By Robert Kolker
Just about all scholars have noticeable </em>2001</em>, yet almost none comprehend its inheritance, its complexities, and positively now not its ironies. The essays during this assortment, commissioned from a large choice of students, study intimately a variety of attainable readings of the movie and its historic context. additionally they research the movie as a style piece--as the summa of technological know-how fiction that at the same time seems again at the technological know-how fiction conventions of the earlier (Kubrick begun taking into account creating a technology fiction movie through the genre's heyday within the fifties), rethinks the conference in mild of the time of the film's production, and in flip adjustments the glance and that means of the style that it revived--which now continues to be as renowned because it used to be virtually 4 a long time in the past. built out of its director's specific highbrow interest, his visible sort, and his specific notions of where of human organisation on the earth and, to that end, the universe, </em>2001</em> is, like every of his movies, greater than it sounds as if, and it retains revealing extra the extra it really is visible. although their backgrounds and disciplines range, the authors of this essay assortment are united via a expertise for lively but incisive writing that cleaves heavily to the text--to the movie itself, with its contextual and intrinsic complexities--granting readers privileged entry to Kubrick's ambitious, difficult vintage paintings of technology fiction.
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Additional info for Stanley Kubrick's 2001: A Space Odyssey: New Essays
Kubrick makes this point repeatedly, for example, in the affectless human reactions of the “Moon Station” sequence, in the robotlike astronauts Poole and Bowman, and finally, most dangerously, in the computer HAL, who turns murderer when he believes (wrongly) that the mission to Jupiter is endangered. This too, is a retelling of older myths—of the sorcerer’s apprentice, of Frankenstein, of course, and of the countless science fiction films and stories that repeated this warning. From the havoc caused by out-of-control science in H.
Although there are other moments of humor sprinkled throughout the film, none is so pointed or extensive as these. But they all serve to differentiate his work from the deadly serious plots of most other science fiction films. At the same time, Kubrick raises serious issues that he does not resolve but that other films might have fully engaged. For example, there is a slightly ominous discussion with Russian scientists about the moon slab, which the Americans are keeping a secret under the cover story of a quarantine.
Rhetorically asked: “But what is one to make of the astronaut’s finding the image of himself in a French eighteenth-century drawing room, his aging, his death, his rebirth? . ” Vogue, June 1968, 76. 11. I quote here from the second of her two reviews of the film in the New York Times, April 21, 1968, L1. Further references will be noted in the text. 12. ” A Cinema of Loneliness, 3d ed. (Oxford: Oxford University Press, 2000), 110. 26 STANLEY KUBRICK’S 2001 13. “Space Odyssey Fails Most Gloriously,” Newsday, April 4, 1968, in Agel, The Making of Kubrick’s 2001, 264.