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5th Meeting - Space & Time

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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4th Meeting - Music

A brief theoretical introduction on the basis of the seminar reading reveals to us the concept of acousmatics, AltGr. ἅκουσματικοι = "Those participating in the hearing. In preparation, we have in the weeks vergangegen The Testament of Dr. Mabuse (F. Lang, D 1933) considered that presents us with a acousmatics par excellence.
The concept of acousmatics by Michel Chion can be in terms of 2001 apply to HAL 9000: he is the omnipresent, omnipotent, disembodied voice which by their "de-acoumatization" (Dave's admission to "Logic Memory Center") any loses power.

are actually only 42 min of 160 filled with dialogues, which are characterized also by remarkably banal content. In the vacuum of space, consequently, there is silence, except the conversation between HAL and the locked-out Dave. In contrast to this minimalist silence the sometimes very pompous background music, such as by "The Blue Danube" or "Thus Spake Zarathustra." In the use of existing songs instead of a (at that time customary for decades) for the film composed soundtracks, engages negative in 2001 to a practice of the early silent film. Partly because this is often interpreted as primitive and arbitrary dealing with music Kubrick was criticized after the first performances of 2001 you.

After viewing some scenes, some with alternative soundtrack (in comparison to the idiosyncratic soundtrack final miss much of 2001 in effect will), we dedicate ourselves to the final "death" of HAL 9000th In this scene we see a testament to Kubrick's meticulous research: The children's song "Daisy Bell", the HAL - thrown back into its first hour - singing the first song sang a computer-generated voice. Because of the frequency of vowels, it seemed particularly appropriate for it to IBM in 1961 (!) 7094 to teach.

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Pink Floyd and the ending of "2001"

The most conspiracy theories, but at least the most beautiful accidents of film history, gehört die Tatsache, dass Pink Floyds episch ausladendes Stück Echoes vom Album "Meddle" sich als verblüffend synchron zur Sequenz Jupiter and beyond the Infinite erweist. Wikipedia :

Similar to the the Dark Side of the Rainbow effect, it is rumoured[7] that "Echoes" synchronizes with Stanley Kubrick's 1968 film 2001: A Space Odyssey when played concurrently with the final segment (entitled "Jupiter and Beyond the Infinite").

"Echoes" was released 3 years after the film and is 23 minutes and 31 seconds in length, similar to the "Infinite" segment. Sounds in the middle part of the song suggest to some listeners the feeling of travelling through an alien world. The drone vocalizations heard in the final scenes of 2001 seem to match with the discordant bass vibrations in the middle of "Echoes" as well the choral glissandos of its finale. Some argue that there are moments when the song and film soundtrack are nearly indistinguishable. Another notable link occurs during a change in scene at precisely the moment when guitar and keyboards crescendo as the lyrics re-enter for the final verse. Almost as a bonus, the early lyrics contain references to planets, which seems entirely suitable for the film's depiction of Jupiter and its moons. Adrian Maben re-created this marriage of music and image in his director's cut of Live at Pompeii using CGI.

The members of the band always denied that the synchronization was intentional. Furthermore, the technology to play back film in a recording studio circa 1971 would have been expensive and difficult for the band to acquire. Roger Waters is sometimes quoted as saying that the band's failure to contribute music on 2001's official score was his "greatest regret"[7].

The 1973 George Greenough film "Crystal Voyager" concludes with a 23 minute segment in which the full length of "Echoes" accompanies a montage of images shot by Greenough from a camera mounted on his back while surfing on his kneeboard.

Auf VideoGoogle findet sich eine synchronisierte Fassung von Echoes und "2001":

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2001: Premiere.

Ein kleines Fundstück: Stanley Kubrick at the World Premiere of "2001".