After a brief addendum to the dialogue and sound in 2001 we turn to at this meeting to the representations of space and time.
After a discussion on the final sequence - although in the time structure gets messy, but not the room, there are, for example, gravity - We talk on the basis of seminar reading about gravity in the film.
We agree that 2001 plays in a certain sense of gravity and the associated Orienientierung and provides for disorientation. Disoriented, both the audience and the characters who are often taken from strange angles, and - in contrast to HAL - relatively quickly in control, if not even lose life.
The relationship between man and space, we first examine, for example, at the first picture within the Discovery, leads us to the other films of Kubrick. Some screenshots from Barry Lyndon (1975) and direct excerpts from The Shining (1980) a look at Kubrick's general presentation of rooms. Also with reference to The Shining and the end sequence of 2001 can the circularity of the solid curves represent. The framework proposed in the literature, the term "ubiquitous space" (p. Mamber), an area that combines all of his time in itself, but is open to question. In both films, not all times are present simultaneously, but only certain times (in The Shining the Hotel Party from 1921, up on the Jack Torrence in 2001 the various aging stages David Bowman).
We also talk about the large representation of spaces, such as the corridors in The Shining or landscapes in de Barry Lyndon and the generous space ships and stations in 2001. In contrast, the cramped one-room rocket in Destination Moon (Irving Pichel, USA 1950), which we then sift.
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