Arch 443/646: Architecture and Film
Fall 2005

2001: A Space Odyssey (1968 )

Please answer the questions below. Use paragraph form. Your answer should be around 400 words. Email me your responses in Word .doc format to: tboake@sympatico.ca I will be posting these each week after the class. You should be prepared to deliver your answer in class -- but paraphrase, do not read it.

The scientific timing of this movie is very important. First Men in the Moon was released in 1964, just 4 years earlier, but was based upon novel written in 1901 that was quite advanced for its time.

This movie was based on a screenplay, 2001: A Space Odyssey, co-written by Arthur C. Clarke (famous science fiction writer) and Stanley Kubrick. The making of the movie coincided with the first manned space flights of the Mercury and Gemini Missions. For an overview of actual space progress in the 1960s: www.space.com/news/spacehistory/greatest_space_events_1960s.html

Note: most of the images on this page are compressed (and are all the size of the one in Question #4). If you want to see them "bigger" save them to your computer.

For the film class in 2002, Anthony Kwan did a very nice web site ... link

1. Liana Bresler

Actual space walk from Gemini Mission

When this film came out in 1968, it was quite a change from space films of the genre represented by "First Men in the Moon". Do you think the projected timeframe of this film, 2001, seems appropriately distant from the technology and status of space travel in the 1960s?

Considering the changes that happened in the 40 years prior to the making of the movie 2001 – A Space Odyssey the projected time frame seems appropriate. Society, after the Second World War was advancing rapidly. People’s lives, technology in general and the space race in particular were transformed significantly in a very short period, and so it would be logical for the creators of the movie to predict the changes would continue in the same pace. In 1957, sputnik I was the first man made object to orbit the earth, only eight years later the first space walk was accomplished by a soviet cosmonaut, and NASA was preparing for the first moon walk. Once the initial obstacle of leaving the earth was overcome, the space race advanced so rapidly that it seemed like anything was possible.

Although space technology continued to advance after the making of the movie, it did not reach the status imagined by Kubrik. To a certain extent the technology portrayed in the movie exists today and was represented accurately. However, the creators of the movie did not foresee some of the problems associated with space travel when they were projecting what the future would be like.

The movie was accurate in predicting some of the effects on travelers such as fatigue, and the need to exercise in space, as well as specific predictions about how technology would be used, such as the different communication devices presented. The movie did not foresee, however, some of the more complicated medical or mental problems caused by space travel which slowed down the pace of the space race. Furthermore, as the priorities of society changed, space travel today does not have the same priority as it did in the 60’s.

In projecting the future, 2001-A space odyssey did anticipate the moral and social dilemmas that technology and space travel could bring, and perhaps that, more than an accurate prediction of technology was the main concern of its creators.

2. Elfie Kalfakis

Probably one of the most futuristic elements of the film is the computer HAL. Comment on HAL and the believability of the role of the computer in the film. A timeline of computers: http://inventors.about.com/library/blcoindex.htm

2001: A Space Odyssey was made in the 1968. At this point in history computers were less of a foreign idea but mainstream concept. People were familiar with the technological discoveries of their time. With the development of the computer over the past thirty years (from the first computer to the then recent developments of the internet), the idea of artificial intelligence was seemingly plausible.

The computer HAL in Stanley Kubrick’s film was to be understood as an equal to man. Certain cinematographic methods were used to achieve the impression that HAL was in fact an intelligent life form. Kubrick’s gave the viewer a perception of the world the way a being like HAL would perceive it. He places the viewer in shots looking at the world through HAL’s lens, giving a human perception through the eyes of the machine. This type of shot establishes a likeness between us (the viewers) and the machine (HAL).

In the movie HAL’s role is to destroy and danger the lives of the men on board. HAL in all instances is perceived in red. Red is always interpreted as a signal of alert; therefore we are always experiencing HAL with an undertone of anxiety due to the intimidating way he is displayed. This intimidation is especially evident in the actual form of HAL. He is a small lens, that seems harmless, but with a centre consisting of a bright urgently red light. The fixture itself creates tension within the viewer.

Now as mentioned before the viewer is to understand HAL as an equal to humans. However, as the film unfolds it becomes evident that HAL is more powerful than the men on board. There are shots of HAL observing the passengers when they’re not aware he is watching. Shots like these give viewers a perception that HAL is the ‘all seeing eye’. This idea is illustrated best when David is seen inside the database of HAL’s memory. Firstly, the size of the room is considerably larger (perhaps 10x larger) than David himself. Also, the angles in which the viewer sees the room, up until David triumphs over HAL, is from a bird’s eye view. The angle supports the dominant character of the computer in the movie.

One could go as far to say that the progression of the HAL as a character in the movie is Kubrick’s opinion of technology. He may have believed that initially these technological advancements seem harmless and justifiable, but inevitably they will endanger, and potentially destroy, us.

3. Emily Maemura

Diagram of 1960s suit

Comment on the spacesuits in 2001: A Space Odyssey, as compared to those you answered on for First Men on the Moon, given the year of production of the film (1964), the book upon which the film was based (1901) and the existence of space travel (however limited) in the early 1960s. Do Kubrick and Clarke advance the technology of the 1960s?

Kubrick and Clarke do advance the technology of the 1960s in their portrayal
of space suits. Unlike “First Men in the Moon,” a detailed understanding of
the spacesuit is portrayed in “2001.” The suits of “2001” are presented as
highly advanced technological machines, whereas the suits from “First Men” are
merely a new kind of uniform. This reflects a paradigm shift in the thinking
about space, and life in space. The early work portrays space as an
inhabitable, yet undiscovered territory, while the latter acknowledges space
as completely different from anything on earth. Space is devoid of all
elements of life, therefore all amenities and necessities of life must be
supplied by humans, strictly regulated and rationed.

The space suit of “2001,” and of the 1960s reality, is a machine for living in
the vacuum of outer space. This can be seen as an extension of le Corbusier’s
idea regarding machines for living, and might be described in this way as a
kind of temporary architecture serving a single person. The suit enclosure of
the suit is emphasized in the mechanical nature of the connections of glove-to-
suit and helmet-to-suit. The necessity of oxygen, a breathing apparatus, and
the continuous enclosure of the suit is emphasized not only visually but
aurally. Frequently in the space-walk scenes, the only sound heard is the
astronaut’s breathing in and out. This emphasizes the isolation felt in space,
as well as the dependence on this air supply, provided by the suit. Dependence
on the suit is shown in its breaking or failure: Dave is most helpless,
vulnerable, when without the helmet to his suit; Frank’s death is brought
about merely by a break in the suit, a disconnection of the breathing tube.

Technically, the major advancement Kubrick and Clarke put forth in the design
of their space suit is a computer panel on the arm, an enhanced user interface
for controlling the various functions of the suit. Again, this panel
emphasizes the mechanical nature of the suit. This is a substantial contrast
to the suits in “First Men” which were portrayed merely as a new kind of
uniform. In addition to this panel, the suits are generally more stream-lined,
less bulky with ‘futuristic’ ribbing and an angular, visor-like helmet, as
compared to their real 1960s counterparts.

Another interesting addition to the suits is the use of colour. Space suits of
the 1960s, and those of today, are generally white, to reflect the light of
the sun. The suits in “First Men” were stark in colour, similar to a sort of
army uniform. Kubrick and Clarke use bright primaries (red, green, yellow) for
the space suits. Perhaps this decision was made to clarify which character is
which in a film largely devoid of the conversation which normally serves to
clarify ‘who is who.’ Perhaps it is also describing some advancement of space
suits into the realm of fashion.

4. Derek McCallum

What is the significance of this image? What does it tell us about the perceptions of the inhabitation of space.

This image demonstrates a wide variety of society’s perception of how one might be able to inhabit a space free from the effects of gravity. Firstly, it presents a sterile, technologically ornamented, and machine-like character. This is not surprising, as the concept of life and regular existence in space was still a relatively unknown phenomenon when the film was made in 1968. Thus the points of reference likely used were the interiors of Russian and American space missions during the early 1960’s. These satellites were not meant for long-term occupation, and the technology was such that it took up so much space it simply became the focus of any interior environment. This image illustrates that same kind of character – albeit with more style and comfort. The padded walls echo the kind of design seen in the spacecraft from First Men in the Moon, where they might function as padding to cushion any falls from the lack of gravity or sudden “turbulence”.

The interesting part of this image is the 360-degree entrance. The woman is shown upside down (at least relative to the camera), after she has entered right side up. The concept of space that is 100% inhabitable – floors, walls, and ceilings – is extremely interesting and suggests a new shift in thought concerning gravity-free architecture. There is no need to have all doors opening onto the same floor, because one can just as easily walk up a slight incline, or radius (as in the image), and enter a corridor or room that has a completely different orientation to the one just left. The idea of plan loses its importance as holding everything together, because it no longer does. The plan is a result of gravity confining all elements to the same plane. Free from this burden, the focus shifts to moderating and controlling these new effects to promote comfortable and efficient occupation. For example, fashion is reassessed in a 360-degree space. Shoes are coated with Velcro-stick so that walls (or are they floors?) are easily navigated. For people with long hair it is necessary to wear caps to keep it from falling all over the place. The film gives thoughtful insight into the occupation of zero gravity space, and the implications are keenly carried out in the sets designed to illustrate them.

5. Helen Pallot

The space crafts that are used in this film are far more advanced than in the previous films we have seen. There are many types of space craft now. Explain this jump in the perception of this technology.

Stanley Kubricks 2001: A Space Odyssey released in 1968 was an prodigy in science fiction films, it still is considered even today to be one of the most credible space films when dealing with the technology of the space craft used in the film. The designer of the space crafts Harry Lange and Fredrick Ordway worked along side many technicians from NASSA, IBM and other institutions to develop and create space crafts that were technically accurate to the theories of that time. The attempt of the movie was to see how advanced man could get with his technology by the end of the century. As the first man on the moon was to take place the year after, the hope and fear of the advancement of technology was an unknown and it therefore intrigued people to explore how man would use his technology in the future.

So the advancement of technology purged people to think bigger, what is bigger than landing on the moon? Living in space, having space crafts act as everyday transporters and exploring into the unknown, going further out of our galaxy, moving into the forth dimension. One thing that impressed me was that the trip to Jupiter wasn’t over a five minute period, it took up a lot of the movie time. This for me was a real indicator that they understood the concept of travelling in space. There were many different types of space craft shown, each having a different purpose. The first one was not a space craft but a satellite, this was the first of the space technology. Next was the space station, in which was also used as a space airport. The Orion III space plane carried people for earth to space and then the space Luner Shuttle was used as a vehicle to the moon and the space bus was a vehicle on the moon. The USS Discovery was the explorer into the unknown and the space pod assisted the craft to make maintenance and explorations into space. All these space crafts mentioned were made and modelled using the ideas of zero gravity and they creatively used the space in the ships, utilising all side of the interior space. This too indicates their eagerness to explore the new possibilities of the new environment of space, not longer restricted by gravity, interior space can be set up and used in a completely different way than down on earth.

Human beings like to explore, they like to dream and they have a thirst to create, I think space travel is just another means to quench that thirst and push their capabilities and imaginations. A space Odyssey was definitely influenced by the technological advancements during that time from computers to space travel, they had gained a new confidence of space travel and searched for new ways to utilise it.

6. Michael Panacci

Speak to the technological jumps in cinematography with the use of models for this film. How has this impacted the portrayal of the future in the film?

7. Nathan Rehorick

Multiple models are used to portray the various exterior landscapes in the film? What makes the character of these differ from First Men in the Moon, considering it was only 4 years earlier?

In answering this question, it is first important to keep in mind that the Men in the Moon film is based on a book whose story takes place in 1899 whereas Space Odyssey portrays events of the future. The modeled space environments reflect the respective attempts to incorporate technology being used. In fact, we must be more specific and focus on models used in Men in the Moon’s second half, which is set in 1899, rather than the later lunar expedition of the first half that uses very a similar lunar environment to Space Odyssey with respect to the moon’s geology. Thus, given that the visual capabilities of each production are similar, the difference in character is related to film content.

First, space constructions in 2001 are by and for humans. Whereas the alien constructions in First Men are large and monolithic (caverns, walls, doors), those of Space Odyssey tend to be to human scale (landing pads, control panels, windows). Materials portrayed in these constructions are familiar to the ones that were being used in and on real space craft at the time. A good example of this materiality is the moon excavation site, whose walls are a series of girders driven into the ground and slotted with solid metal retaining panels, not unlike those of an office tower construction site on earth.

Another determining factor relates to the composition of the respective alien and human environments, particularly in overview shots looking down towards the lunar base in 2001. Multiple smaller infrastructural pieces of the base with many individually rendered light sources form the lunar complex in 2001. The size of these lights and other relatively identifiable areas, such as landing pads, give scale to the complex. The small infrastructural pieces are also arranged together in a concentric structure, implying a rational order as we might imagine being applied here on earth. No such rational order can be easily found in the environments of Men in the Moon.

Lastly, including the context of space in the backdrop gives more realistic image of the Moon’s planetary environment. Although I must speculate here, it does seem plausible that Odyssey uses true imagery of the lunar surface as a backdrop, whereas Men in the Moon is entirely studio modeled. A timeline of film making shows that the 1950’s and 1960’s were a period of shift from filming in a studio to primarily filming on location. The tendency to portray reality more accurately is reflected in the later film more so than the former.

Wikipedia History of Film:

http://en.wikipedia.org/wiki/History_of_cinema#The_1960s

8. Matt Storus

Add 2001 to this list....how is the technology different from the previous films? How has it been made more believable? How are the various sizes of space craft accommodated? [Compare the launching systems and set up for the three space ships from Aelita, Just Imagine and First Men on the Moon. How are they different? How are they alike? What about this early tendency to blast through the roof of a building on the way out? Comment on their "fuels" and methods to overcome gravity.]

The portrayal of technology in 2001 A Space Odyssey is radically advanced in comparison to the technology exhibited in the previous movies. Technology is taken quite seriously in 2001 for a combination of reasons. Firstly, the movie was made during the height of the space race. The director and special effects designers would have had a strong visual reference in the various space launches of the time. Secondly, the exposition of technology played a crucial role in forwarding the overall theme of the movie, namely the evolution of man in relationship to his tools. By focusing on three trends in the movie, the depth of the technological portrayal becomes apparent.

The first trend in 2001 is to express gravity in the design of the ship. For example, the large space station is designed as two large rings which are in rotation. Presumable, the rotation of the rings uses centripetal force to keep the occupants down on the floor (much like gravity would on earth). Similarly, the interior environment on the Jupiter spacecraft is designed as one big circle, providing the same gravitational effect. In fact, all interior environments are designed with at least 4 ground planes, and the actors make dramatic use of all of them (often employing the cling boots to adhere them to a surface). First Men On The Moon hints at the effect of gravity, but it is not taken particularly seriously and abandoned after one or two visual gags. Similarly, the propulsion systems are an expression of gravity. They figure prominently in all of the 2001 spacecrafts, and are integrated in a believable way. The previous films tend to either completely ignore that question, or express the propulsion systems in a cartoonish way.

A second interesting point of comparison lies in the landing sequences for the crafts in 2001. There are 3 specific instances that show a spacecraft landing. The first instance is when the space shuttle docks with the orbiting space station. It is interesting because the landing is seemingly very precisely calibrated. The ship performs several manoeuvres before synchronizing its rotation with the space station. Then the ship enters through an “energy barrier” to a docking station that also has multiple ground planes where the landing crew waits. Of note is the portrayal of the computer technology that assists the landing. Various shots are taken of the landing assistance display that the pilots are utilizing to make a precise landing. A second instance is when the ship lands on the moon. Again in this case, the ship makes extensive use of computer assisted piloting. In this case, it enters through a dome that splits into triangle pieces and slides away. Upon landing on a platform, the platform then descends and carries it through a very impressive looking and high-tech corridor to the interior of the base. In the previous movies, all landings were done in a hap-hazard way (with the exception of the 1960’s part of First Men). For the purposes of those movies, however, it wouldn’t have advanced the plot to show the detailed method of landing.

The final trend of note is the technological veneer layered on top of all spacecraft in the film. All surfaces are layered with a series of boxes, pipelines and panels that give the impression of a sophisticated technological machine. If the ships are imagined without the veneer, they would appear as quite pure Platonic shapes. Kubric, however, was attempting to advance an overall narrative of man versus his tools, and to that end it was necessary to create the impression of a very highly technical and complex set of tools that man depended on for survival.

9. David Takacs

Much more information is given in this film on the varying interior environments of the space crafts. They are more elaborate, much larger, and count on interspace transfer of occupants. Comment on the presentation of this in the film. Was it credible in 1968. Is it credible now?

Stanley Kubrick’s 2001: A Space Odyssey is thought of as a breakthrough film for its time. It allowed audiences to enjoy a trip to the lunar surface a year before the actual event occurred, as well as numerous other locales in outer space.  The film is legendary for it’s meticulously realistic portrayal of spacecraft, and remembered for this much more than the plot or characters.  Even today it seems credible to our knowledge of space travel, as well as to other science fiction films. With this film spacecraft were no longer shown for fleeting moments.  They became highly detailed and realistic machines that large parts of the film took place in, and thus it can be said that the presentation of the spacecraft, and their interior environments is nothing short of exceptional.

The ships of 2001 were based heavily on real-world technology and innovations already in development in the mid 1960s, this being facilitated through the hiring of numerous consultants.  Arthur Clarke's novel that the film is based on found space travel an important focus, tackling the issues of the long periods of boredom experienced by a crew exploring the solar system and their need for diversions and a systematic routine.  The ships were designed to accommodate these ideas, as well as demonstrate how such fantastic technology would some day be a regular part of our lives. An example of this would be the large rotating drum used for exercise on the Discovery. It is interesting to note that Clarke and Kubrick predicted the ills of space travel over long periods much sooner than NASA confirmed this with astronaut’s muscle deterioration.

The interior environments are certainly immaculate. There are airlocks, rocket boosters, and complicated computers to name a few. We have such a range of spacecraft: command ships, smaller shuttles, and space pods; all with the conceivability for being able to actually happen in the depths of space with our contemporary knowledge. It is one of the first times an audience sees computers begin to take over numerous aspects of everyday life. One anomaly with the rest of the film is when Dave goes in the space pod to collect the body. On returning and being locked out by HAL, he rockets out of the pod to the emergency hatch pm the Discovery without his helmet. For a movie where everything is quite believable, this is one of the only points which leaves one wondering.

Overall, 2001: A Space Odyssey is quite well presented. It was credible in 1968, and it is still credible now; a testament to the films success in achieving Clarke and Kubrick’s visions, as well as to furthering the science fiction genre.

10. Mat Triebner

Communication methods have substantially improved in this film. How does this impact the film? Is the physical portrayal of this in the film realistic?

Communication methods have indeed changed in 2001: A Space Odyssey, the method of communication itself seems to have remained quite constant, the devices however have undergone a remarkable overhaul. Gone are the elaborate and overwrought telescopes of Just Imagine and Aelita, replaced by computer terminals and crystal clear colour video transmissions. The video transmissions which occur on and around the moon, however, have a very different quality than those which occur on the Jupiter mission. The instantaneous nature of the early transmissions of the film identify closely with the communication methods viewed in prior films, whereas the later transmissions from the Jupiter mission are of an entirely new realm. Recorded video and the notion of a lengthy transmission time are now new to the space film. The isolation and loneliness on the Jupiter mission is only exacerbated by the lack of immediate contact with home. When the ‘problems’ began, there was no way to gain immediate feedback from home, to ask for assistance, to seek guidance. This lapse becomes an enormous barrier between the Jupiter Mission and home.

Both methods despite their differences seem quite plausible. Or rather, seem like they could be plausible in the near to distant future. Perhaps Kubrick was slightly optimistic in his vision of the future, or more likely, our attempts at flawless video conferencing have been disappointingly realized. However, as bandwidth sizes continue to increase, the notion of a constant and immediate transmission seem to be more and more likely.

11. Andrea Wong

Comment on the use of special effects in this film? Identify what is "new" for 1968 and how it has altered this film's "reach" from that of First Men in the Moon, only 4 years earlier.

The use of special effects in this film is impressive and was obviously a priority of Stanley Kubrick’s when making the film. It is said that he wanted every effect of the two hundred-plus “special” scenes to be absolutely convincing and went to great lengths to make it possible.

This movie was revolutionary for its time because it accurately portrayed space as a vacuum that had neither sound nor gravity. Some of the most memorable features of this film are the scenes inside the spaceship where people walk on walls and objects float in the air. This was done on a set that rotate around itself, simulating weightlessness by using centripetal force. The actor would run in place and the ship would rotate around, like a gigantic ferris wheel. All the furniture was bolted in place and it could turn up to three miles per hour. The floating objects, such as the pen, were placed on rotating glass discs.

This film was one of the first to extensively use front projection technology which is photography that is projected from the front of the set onto a reflective surface. The scenes from the Dawn of Man were shot in this manner. They were able to make the landscape seem infinite and realistic. An older technique called rear projection technology was used for showing displays on televisions and computer monitors.

Kubrick used Steadicam shots often. This refers to shots made with a camera that has been demounted and instead carried by crew members to create a more involved view for the spectator.

The impressive “Star Gate” scene at the end showing a psychedelic montage of animated colours and textures was produced using a “SlitScan” which was developed by the movie’s own special effects team which enabled the filming of two seemingly infinite planes of exposure. On top of this, they applied coloured filters to aerial landscape footage and they filmed interacting chemicals.

All of this was made possible by the numerous corporate sponsors and consultants this movie had including NASA, Bell, IBM, Boeing… They exchanged technical knowledge in exchange for product placement; something still underexploited at the time.

The emphasis on credibility and feasibility, the accuracy of the portrayal of space as a soundless weightless vacuum and the manipulation of detailed and believable props make 2001: A Space Odyssey a movie that can still be highly regarded today, even as we live in the aforementioned “future”. These are what differentiate it from First Men in the Moon made only four years earlier.

Reference:

Demot, George D., The Special Effects of 2001:A Space Odyssey, July 1999. http://www.palantir.net/2001/meanings/dfx/html.

12. BJ Smith

How has the portrayal of interior environments changed in 2001? Speak to the varying space crafts in the film, use of oxygen, comfort, safety, etc. [Discuss the interior environment of the spaceships as presented in Aelita, First Men in the Moon and Just Imagine. Are they appropriate? or realistic in terms of the "time" in which they were created (bearing in mind that the Wells book was written in 1899.) ]

The role of spacecraft interiors in Space Odyssey:2001 is central throughout much of the movie as these sets engage in more screen time than in any of the previous movies watched. As the majority of the movie takes place in space the characters are constantly in spacecrafts, thereby increasing the significance and interaction between the two. The major development with Space Odyssey:2001’s craft interiors revolves around addressing and illustrating antigravity. Unlike the previous films, Space Odyssey proposes technological solutions to the weightlessness of space, and these concerns appear in the interior designs which deal with it by making use of man’s scientific advances. This awareness and assessment of course is a reflection of the knowledge which by now, has been gained with the space programs of the time (man has now been in space many times and is planning to walk and explored the moon). This same space and technology craze has inspired the minds of individuals with the ‘what will be’, developing a new faith and ambition in the power of technology.

This new expression of futuristic technology is seen across many aspects of the set designs. Foremost, as mentioned above, the sets address antigravity; creating layouts and designs which help establish artificial gravity in space. These effects are dealt with in one of two ways, at a smaller scale there is the use of ‘sticky’ footwear. These shoes simply ground the individual to one of the walking planes of the spacecraft interior, allowing the interior to be designed in any fashion, regardless of dealing with the lack of gravity. For the larger scale situations, such as the space station and main interior of the Jupiter mission spacecraft, the designing of the spacecraft interiors contain walk-able surfaces on the inside face of a cylindrical volume – allowing individuals to move about freely within the inhabitable space. This is the influential factor to the shape and design arrangement of the interiors as they are designed around the idea of centripetal force – similar to the amusement park rides that spin you around until you stick to the sides of the wall. Instead of being perpendicular to the centripetal force the inhabitants of the spacecrafts stand in the direction of this grounding force. The need to create a centripetal force within the interior of the craft begins to dictate the overall design and appearance of the spaceship, as the exterior also reflects this interior condition. Therefore the spacecraft interior forms are a function of the technology and ideology which has been proposed for the future of Space Odyssey:2001. Further, issues of safety precautions amidst the spacecraft interior appear very insignificant, as if most concerns and dangers are non-existent or under control. Demonstrated by the patrons’ leisurely use of the spacecraft, the dangers of space seem to have been put at bay – as there is a new found security with the technological advances. Likewise the concern of breathable air is also a docile apprehension, as very little ever alludes to the crafts being airtight vessels – separating the vacuum of space from the enclosure of the craft. The only interior that addresses this is the shuttle pod docking bay, which is the mediating space between the inhabitable and the vacuum of space. This gateway between the sustainable and non-sustainable appears to be very approachable even though it hinges the vastness of space from the confines of the spacecraft. With the exception of the cylindrical curve of the floor, most spaces appear as if they could be apart of any building on earth – as technology has been able to bring the comforts of home to space.

A secondary development in this film is a shift in materiality used in expressing the interiors. No longer are the set designers making use of the current image of hi-tech, but they now propose a new and stylized decor which reflects the developments in technology and innovation. Not to say that the green velvet in the First Men in the Moon craft wasn’t ‘stylish’ for its time, but it certainly didn’t have the capacity to express the same degree of ideas and impressions. Most surfaces are finished in reflective whites with lots of glass, image screens and soft edges. This uniform and organized style helps create a modern hi-tech feel to the interiors, and not only is it attempting to envision the future but it also sets the tone about the way things will proceed – orderly, clean and sanitary an image for the future, full of progress, living the ideal which has tamed the wilds of existence.

13. Maia

Comment on the "interiors" used in the film?

The Space Odyssey’s (non sono sicura del genitivo) interiors are full of meanings.

Kubrick uses “modern” furniture: modern for the period, modern for its shape, the texture, the 70’s style. Moreover, technical and scientific details are injected everywhere into the interior design style. That is his way to represent his idea of the future. A future that uses and exploits technical advisors who study advanced space vehicle concepts – IBM, Boing, Bell Telephone.

Every design detail acquires (to assume ha un senso figurato,come prendere atto) a specific meaning.

First of all the colors: in every interior view, the black and white colors always appear – or rather one should call them the “non color”, or the sum of colors – to define the boundary of the ambient and delimit the space, together with one dominant color, which can be yellow, or the red of the seats, or the orange of the cockpit. Each of these colors expresses an emotion, a particular mood. In most cases, it is a feeling of anxiety. Kubrick brings the audience in a metaphysical state where the subconscious prevails on the conscious and produces worrying and thrilling physical emotions.

Another particular detail is the use of perspective. In every scene, the escape way is enhanced by straight dark lines in the floor or the ceiling. Setting the stage with a perspective view alludes to something: the pressure grows up and seems to suggest that something is going to happen.

Ultimately, Kubrick uses “the interior” like a filter to scan the rhythm of the film, to give input and control the emotions.

14. Allison Janes
Comment on the nature of the music that was used in the film. How did it work with the plot, mood, setting?

The music in 2001 Space Odyssey is used at moments of great discovery and as way of evoking rhythm and feeling during the many montage scenes. The slow build up of the music follows the progression of the images presented, the vastness of space, and eventually the aligning of the planets, the moon and the sun. The 2001 Space Odyssey theme is tentative at first, slow and quiet and then grows into a great heroic symphonic piece, paralleling a moment of discovery.

One notices that there is no music during the Dawn of Man sequence until the appearance of the monolith and later the discovery of tools. Music evokes the sense of discovery with the great crescendos, and the booming drum beats. These almost primitive rhythms. It also denotes the significance of the scene as a turning point in our history… leading our ability to kill animals, and worse, to kill each other.

The sequence introducing the space travel era has a particularly effective use of music. Strauss’s’ Blue Danube is lively and optimistic; this is reflective of the optimism of space travel. We are presented with images of beautiful orbiting objects above the earth’s surface. They are smooth and elegant, unlike the spacecraft that were familiar in the 1960’s. The music suggests that space travel has become a refined art, a beautiful and wondrous achievement of the human species. It exudes a joyous and confident tone. It is also interesting that the swirling of the spaceships mirrors the swirling movements and rhythms of a waltz, such as the Blue Danube. This music is only heard during the montage scenes in space, any interior environment is quiet.

The music used to describe the monoliths is quite different then the Space Odyssey Theme or The Blue Danube. During the 1999 encounter a person comments that the monolith is emitting fields. This is reflected in the reverberating and layered sound that extends from the object. It is reminiscent of a distorted opera. You can only make out the sounds of voices at certain parts, and can never tell exactly what they are signing, thus reflecting the mystery that surrounds this object. It is as if they are calling to you but you cannot answer them. You can see this in the way that both the apes and humans approach and touch the monolith to try and understand it completely. Obviously they are unable.

The movie uses the universality of symphonic music in western culture, to convey emotions and moods: joy, unease, mystery. Using bizarre compositions and unfamiliar rhythms melodies etc would not have had the same effect. The movie is able to stir recognizable emotions and parallel them with unfamiliar images. This film is about the quest for the infinite, therefore it seems fitting that such a universal style of music would be used.

Also interesting that music and sound play such a key role in this movie and yet we know that sound can’t travel in space.