![]() The room is composed of eight tiles by ten tiles with each tile being roughly 4’ x 4’ in size. The floor tiles serve as a compositional guide throughout the film and also assisted us in determining the actual size of the room. It’s interesting to note that a close examination of this space helped us discover several facts. The room consists of a bed, several chairs and cabinets and glowing floor tiles. The classical architecture of the room is complemented with Renaissance paintings, which are fixed into alcoves rather than simply being framed, suggestive of windows or mirrors. There is also an immediate feeling of distance in this room – from the outside world as well as from technology, in general. ![]() In the end of his journey, Dave’s spaceship miraculously appears in an empty room with white walls. Dave Bowman, a scientist on the Discover One, is transported into another world or dimension after defeating HAL. In other words, man has now lost control of technology, hence the need for our next step of evolution.ĭr. The tools that once aided us in our progression forward are now limiting us. HAL eventually becomes a threat to the safety of the humans and we are provided with an interesting paradox. This evolutionary leap is represented through HAL 9000, a computer aboard their spaceship, which is arguably more advanced than the humans. ![]() The next logical step in evolution for the human race at this point in time is their race to the stars. The second appearance of a monolith comes during a time when humanity is once again on the verge of an evolutionary breakthrough. This progression of time is later paralleled in the closing scene of the film. Stanley Kubrick cuts from the image of the bone in the air onto a floating spaceship in space and effectively jumps forward four million years in a single second. This evolutionary leap is symbolized in a match cut as an ape throws a bone into the open air. The few apes that begin using tools move onto the next stage of evolution, while the others face extinction. These monoliths provide guidance with evolutionary progression. The appearance of the monolith is representative of the next stage in evolution. ![]() They are visited by a mysterious alien force, which is represented by a monolith. The apes in the opening sequence of the film are on the verge of evolution. The closing scene of 2001: A Space Odyssey, which we analyzed and diagrammed, brings us full circle when compared with the opening scene of the film. Stanley Kubrick is a visual storyteller, and in his films, words are secondary. It’s interesting to note then, when asked about his film, 2001: A Space Odyssey (1968), Stanley Kubrick himself said, “It's not a message that I ever intend to convey in words.” The film itself is a “nonverbal experience.” There are no words – or dialogue – for more than two-thirds of the film. Stanley Kubrick has been called many things pretentious, unpretentious, alienated, ambiguous, audacious, empty, disturbing, outrageous, devilish, soulless, patient, unflinching, impersonal, arrogant, calculated, paranoid, aloof, hopeful, positive, innovative, helpful, unpredictable, obsessive, pessimistic, existentialist, visionary, genius, freak, perfectionist, skeptic, recluse, tyrant, misogynist, cineaste, original, and in the immortal words of Kirk Douglas, a “talented shit.” ![]()
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