...In 1968, science fiction scribe Arthur C. Clarke and movie director Stanley Kubrick's 2001: A Space Odyssey came to the silver screen. The movie wasn't a space opera like Flash Gordon or Captain Video, a series in which Clarke had served as a writer and consultant. Rather, 2001 was Kubrick and Clarke's unique vision that was unlike any other movie of its genre. Less than a decade after the film's release, Jacob Kurtzberg, better known as Jack Kirby, added his unique style to the motion picture and its universe in the comic book pages upon his return to Marvel Comics, the publisher for whom he had co-created such iconic characters as the Fantastic Four and the Incredible Hulk. This article will explore The King of Comics version of 2001: A Space Odyssey and how he brought it from celluloid to panel. THE ODYSSEY'S HISTORY After making the 1964 film Doctor Stranglove, director Stanley Kubrick became fascinated with the possibility of extraterrestrial life....
Words: 626 - Pages: 3
...2014 Stanley Kubrick's Monolith: The Sixties Stanley Kubrick remains one of the most influential and even notorious directors of American cinematography. Beginning in the 1950's, his work spans five decades and is responsible for collecting the attention of modern audiences. However, it was in the 1960's that Kubrick substantiated his career and crafted his abilities as a director and a creative mind. During this decade, the United States underwent a generational revolution that influenced many of its cultural facets--in particular, motion pictures. Kubrick's two epics, Spartacus and 2001: A Space Odyssey, frame the beginning and end of this decade and thusly represent it as a time of human progression byway of revolution, sexuality, and violence. Spartacus launched the trajectory of Kubrick's career as well as sparked his creative style, which he then perfected in 2001. Both of these films, the largest productions Kubrick worked on during the 1960s, are therefore exemplary in...
Words: 3437 - Pages: 14
...Kubrick’s Success Stanley Kubrick was one of the most famous and most recognized film directors of modern cinema. His milestone works were also often subject to controversy. It was yet ironic that the academy ignored him despite the perfectly executed elements in his films such as cinematography, narrative, production design and casting. It would be impossible to pin point the exact contributor to his success, since the combined form of all those elements are the source of the beauty and depth in his movies. For example the movie ‘Eyes Wide Shut’ would not retain the atmospheric intensity of the ballade if the music playing was ascend, which was a reversed version of a Romanian Liturgy. However, there must be a key element that distinguishes Kubrick from his contemporaries. Perhaps a secret formula? In my opinion a pattern of his style can be observed throughout his movies which is essentially staging to both convey an ambiguous narrative through visuals and add an overall visual aesthetic and beauty. This can also be identified as mise-en-scene. We can see that Kubrick was so keen on the on staging of the film that his movies took many shots until the perfect and satisfactory result was achieved by Kubrick. As one of the special photographic effects designer Douglas Trumbull in the movie ‘2001: A Space Odyssey’ indicates in his essay: “One of the most serious problem that plagued us throughout the production was simply keeping track of all the ideas, shots, and...
Words: 1294 - Pages: 6
...Introduction The movie of Stanley Kubrick: A Space Odyssey base on Clarke’s short story “The Sentinel”. The core theme of the movie was fiction and the story of Clarke reflects the same. “The Sentinel” provided the original basis for Kubrick’s film version and the story itself published after the film’s release. “A Space Odyssey” book reviews discuss the plot, characters and themes found in the story. One can learn more about the different literary elements that should be examined in the story. According to the plot of the movie the space navigators David Bowman and Frank Poole, along with three frozen hibernauts and a talkative computer named Hal, are aboard the spaceship Discovery on a mission to Saturn. They told that the purpose of the mission is to enter and explore the atmosphere of the planet. Trouble arises, however, when Hal announces that the computer's Fault Prediction Center indicates failure of one of the units within seventy-two hours (Angelo, 2003). Although the faulty part, that is not the end of the astronauts' problems. Hal still insists there is trouble ahead. Faced with an increasingly frustrating and odd-behaving Hal, Bowman threatens to turn the computer off. Before long, navigator Poole, working outside the ship, disconnected from his safety lines and drifts off into space. The sleeping hibernauts also disconnected from the pods that maintain their bodies and die. Bowman left alone with Hal (Angelo, 2003). Realizing that the computer killed the others...
Words: 1243 - Pages: 5
...STANLEY KUBRICK Stanley Kubrick was born in 1928 in New York City. Jack Kubrick's decision to give his son a camera for his thirteenth birthday would prove to be a wise move: Kubrick became an avid photographer, and would often make trips around New York taking photographs which he would develop in a friend's darkroom. After selling an unsolicited photograph to Look Magazine, Kubrick began to associate with their staff photographers. In the next few years, Kubrick had regular assignments for "Look", and would become a voracious moviegoer. In 1950 Kubrick sank his savings into making the documentary Day of the Fight (1950). This was followed by several short commissioned documentaries Flying Padre (1951), and The Seafarers (1952), but by attracting investors Kubrick was able to make Fear and Desire (1953) in California. Despite mixed reviews for the film itself, Kubrick received good notices for his obvious directorial talents. Kubrick's next two films Killer's Kiss (1955) and The Killing (1956), brought him to the attention of Hollywood, and in 1957 directed Kirk Douglas in Paths of Glory (1957). Douglas later called upon Kubrick to take over the production of Spartacus (1960), by some accounts hoping that Kubrick would be daunted by the scale of the project . Kubrick took charge of the project, imposing his ideas and standards on the film. Disenchanted with Hollywood and after another failed marriage, Kubrick moved ...
Words: 818 - Pages: 4
...26 July 1928, Stanley Kubrick, was born in New York City's Bronx neighborhood. Music at a young age, got curious about chess and photography. 17 years old, the famous photo magazine "Look" also began working as a photographer. Columbia University Lionel Trilling, Mark Van Doren, and like Moses Hadas attended classes given by renowned professors. Museum of Modern Art in any changes in the program was followed closely. Washington Square in New York City Marshal and Manhattan clubs, chess games of fortune did. DOCUMENTARY FILM FIRST Kubrick's first film essay, "Day of the Fight" with the name in 1950, he led all the money accumulated to date, boxer Walter Cartier subject of a documentary film of the 16-minute short. The first film yönetmenlikten assembly, he did everything from directing sound image. The film was bought by Howard Hughes and RKO şiketi legend movie was shown in New York, Paramount cinema. Look to the cinema to devote all his time on the success of the film magazine he quit his job. Kubrick's first film shot in 1950 until the end of 1955 continued to attract certain ranges, short documentaries. RKO'nun bid in 1951, "Flying Padre" now, Father Fred Stadtmueller'ı a documentary about the 9-minute, in 1953 for the International Federation of Seafarers "Seafarers," a 30-minute documentary called (Kubrick's first color film), and finally 1955 acquaintances in the debt-led "Killer's Kiss" in the film. In 1956, producer James B. Kubrick and Harris, who met with...
Words: 1244 - Pages: 5
...Abstract Within the pages of a book, authors are able to create great visual images of locations and landscapes by using elaborate and descriptive words. Sometimes these images are transferred into an actual visual by the subsequent creation of films based upon these great works. “2001: A Space Odyssey” by Stanley Kubrick is an example of such as it is based upon the literary short story, “The Sentinel” by Arthur C. Clarke. Kubrick has done an astounding job at developing the original short story by combining music with visual images way before it’s time. The film allows its viewers to see the original short story told by Clarke, creatively expanded and elaborated upon in comparison with great detail. Table of Contents Introduction The Sentinel (Arthur C. Clarke), 1951 • Descriptive Elements • Theme – First contact 2001: A Space Odyssey by Stanley Kubrick, 1968 • Style, Visual and Music Elements • Theme – Evolution Conclusion References The Sentinel and 2001: A Space Odyssey Introduction “2001: A Space Odyssey” (1968) has been called, “The most spectacular vision of the future,” and “Eerily accurate and wild with suspense” (Nashawaty, 2011). It is an epic science fiction film based on the short story, “The Sentinel” (1951), written by Arthur C Clarke. Comparing the literary work from Clarke, to the fully elaborated film by Kubrick, it can be said that there is very little similarities. Kubrick has managed to develop Clark’s ideas into an epic movie that must...
Words: 1774 - Pages: 8
...Stanley Kubrick's "A Clockwork Orange" is an ideological mess, a paranoid right-wing fantasy masquerading As an Orwellian warning. It pretends to oppose the police state and forced mind control, but all it really does is celebrate the nastiness of its hero, Alex. I don't know quite how to explain my disgust at Alex (whom Kubrick likes very much, as his visual style reveals and as we shall see in a moment). Alex is the sort of fearsomely strange person we've all run across a few times in our lives -- usually when he and we were children, and he was less inclined to conceal his hobbies. He must have been the kind of kid who tore off the wings of flies and ate ants just because that was so disgusting. He was the kid who always seemed to know more about sex than anyone else, too -- and especially about how dirty it was. Alex has grown up in "A Clockwork Orange," and now he's a sadistic rapist. I realize that calling him a sadistic rapist -- just like that -- is to stereotype poor Alex a little. But Kubrick doesn't give us much more to go on, except that Alex likes Beethoven a lot. Why he likes Beethoven is never explained, but my notion is that Alex likes Beethoven in the same way that Kubrick likes to load his sound track with familiar classical music -- to add a cute, cheap, dead-end dimension. Now Alex isn't the kind of sat-upon, working-class anti-hero we got in the angry British movies of the early 1960s. No effort is made to explain his inner workings or take apart his society...
Words: 1127 - Pages: 5
...A director’s job is a crucial one: to tell a story that will captivate an audience while conveying a message. If a movie is directed effectively, the audience will receive a message while being simultaneously entertained. There are many techniques used by directors for this goal to be accomplished, one of the most important techniques being editing. Through editing techniques, a director can present information in many different ways, controlling when and how the audience receives the information. In one of the most iconic films in history, 2001: A space Odyssey, director Stanley Kubrick uses editing as a tool to complete a task and convey a message, much like the Apes do with bones at the beginning of his film. Many religious themes can be...
Words: 974 - Pages: 4
...Running Head: KUBRICK Stanley Kubrick G138 Introduction to Film There have been many different directors that have had an important influence on modern film. Yet there have only been a handful that not only influenced it, but truly changed how an entire genre of film was perceived. Like no other before him, Stanley Kubrick forged a path that no other had treed. He had an eye for a story and a way to retell it in a manner that was uniquely different and memorable. On the quiet evening of July 26th 1928, in the Bronx of New York City Stanley Kubrick was born. At a very young age he showed a passion for music and especially photography. This same passion was not seen in his basic school work though. By the time he graduated High School he only had a 67 average. This low score made it very hard for him to find a college to attend. So instead he moved on to become a freelance photography for the magazine Look. As a photographer he was able to travel a great deal, an experience that helped in opening his eyes to everything around him. It created a thirst for knowledge and the desire to learn more. This desire brought him to the doorsteps of Columbia University where he enrolled as a non-matriculating student. While attending Columbia he became even more influenced by photography, which turned into a growing passion for the understanding of the film process. Often times, he would sit in during classes taught by Lionel Trilling, Mark Van Doren and Moses Hadas (SK-TMF, 2008)...
Words: 2094 - Pages: 9
...Modern cinema described both Staley Kubrick and Alfred Hitchcock as the pioneers of their genres and professions. Social culture on the other hand named Kubrick an undeniable genius, free-spirit and in a biography of Stanley Kubrick, a “talented shit” (Baxter) and Hitchcock “The Master of Suspense” and what I gather to be mainly just a sick, obsessive pervert. That all being said, these men faced the new world that was emerging in film. It was the early 1960’s and the Hollywood Studio System collapsed which led to an intense weakening on censorship rules. From fluffy tales of love, suggestive and symbolic vampires, and only whispers and innuendos to appease the audience need for guttural expose, rose the dawn of sex and violence. This concept of weakened censorship paved the way for two very disturbed, very brilliant people to move to the forefront of mainstream cinema. Stanley Kubrick was a targeted to resurrect “Spartacus” at the beginning of his career and it was an instant classic and quite a feat for someone as new as he was. Hitchcock on the other hand was riding on success after success with his films “Vertigo” and “North by “Northwest.” While they had many differences in genre and execution, they were both...
Words: 834 - Pages: 4
...auteurs, how I'm going to do this is by viewing two hitchcock movies and two Kubrick movies and compare them to movies I have recently watched in the movie theaters. The two Hitchcock films I'll review watching are vertigo and to catch a thief . I choose these films because vertigo is the very first Alfred Hitchcock movie I watched and it was very interesting to watch such an old movie that was so entertaining. The way Hitchcock used the music and the way he is able to build the suspense and keep the suspense going even when without the music made it very shocking to me. And then in to catch a thief how Hitchcock was able to put an ordinary man in such bizarre events made it fun to watch. Two movies I have chosen for Stanley Kubrick are the shining and 2001 a space Odyssey. I choose the shining because it is the first scary movie I have ever watched I have watched it 2 to 3 years ago with my family and I haven't watched a scary one since the way Kubrick was able to use the Instruments to produce the suspense and thriller behind every door,made it a very memorable movie to watch. In the theaters I've recently watch Captain America 2, Dawn of the planet of the apes, and...
Words: 1284 - Pages: 6
...The Collapse of the Human Mind: A Rhetorical Analysis of “Is Google Making Us Stupid?” Are we exchanging our intellect for easier methods of learning? In the article “Is Google Making Us Stupid?” by Nicholas Carr, the issue of computers mediating our understanding of the world is discussed. Carr employs the rhetorical appeals of logos and pathos to build his argument that the internet is changing the way we think for the worse by limiting our intellectual capabilities. Through his effective use of logical claims and warnings of technical dependency, Carr has a strong argument that will convince his intended audience of liberals to support his compelling claim. Using an excerpt from Stanley Kubrick’s 2001: A Space Odyssey, Carr makes a connection...
Words: 414 - Pages: 2
..."May the Force be with you" and with those six iconic words came with it a sense of hope and a mythology of good triumphing over evil emerged in 1977. Once in nearly every decade, a film appears to rewrite everything by its artistic quality, imagination, and positive response by audiences the world over. A film that takes on a life of its own by reinventing a genre, creating likable characters against a backdrop of strange planets, robots, spaceships, and aliens. Star Wars came about at precisely the right moment when audiences were craving for something better, this new, action-packed space opera played like a western in outer space where the good guys win. The film’s popularity comes from its stunning special effects, makeup, costumes, actors,...
Words: 1164 - Pages: 5
...command pod, waiting out in the vacuum of space outside Discovery One. When no reply comes, he repeats his command, but again hears silence. “Hello HAL, do you read me?” Still no reply. He doesn’t have his helmet, and if he can’t enter the spaceship, he’ll be stranded in space. He’s screwed. Frantically switching to different voice channels, he repeats over and over, “HAL, do you read me? Hello HAL? HAL? Do you read me?” “Affirmative, Dave.” I don’t understand this movie. I don’t think anyone does. Director Stanley Kubrick and writer Arthur C. Clarke don’t. In fact, there is no one right or wrong answer to the questions posed in the film. Near the end of the film, it is seen in its most powerful as the visual aspects of 2001: A Space Odyssey quietly urge the...
Words: 672 - Pages: 3
