A Response to 2001: A Space Odyssey Essay -- 2001 Space Odyssey Essays

A Response to 2001 A Space Odyssey         I love having the Blue Danube waltz in 2001 its my favorite fate of the movie. What I find most idiotic ab let out it is that it ties in so well with the smoothness of a lay orbit. In the first space scene, anything that is free floating, like the penitentiary or the ships themselves, is perfectly in balance with the music. Nothing in orbit is incessantly rushed, and at no time does it ever falter from its halcyon show of existence. The Blue Danube matches this perfectly, and it contrasts sharply with the forced human stellar endeavors that are also present. For example, when the attendant is attempting to walk along the spacecraft aisle, she looks like a yearling who is just learning to walk, and the music that accompanies her is so sublime and unencumbered. Even the pen she is reaching toward looks like a champion athlete in simile to her awkward movement. On one level, this atomic number 50 be seen as a symbol for the general idea of humans fighting with nature itself. liberality has always tried to separate itself from the beasts we have manifold eating tradition that involve utensils, we wear clothes that are much more intricate than those that would be required by basic needs, and most importantly, we do everything we can to make our societies totally disconnected from nature. If this message is, in fact, a part of Kubricks statement, therefore it is directly comparable to Nietzsches ideas on science and technology. Specifically, I touch to the story on science in indeed Spoke Zarathustra, where Zarathustra discusses the purview of science that acts as a security blanket for mankind. As a race, we develop theories and inventions to understand our existence and force our e... ... though. Specifically, he makes me dread the scenes that pillow slip his creations of strife and pain. If Kubrick intended me to raise my blood pressure during the first space-monolith scene, the n his use of Ligeti did the trick. Maybe thats exactly what he intended. Maybe he was trying to communicate the anguish that is inherent to the change embodied by the monolith or the incomprehensibility that overwhelms our imaginations if we think too hard about the infinite stretch of space. Or, maybe he just wanted something that made those particular scenes stick out and appear ripe for interpretation in any of numerous ways. both way, regardless of the intelligence at work in the non-Strauss scoring, I settle down viscerally liked the Strauss and not much else musically. Thats ok, though, because the Blue Danube and the introduction to Thus Spoke Zarathustra are just that good.