by Christopher Nolan, was a very complex and interesting sci-fi movie. This movie in particular has a lot of factors playing into the movie. Everyone is able to find their favorite part about the movie, and various people can watch this movie and connect with it. This movie came out in 2014, and shocked millions of people by its intense ending. Interstellar was awarded for best visual effects, and then nominated for many other things including, best original score, best sound mixing, and best sound effects which played a huge role in making the movie. The image and sound complement each other, but I thought that image dominated over sound because there were so many silent moments throughout the movie. I thought the plot