I have yet to see anyone on this thread mention A Space Odyssey by Stanley Kubrick. I will try to be concise, I might later expand on this depending on your response.
At times it is a painfully slow film that frustrates its audience with a seemingly non-existent narrative. Clarke and moviemaker Stanley Kubrick would borrow the torus design for their exhilarating and baffling movie epic Its cryptic symbolism has been analyzed and discussed endlessly, even in the world of the internet decades after release.
An even more strange aspect of is its budget. How did a movie that is so cryptically impenetrable, so non-commercial and so slowly paced acquire what was, at the time of its production, one the highest film production budgets of all time?
It attempts to communicate more to the subconscious and to the feelings than it does to the intellect. While there is evidence to support some of these interpretations, none of them offer anything near a full understanding because no matter which analysis you apply there always seems to be other symbols and concepts that remain elusive.
Interviewer The final scenes of the film seemed more metaphorical than realistic. You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression.
In a timeless state, his life passes from middle age to senescence to death. Since an encounter with an advanced interstellar intelligence would be incomprehensible within our present earthbound frames of reference, reactions to it will have elements of philosophy and metaphysics that have nothing to do with the bare plot outline itself.
What are those areas of meaning? They are the areas I prefer not to discuss because they are highly subjective and will differ from viewer to viewer.
In this sense, the film becomes anything the viewer sees in it. If the film stirs the emotions and penetrates the subconscious of the viewer, if it stimulates, however inchoately, his mythological and religious yearnings and impulses, then it has succeeded.
Kubrick interviewed by Joseph Gelmis Here are some more quotes along similar lines. The film thus becomes a subjective experience which hits the viewer at an inner level of consciousness, just as music does, or painting.
It seems that was deliberately designed to incorporate a multitude of concepts so that it is near impossible to interpret consciously. The widely held belief is that Arthur C Clarke wrote the book and Kubrick then adapted the book into a film.
However, the following quotes indicate a different story. Kubrick was revising the novel with Clarke and simultaneously preparing his shooting script … At the end of August Clarke decided that the novel should end with Bowman standing beside an alien ship.
Kubrick was not satisfied with this conclusion and the search went on.
Kubrick was still unwilling to declare the novel finalized … Clarke firmly stated that he was the writer and should have the clout to pronounce the novel complete. Kubrick would immediately praise the new version, then within a few days point out flaws, errors and imperfections until the new prose crumbled into worthless fragments.
The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a page prose treatment of the film at the very outset.
This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film. But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel.
Actually, it was an unprecedented situation for someone to do an essentially original literary work based on glimpses and segments of a film he Arthur C Clarke had not yet seen in its entirety. Clarke, back in Ceylon, continued to wrangle with Kubrick about the novel, the final text of which the director still refused to approve.
Each time Clarke felt sure the script and book were set, Kubrick would cable him for some more dialogue or a new scene, none of which, Clarke claimed, ever found their way into the film. The film took on its own life as it was being made, and Clarke became increasingly irrelevant.
Kubrick could probably have shot from a treatment, since most of what Clarke wrote, in particular some windy voice-overs which explained the level of intelligence reached by the ape men, the geological state of the world at the dawn of man, the problems of life on the Discovery and much more, was discarded during the last days of editing, along with the explanation of HALs breakdown.
A Biography by John Baxter Kubrick wanted to make a sci-fi film before he even hooked up with Clarke.Candyman. Candyman is a USA / UK horror thriller by Bernard Rose. Starring Virginia Madsen, Xander Berkeley and Tony Todd. Released uncut and 18 rated for UK cinema release and VHS.
HAL is a fictional character and the main antagonist in Arthur C. Clarke's Space Odyssey series. First appearing in A Space Odyssey, HAL (Heuristically programmed ALgorithmic computer) is a sentient computer (or artificial general intelligence) that controls the systems of the Discovery One spacecraft and interacts with the ship's astronaut crew.
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Figure 1: An Extract from a Coding Scheme. The process of coding the data is the preliminary for the actual analysis in which the analyst tries to make sense of the data, in order to construct 'meaningful patterns of facts' (Jorgenson, p.
) by looking for structures in the lausannecongress2018.com is often achieved by comparing the different text passages in order to find commonalities or. My third post about typography in sci-fi has been gestating for a while now.
Indeed, it’s been slowly taking shape – you might say it’s been forming itself inside of me – for really quite some time.
Discuss Arthur C. Clarke's collaboration with Stanley Kubrick on the concept for their novel/film versions of A Space Odyssey Summarize each of the parts of the novel Point out the novel's.