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Essay / Research Paper Abstract
A 4 page paper which examines the auteur filmmaker’s innovative visual structure, particularly in his complementary usage of space and color. Bibliography lists 2 sources.
Page Count:
4 pages (~225 words per page)
File: TG15_TGspaceod.rtf
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Unformatted sample text from the term paper:
their power in their visual imagery. It took him five years to transfer his masterpiece 2001: A Space Odyssey from concept onto celluloid, but it was certainly well worth
the wait. The evolution of man in the cosmos is almost entirely visual, with nothing spoken in the first half hour, and less than 40 minutes of total dialogue
uttered throughout the 141-minute film (Dirks). Kubrick takes viewers on a sense-assaulting odyssey not unlike those assigned to astronauts David Bowman (Keir Dullea) and the ill-fated Frank Poole (Gary
Lockwood) that masterfully utilizes space and color to ultimately bring the voyage full-circle. Throughout the course of the film, Kubrick repeats the statement that a combination of space and time
are required to visually depict "any type of movement" (Falsetto 43). Movement is conveyed through the editing of various lengthy takes, deep-focus cinematography, and an effortlessly choreographed moving camera
that successfully achieves the goal of projecting "seamless illusionism" (Falsetto 43). Space is sometimes clearly defined, somewhat altered, or deceptively ambiguous as in two scenes featuring Dr. Heywood Floyd
(William Sylvester), first when he is aboard the Aries and travels to the Hilton Space 5 and next when he ventures to the moon base known as Clavius (Falsetto 44).
In perhaps the most memorable sequence, when Bowman travels "Beyond the Infinite," spatial ambiguity frames the scene and gives it a separate and distinct personality that is indelibly etched
with the mood-establishing color. The sequence begins essentially in darkness with a slow moving, deep-focus camera displaying the ship, the cosmos, and an imposing black monolith (Falsetto 45-46).
The predominance of black gives the viewer an uneasy sense of the "isolation of space" (Falsetto 46). In this scene, shots linger as a way of disturbing the viewers
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