2001 Space Odyssey Essay Research Paper 2001 — страница 2

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a conscious level. The fact that this room is void of doors and windows reinforces the idea that it could exist merely as a container, as we have no idea what exists beyond it; where or when this object exists in time. The room appears to exist independent of these factors: it transcends time and space, and for this reason, one can begin to question its authenticity. Could this be a metaphor for the container of the human mind? Is this a tangible representation of our ability, as a human race, to manipulate the world around us? Once again, this is an personally subjective issue which was intended to be dealt with on an individual scale. In this way, the set design encourages the viewer to open their minds, to consider abstract concepts and relative impossibilities. The glowing

tiles which line the floor of the room are symbolic of technology, the future and humanity^s yearn for innovation. The combination of geometric lines, the definition of the x, y and z planes and bright white light give an impression of calculation, purity and precision: elements that are synonymous with high technology. It is known that bright cross lighting, used throughout this scene, can be incredibly revealing and in most cases can expose blemishes and imperfections in the set. In combination with the white walls, ceiling and floor, it can be seen that this set achieves nothing short of perfection, another reason to suspect a shift of reality. The glowing tiles also serve as a source of high contrast to the artworks and old furniture situated throughout the room. Here the

viewer is introduced to the featured colour: green. Green universally represents harmony with nature and the environment. The choice of green as a featured colour softens the intensity of the geometry of the floor tiles. If, for example, were blue used as a substitute, the room could risk appearing overly clinical, perhaps too futuristic, which would emphasize a reliance on technology. The furniture itself appears to be sophisticated and stylised, as though it came direct from an upper class nineteenth century western European home. This furniture implicitly suggests the idea of human sentimentality and an appreciation for the old and the aesthetic. The artworks which appear to be in the renaissance style put forth this idea also. Countless explanations have been offered as to

the reason for Dave^s rapid aging, the meaning of the monolith and the star child. Despite their differences, all share the idea of eternal optimism and divinity. This can be attributed largely to the set design and its role in channeling our thoughts and emotions during these bizarre encounters. This scene was a successful rendition of an intangible journey on a tangible, viewable scale. Kubrik has been renowned for producing controversial films, 2001 being no exception. Unlike his other films, however, 2001 offers us an optimistic twist ^ a euphoric, revolutionary concept: that mankind will eventually rise above the physical realm to a level of existence incomprehensible to us at the present point in time. ———————————————————————-

Appendix I Brief outline of Entity Shift Interpretation (base for semiotic analysis) In an effort to portray a spiritual evolution on a tangible scale, we witness a shift in entities. Dave^s environment, the decorated white room, becomes a metaphor for the human body. The body, Dave Bowman, becomes a metaphor for the human mind. At the beginning of the scene, as Dave taps into a new level of consciousness, he is initially shocked. This can be seen by the alarming contrast between the red space suit Dave initially wears and the near pure white background. As Dave begins to accept his surroundings, we can see his body ^age^ rapidly: the mind is maturing. On a different level, this also offers to us the idea that the mind is the only constant throughout life: while the tangible body

ages and decays, the spirit remains the common denominator that makes each and every one of us an individual. It has been suggested that this is the essence of humanity. The room, which remains completely static and has no windows or doors can be seen as a container, and in this way likens itself to the human body, the container of the human mind throughout life. The room itself appears highly constructed and artificial, an indicator of physicality. In some cases this can be seen to represent pretentiousness and vanity. On the other hand, the elements, namely the artwork, tiles and furniture, that make up the contents of the room appear to indicate a myriad of human achievements spanning centuries. Technology, a yearn for innovation, human creativity, classical architecture and