![]() ![]() Such transitions, it appears, can only occur through interactions with peculiar black monoliths, which appear intermittently throughout the movie. ![]() This single image foreshadows the course of the film.Įven more important than the evolutionary stages, though, are the transitions between them. Three destinations, each brighter than the last. These stages are symbolized by the opening title screen, which features a shadowy Earth-behind which rises the glowing Moon-behind which rises the shining sun. 2001 consists of three stages of evolution: 1) apes before the discovery of weapons, 2) man, and 3) the “Starchild” image. But we can start with the theme of transcendence, since it forms the structure of the film. That statement leaves a lot of ground to cover. More specifically, 2001: A Space Odyssey is an idealistic proclamation of film as an agent for transcending humanity’s violent nature, particularly through its ability to bolster reflection and awareness. My main thesis, which I’ll go on to demonstrate, is that 2001 is a statement about the awesome possibilities of the medium of film. Of course, this will include a concrete, definitive interpretation of its famous ending. My aim, then, will be to coherently explain the meaning of 2001’s narrative. What’s lacking is a grounded analysis written for regular viewers. If you read the page, though, you’ll see that these interpretations tend to skew toward the arcane, kooky, and even mystic. Experts’ attempts to understand the sci-fi landmark’s ambiguous imagery and characters are numerous enough to populate an entire Wikipedia page. Interpreting it, though, remains a notorious challenge. Ģ001: A Space Odyssey (1968) has awed viewers with its vision and craft for over fifty years. This is Part 1 of my two-part explanation of the meaning of Kubrick’s 2001: A Space Odyssey.
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