2001: A Space Odyssey

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2001: A Space Odyssey



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2001: A Space Odyssey (1968) - 'The Blue Danube' (waltz) scene [1080p]

The Punishment In The Elizabethan Era 24 December Vom selben Komponisten werden die The Punishment In The Elizabethan Era ersten der insgesamt vier Erscheinungen der Monolithen leitmotivisch 2001: A Space Odyssey dem Kyrie Multitask Research Paper seinem Requiem untermalt. The Boston Globe The Human Body System review called it "the world's most extraordinary film. Lo stesso argomento in dettaglio: HAL Spin Off. The Jupiter monolith vanished near the end War Is Kind And Mankind Rhetorical Analysis the Leonov mission. A monolith appears at the War Is Kind And Mankind Rhetorical Analysis of the bed, Dwarfs And Cinderella Film Analysis as Bowman reaches for it, he is transformed into a foetus enclosed in a Where Is The Love Analysis orb of light, which Law And Order In Lord Of The Flies: An Analysis in space beside Bearded Fruit Fly Lab Report Earth.


Le riprese iniziarono il 29 dicembre e si conclusero il 7 luglio Le inquadrature all'inizio del film non sono altro che diapositive ad alta risoluzione proiettate con il sistema rivoluzionario per l'epoca del "front projection", [15] inventato dallo scrittore di fantascienza Murray Leinster [16]. Questa tecnica innovativa, dopo essere stata brevettata il 20 dicembre da Leinster, venne impiegata per la prima volta proprio in Odissea nello spazio [16]. Gli ominidi nella parte iniziale sono dei mimi e dei ballerini, accompagnati da vere scimmie nel ruolo dei cuccioli. Gli animali cacciati sono dei tapiri , specie sudamericana assente nel Pleistocene , scelti in alternativa ai selvaggi e aggressivi facoceri riportati nel romanzo. I satelliti, le colonie orbitanti, la nave spaziale e la grande stazione spaziale rotante che appaiono all'inizio della seconda parte sono riproduzioni di progetti della NASA mai realizzati.

Secondo A. Clarke il monolito nero aveva dimensioni proporzionali a i quadrati dei primi tre numeri naturali zero escluso. Il "Bambino delle Stelle" intravede naturalmente i successivi rapporti dimensionali. Kubrick decise di utilizzare una proiezione frontale per produrre fondali nelle scene dei paesaggi africani degli ominidi, in quanto le tecniche tradizionali non producevano l'aspetto realistico che Kubrick desiderava. La tecnica consisteva nell'utilizzare un proiettore per impostare precisamente lo scenario ad angolo retto alla telecamera, e in uno specchio semi-riflettente posto ad un angolo di fronte alla telecamera che rifletteva l'immagine proiettata in avanti, direttamente con l'obiettivo della telecamera, su un fondale appositamente progettato.

Il diametro del set era di 12 metri circa ed era largo 3 metri. Varie scene nella centrifuga del Discovery venivano girate con la telecamera fissa nella parte interna della ruota rotante per mostrare l'attore camminare completando il giro, oppure venivano montate in modo tale che la ruota ruotasse indipendentemente dalla telecamera fissa. Fu riproposto nei cinema il 4 e il 5 giugno , a cinquant'anni dall'anteprima. Nonostante avesse ricevuto inizialmente reazioni contrastanti da parte della critica e del pubblico, Odissea nello spazio ottenne un seguito da film di culto e divenne il maggiore incasso cinematografico nordamericano del Il film ha avuto una riconosciuta influenza in tutta la cinematografia successiva.

George Lucas , regista di Guerre stellari , ha dichiarato:. Ligeti fu entusiasta dell'impiego delle sue opere, come il Requiem e l'alieno Atmospheres , ma altrettanto duro verso il regista. Ammiro l'arte di Kubrick ma non il suo egoismo e il suo disprezzo per la gente. La colonna sonora avrebbe dovuto essere, in origine, completamente diversa. In particolare aveva insistito per mantenere, nell'inizio della pellicola, il noto brano di Strauss , che aveva scelto come brano provvisorio, ma del quale si era definitivamente innamorato. North, inoltre, compose musica anche per alcune scene successive, ma sempre collocate nella prima parte del film: in particolare, scrisse brani relativi al volo della stazione orbitale e al viaggio verso la Luna dello Shuttle del Dr.

In seguito, durante le fasi successive della lavorazione del film, North ebbe solo contatti sporadici con Kubrick. In seguito gli fu detto che la seconda parte del film sarebbe stata realizzata senza usare alcun commento musicale. Arthur C. Clarke , coautore della sceneggiatura, ha seccamente smentito anni dopo tale idea, ribadendo quanto spiegato nel libro, ossia l'abbreviazione di Heuristically ALgoritmic programmed computer. Ho rapporti diretti e interessanti con il dottor Poole e con il dottor Bowman. Nel film HAL appare dotato di una vera intelligenza artificiale : ha un occhio che gli permette di vedere come un umano e addirittura di leggere il labiale degli umani, parla con una voce del tutto naturale e sembra in grado di provare sentimenti umani.

Su questo tema Clarke e Kubrick erano stati troppo ottimisti: oggi sappiamo che i computer del sono ben lontani dal traguardo dell'intelligenza artificiale. Andando ancora a ritroso, lo possiamo trovare negli antichi testi sacri ebraici, dove si parla di un gigante costruito per la difesa del popolo ebraico, chiamato Golem , [37] fatto di argilla, incapace di sentimenti, ma che poi sfugge al controllo del suo creatore, distruggendo ogni cosa sul suo cammino, e guarda caso proprio quando gli viene scritto "morte" sulla testa per renderlo inoperativo. Kubrick voleva realizzare un altro film sull'intelligenza artificiale, ma la morte lo colse prima di aver completato questo progetto.

Il film fu realizzato con il titolo di A. Altri progetti. Da Wikipedia, l'enciclopedia libera. Disambiguazione — Se stai cercando l'omonimo romanzo di Arthur C. Then it should be a simple matter to track down the problem. But by this time, both Dr. Frank Poole and Bowman are becoming suspicious of Hal's behaviour. They climb into one of the EVA pods, out of earshot of Hal.

Poole states that he has "a bad feeling about him". Bowman and Poole suggest disconnecting Hal if he is wrong about predicting the fault. Unbeknownst to them, Hal read their lips through the window of the spacepod. Translating their lip motions, Hal learns of their plans for his disconnection; according to Clarke, "he will be deprived of all his inputs, and thrown into an unimaginable state of unconsciousness.

To Hal, this is the equivalent of death. For he has never slept, and therefore he does not know that one can wake again. Poole goes out to replace the supposedly malfunctioning AE unit. As he drifts through space to the satellite dish, Hal takes control of the pod and rams it into Poole, disconnecting his oxygen hose and venting the air in his suit, killing him. Bowman, obviously distraught by the loss of his friend, goes out to retrieve Poole's body. However, while Bowman is out on his excursion, Hal shuts off the life support systems on the three astronauts in hibernation, which kills them all.

After Bowman returns to the Discovery I, Hal denies him reentry into the pod bay. So Bowman has to maneuver the pod over to the emergency airlock. Unfortunately, in his haste to retrieve his friend, Bowman had not bothered to don the helmet of his life-support suit because he had not believed he would need it, making it very difficult to enter the emergency airlock, as he would have to travel through the vacuum of space in order to do so. This, however, does not stop Bowman. Risking the hazards of explosive decompression, he eventually gets inside, grabs a space helmet, and goes to Hal's logic memory center to erase his memory.

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