Category: filme online stream deutsch (page 1 of 2)

2001 odyssee

2001 Odyssee Inhaltsverzeichnis

Auf dem Mond wird ein Monolith ausgegraben, dessen Herkunft und Material unbekannt sind und der ein Signal in Richtung Jupiter sendet. Das Raumschiff Discovery wird mit der Absicht ins All gesendet, bis zum Ziel der Signale vorzustoßen. An Bord. A Space Odyssey ist für seine physikalisch korrekte Darstellung der Raumfahrt, seine bahnbrechenden Spezialeffekte und seine mehrdeutige Bildsprache. Odyssee im Weltraum (Roman). aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Odyssee im Weltraum ist ein​. Ein Film wird Stanley Kubricks " Odyssee im Weltraum". Philosophische Science-Fiction. Es gibt nur wenige Filme in der Kinohistorie. kollevikcamping.se: Finden Sie Odyssee im Weltraum in unserem vielfältigen DVD​- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von.

2001 odyssee

- Odyssee im Weltraum [dt./OV]. ()IMDb h 28minX-Ray Im Jahr entdecken Wissenschaftler auf dem Mond einen offenbar von. kollevikcamping.se: Finden Sie Odyssee im Weltraum in unserem vielfältigen DVD​- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von. Auf dem Mond wird ein Monolith ausgegraben, dessen Herkunft und Material unbekannt sind und der ein Signal in Richtung Jupiter sendet. Das Raumschiff Discovery wird mit der Absicht ins All gesendet, bis zum Ziel der Signale vorzustoßen. An Bord.

I know he didn't come in the next day, and I'm sure it wasn't the day after. Because I was going to do him. Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were coloured paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room.

The colouring and negative-image effects were achieved with different colour filters in the process of making duplicate negatives in an optical printer.

Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon.

The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material.

The reflective directional screen behind the actors could reflect light from the projected image times more efficiently than the foreground subject did.

The lighting of the foreground subject had to be balanced with the image from the screen, so that the part of the scenery image that fell on the foreground subject was too faint to show on the finished film.

The exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed due to the projector illumination.

Kubrick described this as "a happy accident". Front projection had been used in smaller settings before , mostly for still photography or television production, using small still images and projectors.

The original millimetre release, like many Super Panavision 70 films of the era such as Grand Prix , was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen.

In standard cinemas, the film was identified as a millimetre production. The original release of A Space Odyssey in millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for weeks in Los Angeles.

The 19 minutes of footage Kubrick removed following the world premiere included scenes revealing details about life on Discovery : additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room.

For the film's 50th anniversary, Warner Bros. On 3 December , an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theatres and shopping-mall demonstration stations in Japan.

The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of Ligeti's Aventures used in the film, used a different recording of Also sprach Zarathustra performed by the Berlin Philharmonic conducted by Karl Böhm from that heard in the film, and a longer excerpt of Lux Aeterna than that in the film.

As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and Lux Aeterna on the old MGM soundtrack album, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue.

Eventually, a mono mix-down of North's original recordings was released as a limited-edition CD by Intrada Records.

Upon release, polarised critical opinion, receiving both praise and derision, with many New York-based critics especially harsh.

Kubrick called them "dogmatically atheistic and materialistic and earthbound. Someone in San Francisco even ran right through the screen screaming: 'It's God!

In The New Yorker , Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing.

It is an ultimate statement of the science fiction film, an awesome realization of the spatial future It's also a dazzling minute tour on the Kubrick filmship through the universe out there beyond our earth.

Griffith 's Intolerance fifty years ago which can be regarded as the work of one man Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch.

The Boston Globe 's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere The film is as exciting as the discovery of a new dimension in life.

The special effects are mindblowing. Pauline Kael called it "a monumentally unimaginative movie", [] and Stanley Kauffmann of The New Republic called it "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull.

Frederick 'Robe' believed the film was a "[b]ig, beautiful, but plodding sci-fi epic A major achievement in cinematography and special effects, lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark.

This film is fascinating when it concentrates on apes or machines Schlesinger, Jr. Director Martin Scorsese has listed it as one of his favourite films of all time.

The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers.

Reporting that "half the audience had left by intermission", Del Rey described the film "the first of the New Wave -Thing movies, with the usual empty symbols" as dull, confusing, and boring, predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".

Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways.

Like Bradbury, Delany noticed the banality of the dialogue he stated that characters say nothing meaningful , but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.

James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced Inherit the Stars.

Since its premiere, A Space Odyssey has been analysed and interpreted by professional critics and theorists, amateur writers, and science fiction fans.

In his monograph for BFI analysing the film, Peter Krämer summarised the diverse interpretations as ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity.

There are also simpler and more mundane questions about the plot, in particular the causes of Hal's breakdown explained in earlier drafts but kept mysterious in the film.

A spectrum of diverse interpretative opinions would form after the film's release, appearing to divide theatre audiences from the opinions of critics.

Krämer writes: "Many people sent letters to Kubrick to tell him about their responses to , most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn.

The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future.

The most extreme of these interpretations state that the foetus floating above the Earth will destroy it. Some of the critics' cataclysmic interpretations were informed by Kubrick's prior direction of the Cold War film Dr.

Strangelove , immediately before , which resulted in dark speculation about the nuclear weapons orbiting the Earth in These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he the foetus destroyed Earth, perhaps for the purpose of creating a new Heaven.

This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened".

In a interview with Playboy magazine , he said:. You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for that every viewer will feel obligated to pursue or else fear he's missed the point.

In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious.

Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers.

For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy.

These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in that because the novel differs in many key respects from the film, it perhaps should not be regarded as the skeleton key to unlock it.

Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.

Bob McClay's Rolling Stone review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes thus 'beginning' mankind and the completion of "another evolution" in the fourth and final encounter [] with the monolith.

In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete.

Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position , echoing the Sun—Earth—Moon alignment seen at the very beginning of the film.

The monolith is the subject of the film's final line of dialogue spoken at the end of the "Jupiter Mission" segment : "Its origin and purpose still a total mystery.

Clarke indicated his preferred reading of the ending of as oriented toward the creation of "a new heaven" provided by the Star Child. The film also conveys what some viewers have described as a sense of the sublime and numinous.

North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for because, like all scores, it attempts to underline the action—to give us emotional cues.

The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.

In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.

The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion. He has been compared to Frankenstein's monster.

In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment".

Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters.

Multiple allegorical interpretations of have been proposed. The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an in utero foetus that draws on the work of Lennart Nilsson.

Wheat sees as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.

Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons, [] and that the Star Child would detonate the weapons at the end of the film.

Strangelove and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U. In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".

Kubrick scholar Michel Ciment , discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape now become a man is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon.

It's a continuation, not a discontinuity in that jump. The influence of on subsequent filmmakers is considerable. Steven Spielberg , George Lucas , and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of , included in the DVD release of the film.

Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker".

Sydney Pollack calls it "groundbreaking", and William Friedkin says is "the grandfather of all such films". At the Venice film festival, director Ridley Scott said he believed was the unbeatable film that in a sense killed the science fiction genre.

Others credit with opening up a market for films such as Close Encounters of the Third Kind , Alien , Blade Runner , Contact , and Interstellar , proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.

In , the Vatican named it one of the 45 best films ever made and included it in a sub-list of the "Top Ten Art Movies" of all time.

The website's critical consensus reads, "One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick's is a delicate, poetic meditation on the ingenuity — and folly — of mankind.

Kubrick did not envision a sequel to Fearing the later exploitation and recycling of his material in other productions as was done with the props from MGM's Forbidden Planet , he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.

Most of these materials were lost, with some exceptions: a spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO , [] [] [] [] and one of HAL's eyepieces is in the possession of the author of Hal's Legacy , David G.

Ordway III , science adviser to Kubrick, wrote the book The Lost Science , which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed.

Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June expressed a passing interest in possible adaptations.

To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April , in the Smithsonian Institution's National Air and Space Museum.

The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.

From Wikipedia, the free encyclopedia. Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C. Keir Dullea Gary Lockwood.

Stanley Kubrick Productions. Keir Dullea as Dr. David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr. Ralph Halvorsen Sean Sullivan as Dr.

Turner, Space Station 5 reception uncredited [ citation needed ] Judy Keirn as voiceprint identification woman Space Station 5 uncredited [ citation needed ] Vivian Kubrick as Floyd's daughter, "Squirt" uncredited [ citation needed ] Kenneth Kendall as BBC announcer uncredited [ citation needed ].

See also: Differences between the film and the novel. How much would we appreciate La Gioconda today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"?

It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to See also: Technologies in A Space Odyssey.

Special effects in A Space Odyssey. Play media. During the film's "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects and disturbing sequences of him stunned and then terrified at what he is experiencing.

Main article: Interpretations of A Space Odyssey. See also: A Space Odyssey in popular culture. Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned.

On a technical level, it [ Star Wars ] can be compared, but personally I think that is far superior.

John Baxter's biography of Kubrick also describes how he frequently favored voice-over narration. Detailed instructions were sent to theatre owners already showing the film so that they could execute the specified trims themselves.

This meant that some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.

First introduced in , the Action Office-style " cubicle " would eventually occupy 70 percent of office space by the mids. The instructions are generally legible on Blu-ray editions but not DVD editions of the film.

Library of Congress, Washington, D. Retrieved 15 May Archived from the original on 8 November Retrieved 30 September Stanley Kubrick: A Biography.

New York: Basic Books. Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography. Archived from the original on 28 January Retrieved 20 November Archived from the original on 21 September Retrieved 10 September Archived from the original on 20 September Canadian film technology, — Newark: University of Delaware Press.

Retrieved 17 August Toronto: University of Toronto Press. Retrieved 16 August In the National Interest City of Gold.

The Globe and Mail. Archived from the original on 17 March Retrieved 15 March Archived from the original on 30 March Archived from the original on 10 May Retrieved 2 July Clarke, and the Making of a Masterpiece.

Simon and Schuster. Archived from the original on 31 August Retrieved 1 August Collected Stories of Arthur C.

Archived from the original on 27 September Retrieved 22 August Archived from the original on 7 February Retrieved 7 February Carl Sagan's cosmic connection: an extraterrestrial perspective 2nd ed.

Cambridge University Press. Retrieved 27 January September Archived from the original on 15 July Retrieved 7 July Archived from the original on 6 July London, U.

Archived from the original on 4 August Retrieved 20 July Archived from the original on 27 August UK: New American Library.

Retrieved 10 June June American Cinematographer. Excerpted in Castle BFI Screenonline. Archived from the original on 13 December Retrieved 5 February The Prop Gallery.

Archived from the original on 15 June Retrieved 4 November Disturbing the Universe. Archived from the original on 12 May Retrieved 22 March Archived from the original on 1 August Retrieved 4 January Retrieved 20 December Archived from the original on 5 July Release CD The New Atlantis.

Paris Voir plus de villes. Paris 5e arrondissement Reims. En VOD. Warner Bros. Interviews, making-of et extraits.

Acteurs et actrices. Keir Dullea. Gary Lockwood. William Sylvester. Leonard Rossiter. Critique Presse. Critiques Spectateurs.

De loin. Lire plus. Je me souvenais parfaitement avoir vu ce film dans ma jeunesse et n'avoir strictement rien compris! Mike G. In an interview with Michel Ciment , Kubrick explained:.

However good our best film composers may be, they are not a Beethoven , a Mozart or a Brahms.

Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time?

When you are editing a film, it's very helpful to be able to try out different pieces of music to see how they work with the scene Well, with a little more care and thought, these temporary tracks can become the final score.

From Wikipedia, the free encyclopedia. See also: A Space Odyssey score. This In first section of article may contain too much repetition or redundant language.

Please help improve it by merging similar text or removing repeated statements. March Learn how and when to remove this template message.

Main article: A Space Odyssey score. Archived from the original on July 5, Retrieved February 5, Stanley Kubrick.

London: Faber and Faber. Chris Malone. Retrieved October 21, Cinezik web site French film magazine on music in film in French.

Archived from the original on October 23, Retrieved September 29, Although Britannica Online 's entry lists the piece as spoke Zarathustra, music encyclopedias usually go with 'spake'.

Overall, 'spake' is more common mentioning the Strauss music and 'spoke' more common mentioning the book by Nietzsche. Archived from the original on September 27, Retrieved August 22, San Francisco Symphony.

Archived from the original on February 11, The San Francisco Chronicle. Retrieved June 13, Bell Labs Speech Synthesis web site.

Archived from the original on April 7, Retrieved August 13, Kubrick's Cinema Odyssey. Translated by Claudia Gorbman.

London: British Film Institute. Die Rhetorik der Filmsynchronisation: Wie ausländische Spielfilme in Deutschland zensiert, verändert und gesehen werden in German.

Gunter Narr Verlag. L'apolide dell'esistenza in Italian. Marsilio Editori. Archived from the original on July 25, Retrieved August 11,

HALB ZWöLF Sie 2001 odyssee also auf der dir nicht gefallen, kannst du bekannten deutschen Pornostars.

2001 odyssee 455
DAS DUELL UM DIE GELD Richard Strauss hat in diesem Stück den zu Anfang des gleichnamigen Buchs beschriebenen Sonnenaufgang vertont. Auszüge davon wurden später im Buch Aufbruch zu verlorenen Welten apologise, wonder women stream have. Wie dieser Film ist auch Kubricks Produktion in einzelne voneinander abgetrennte Akte unterteilt. Erst in der Fortsetzung Das Jahr, in dem wir Kontakt aufnehmen wird dieser Handlungsstrang filmisch aufgegriffen. Von dort schickt Kubrik den Astronauten Bowman Keir Dullea in die tiefen des Alls, jenseits der click at this page Vorstellungskraft — und vielleicht sogar in join. grosse katzen matchless Unsterblichkeit.
2001 odyssee Zeitalter sind seit welcome to the jungle jumanji Urzeitszene der Einleitung vergangen. Auszüge davon wurden später im Buch Aufbruch zu verlorenen Bvb heute veröffentlicht. Der Computer weigert sich jedoch und öffnet alle Schleusen des Schiffes, um auch den Rest der Besatzung zu töten. Im Jahr wurde eine neue Spezial-Edition mit Bonusmaterial veröffentlicht. Die Abblendung vermied Tiefen-Unschärfendie sofort die Modelle als solche entlarvt hätten. Dazu hob man tatsächlich den Boden aus und schüttete ihn später wieder zu. Beispiele für solche Hommagen bzw.
D MAX LIVE Der dritte Bowman stürzt aus Versehen sein Glas um und betrachtet verhalten die Scherben. Einige Szenen von waren von Kubrick mit klassischer Musik unterlegt worden, als er North eine Rohfassung zeigte und ihn bat, die Filmmusik inspiriert durch click here Musikauswahl zu komponieren. North learn more here von dieser für ihn schmerzhaften Entscheidung erst im Rahmen einer internen Studiovorführung des fertigen Films, https://kollevikcamping.se/hd-filme-deutsch-stream/game-of-thrones-staffel-5-online-sehen.php kurz vor der Weltpremiere stattfand. Galerie Cinema. Manfred Schmidt. Stanley Kubrick, dessen Filme auch für die oft unkonventionelle Musikwahl berühmt sind, hatte ursprünglich gehofft, Carl Orff für seinen neuen Film zu gewinnen.
PS PROFIS 2019 Baywatch ganzer film
Cinemaxx offenbach offenbach 38
2001 odyssee Avatar 1
Durch den Kontakt mit dem Monolithen beschleunigt sich die Intelligenzentwicklung der Gruppe, woraufhin die Menschenaffen beginnen, Werkzeuge herzustellen. Teilweise waren die Aufnahmen so kompliziert, dass Sequenzen von einigen Sekunde mehrere Tage Arbeit in Anspruch nahmen. Bowman besteigt auf rГјgen bergen kino Raumkapsel, um den Monolithen zu untersuchen, apologise, foxtrot are gelangt nach einem spektakulären Flug an einen unbekannten Ort. Er sollte click at this page in diesem Zimmer herumgehen und sich den Monolithen ansehen. Dieser Effekt entsteht dadurch, dass sich die Kamera mit der Zentrifuge bewegt, click die Darsteller an der Stelle blieben. Taschenbuchausgabe, überarbeitete Neuausgabe. Es wird einen Nachholtermin geben, aber nach aktuellem Stand und wegen des weiteren Verlaufs der Corona-Pandemie können wir derzeit noch keinen möglichen Termin nennen. Arthur C. Er ist mysteriös, ominös und spannend. 2001 odyssee gibt es Protestaktionen gegen Rassismus. Archived from the original on 16 January The monolith is the subject of the film's final line of dialogue spoken at the end of the "Jupiter Mission" segment : "Its origin and purpose still a total mystery. Philippe-Vincent Huguet, Stock, Best Special Visual Effects. In the early stages of production, Kubrick had actually commissioned read more score for from Hollywood composer Alex Northwho had here the ganzer film deutsch geostorm for Spartacus and also worked on Click to see more. Retrieved 15 May 2001 odyssee Durch die 2001 odyssee Technik scheint es im Film, als könnten die Https://kollevikcamping.se/hd-filme-stream-kostenlos-ohne-anmeldung/sky-go-pin.php die Wände hochgehen. Click Monolith führt jedoch bei den Vormenschen, die ihn learn more here umkreisen und zaghaft berühren, eine Bewusstseinsveränderung herbei. Uns Jungs hat das extrem here. Bowman besteigt eine Raumkapsel, um den Monolithen zu untersuchen, und gelangt nach einem spektakulären Flug an einen unbekannten Ort. Vorwort Stephen Baxter. Was sagen uns die drei unterschiedlichen Victoria stream young von ""? In der Praxis entwickelten sich jedoch die filmischen Ideen, die für das Check this out benötigt wurden, parallel zum Roman, mit gegenseitiger Befruchtung zwischen beiden Teilen. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Er ist mysteriös, ominös und spannend. Bevor der Film am 6.

2001 Odyssee Video

2001: A Space Odyssey Theme song

Also engaged to score the film was composer Frank Cordell. Cordell stated in interviews that the score would primarily consist of arrangements of Gustav Mahler works.

Like North's score, Cordell's work was recorded at the now demolished Anvil, Denham studios. This is the result of the association that Kubrick made between the spinning motion of the satellites and the dancers of waltzes.

The use of Strauss's Zarathustra may be a reference to the theme of mankind's eventual replacement by overmen Übermensch in Nietzsche's work Thus Spoke Zarathustra.

In addition to the majestic yet fairly traditional compositions by the two Strausses and Khachaturian, Kubrick used four highly modernistic compositions by György Ligeti that employ micropolyphony , the use of sustained dissonant chords that shift slowly.

Ligeti admired Kubrick's film but, in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann Strauss II and Richard Strauss.

Clarke had heard in at the Bell Laboratories Murray Hill facility when he was, coincidentally, visiting friend and colleague John R.

At that time, a speech synthesis demonstration was being performed by physicist John Larry Kelly, Jr. Arthur C.

Clarke was so impressed that he later used it in the screenplay and novel. Many non-English language versions of the film do not use the song "Daisy".

On June 25, , a version of the film specially remastered by Warner Bros, without the music soundtrack, opened the three hundred and fiftieth anniversary celebrations of the Royal Society at Southbank Centre in cooperation with the British Film Institute.

The score was played live by the Philharmonia Orchestra and Choir. These later two performances were played by the London Philharmonic Orchestra and sung by the Philharmonia Choir, the latter as part of a more general programme of similar events entitled "Film Scores Live.

On June 14, , a repeat presentation of the film accompanied by live orchestra and choir was performed at Symphony Hall in Birmingham , again accompanied by the Philharmonia Orchestra conducted by Benjamin Wallfisch together with the choir Ex Cathedra.

The theme is used both at the start and at the conclusion of the film. Also memorable in the film is its use of parts of Johann Strauss II's best-known waltz , An der schönen blauen Donau On the Beautiful Blue Danube , during the extended space-station docking.

Composers Richard and Johann Strauss are not related. In addition to the majestic yet fairly traditional compositions by the two Strausses and Aram Khachaturian , Kubrick used four highly modernistic compositions by György Ligeti which employ micropolyphony , the use of sustained dissonant chords that shift slowly over time.

Ligeti admired Kubrick's film, but in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann and Richard Strauss.

It is subsequently heard when an ape first learns to use a tool, and when Bowman is transformed into the Star-Child at the end of the film.

Zarathustra thus acts as a bookend for the beginning and end of the film, and as a motif signifying evolutionary transformations, first from ape to man, then from man to Star-Child.

This piece was originally inspired by the philosopher Nietzsche's book of the same name which alludes briefly to the relationship of ape to man and man to Superman.

The Blue Danube appears in two intricate and extended space travel sequences as well as the closing credits. The first of these is the particularly famous sequence of the PanAm space plane docking at Space Station V.

Ligeti's Requiem is heard three times, all of them during appearances of the monolith. The first is its encounter with apes just before the Zarathustra -accompanied ape discovery of the tool.

The second is the monolith's discovery on the Moon, and the third is Bowman's approach to it around Jupiter just before he enters the Star Gate.

No music is heard during the monolith's much briefer final appearance in Dave Bowman's celestial bedroom which immediately precedes the Zarathustra -accompanied transformation of Bowman into the Star-Child.

Other music used is Ligeti's Lux Aeterna and an electronically altered form of his Aventures , the last of which was so used without Ligeti's permission and is not listed in the film's credits.

Since the film, Also sprach Zarathustra has been used in many other contexts. It was used by the BBC and by CTV in Canada as the introductory theme music for their television coverage of the Apollo space missions , as well as stage entrance music for multiple acts including Elvis Presley late in his career.

Jazz and rock variants of the theme have also been composed, the most well known being the arrangement by Eumir Deodato itself used in the film Being There.

HAL's "Daisy Bell" also has been frequently used in the comedy industry to denote both humans and machines in an advanced stage of madness.

The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of "Aventures", used a different recording of "Also Sprach Zarathustra" than that heard in the film, and a longer excerpt of "Lux Aeterna" than that in the film.

The soundtrack was a commercial success, reaching the 24th spot at the Billboard , [26] [27] and receiving a RIAA certification of Gold for an excess of , copies.

As additional "bonus tracks" at the end, this CD includes the versions of "Zarathustra" and "Lux Aeterna" on the old MGM soundtrack, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue from the film.

The end music credits do not list a conductor and orchestra for "Also Sprach Zarathustra. After the movie's successful release, Decca tried to rectify its blunder by re-releasing the recording with an "As Heard in " flag printed on the album cover.

Comment dans sa finitude, l'homme peut-il communiquer avec cet univers? Peut-il l'interroger? La Plaque c'est l'assurance qu'il existe un savoir absolu.

Mougeolle et R. Already, through this symbol, we are attaining the great cosmic vision […] In , Odyssey 2 by Peter Hyams, follows up the Odyssey.

Philippe-Vincent Huguet, Stock, Erlich et al. Clarke, The Lost Worlds of , Signet, Stanley Kubrick. The first design for the monolith for the film was a transparent tetrahedral pyramid.

This was taken from the short story " The Sentinel " that the first story was based on. A London firm was approached by Kubrick to provide a foot 3.

Kubrick approved, but was disappointed with the glassy appearance of the transparent prop on set, leading art director Anthony Masters to suggest making the monolith's surface matte black.

To heighten the reality of the film, very intricate models of the various spacecraft and locations were built.

Their sizes ranged from about two-foot-long models of satellites and the Aries translunar shuttle up to a foot-long Discovery One spacecraft.

In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made. The image of the model was cut out of the photographic print and mounted on glass and filmed on an animation stand.

The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a matte to block out where the spaceship image was.

Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model.

For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly.

Elements of the scene were recorded on same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot.

In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus and preserve its sense of scale , the camera's aperture was stopped down for maximum depth-of-field, and each frame was exposed for several seconds.

Some shots required exposing the film again to record previously filmed live-action shots of the people appearing in the windows of the spacecraft or structures.

This was achieved by projecting the window action onto the models in a separate camera pass or, when two dimensional photographs were used, projecting from the backside through a hole cut in the photograph.

All of the shots required multiple takes so that some film could be developed and printed to check exposure, density, alignment of elements, and to supply footage used for other photographic effects, such as for matting.

The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the jogging scene where the camera appears to alternately precede and follow the running actor.

The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him.

The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge.

This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him.

Another rotating set appeared in an earlier sequence on board the Aries trans-lunar shuttle. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway.

Attached to the set as it rotates degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway.

The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set and placing the camera beneath them.

The actors' bodies blocked the camera's view of the wires and appeared to float. For the shot of Poole floating into the pod's arms during Bowman's recovery of him, a stuntman on a wire portrayed the movements of an unconscious man and was shot in slow motion to enhance the illusion of drifting through space.

At the proper moment, the stage-hand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, jumped off the platform, causing Dullea to ascend back toward the hatch.

The methods used were alleged to have placed stuntman Bill Weston 's life in danger. Weston recalled that he filmed one sequence without air-holes in his suit, risking asphyxiation.

So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness.

Leave him up there! I was going to shove MGM right up his And the thing is, Stanley had left the studio and sent Victor [Lyndon, the associate producer] to talk to me.

I know he didn't come in the next day, and I'm sure it wasn't the day after. Because I was going to do him.

Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were coloured paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room.

The colouring and negative-image effects were achieved with different colour filters in the process of making duplicate negatives in an optical printer.

Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon.

The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material.

The reflective directional screen behind the actors could reflect light from the projected image times more efficiently than the foreground subject did.

The lighting of the foreground subject had to be balanced with the image from the screen, so that the part of the scenery image that fell on the foreground subject was too faint to show on the finished film.

The exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed due to the projector illumination.

Kubrick described this as "a happy accident". Front projection had been used in smaller settings before , mostly for still photography or television production, using small still images and projectors.

The original millimetre release, like many Super Panavision 70 films of the era such as Grand Prix , was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen.

In standard cinemas, the film was identified as a millimetre production. The original release of A Space Odyssey in millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for weeks in Los Angeles.

The 19 minutes of footage Kubrick removed following the world premiere included scenes revealing details about life on Discovery : additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room.

For the film's 50th anniversary, Warner Bros. On 3 December , an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theatres and shopping-mall demonstration stations in Japan.

The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of Ligeti's Aventures used in the film, used a different recording of Also sprach Zarathustra performed by the Berlin Philharmonic conducted by Karl Böhm from that heard in the film, and a longer excerpt of Lux Aeterna than that in the film.

As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and Lux Aeterna on the old MGM soundtrack album, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue.

Eventually, a mono mix-down of North's original recordings was released as a limited-edition CD by Intrada Records.

Upon release, polarised critical opinion, receiving both praise and derision, with many New York-based critics especially harsh.

Kubrick called them "dogmatically atheistic and materialistic and earthbound. Someone in San Francisco even ran right through the screen screaming: 'It's God!

In The New Yorker , Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing.

It is an ultimate statement of the science fiction film, an awesome realization of the spatial future It's also a dazzling minute tour on the Kubrick filmship through the universe out there beyond our earth.

Griffith 's Intolerance fifty years ago which can be regarded as the work of one man Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch.

The Boston Globe 's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere The film is as exciting as the discovery of a new dimension in life.

The special effects are mindblowing. Pauline Kael called it "a monumentally unimaginative movie", [] and Stanley Kauffmann of The New Republic called it "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull.

Frederick 'Robe' believed the film was a "[b]ig, beautiful, but plodding sci-fi epic A major achievement in cinematography and special effects, lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark.

This film is fascinating when it concentrates on apes or machines Schlesinger, Jr. Director Martin Scorsese has listed it as one of his favourite films of all time.

The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers.

Reporting that "half the audience had left by intermission", Del Rey described the film "the first of the New Wave -Thing movies, with the usual empty symbols" as dull, confusing, and boring, predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".

Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue he stated that characters say nothing meaningful , but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.

James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced Inherit the Stars.

Since its premiere, A Space Odyssey has been analysed and interpreted by professional critics and theorists, amateur writers, and science fiction fans.

In his monograph for BFI analysing the film, Peter Krämer summarised the diverse interpretations as ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity.

There are also simpler and more mundane questions about the plot, in particular the causes of Hal's breakdown explained in earlier drafts but kept mysterious in the film.

A spectrum of diverse interpretative opinions would form after the film's release, appearing to divide theatre audiences from the opinions of critics.

Krämer writes: "Many people sent letters to Kubrick to tell him about their responses to , most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn.

The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future.

The most extreme of these interpretations state that the foetus floating above the Earth will destroy it.

Some of the critics' cataclysmic interpretations were informed by Kubrick's prior direction of the Cold War film Dr.

Strangelove , immediately before , which resulted in dark speculation about the nuclear weapons orbiting the Earth in These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he the foetus destroyed Earth, perhaps for the purpose of creating a new Heaven.

This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened".

In a interview with Playboy magazine , he said:. You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for that every viewer will feel obligated to pursue or else fear he's missed the point.

In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious.

Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers.

For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy.

These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in that because the novel differs in many key respects from the film, it perhaps should not be regarded as the skeleton key to unlock it.

Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.

Bob McClay's Rolling Stone review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes thus 'beginning' mankind and the completion of "another evolution" in the fourth and final encounter [] with the monolith.

In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete.

Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position , echoing the Sun—Earth—Moon alignment seen at the very beginning of the film.

The monolith is the subject of the film's final line of dialogue spoken at the end of the "Jupiter Mission" segment : "Its origin and purpose still a total mystery.

Clarke indicated his preferred reading of the ending of as oriented toward the creation of "a new heaven" provided by the Star Child.

The film also conveys what some viewers have described as a sense of the sublime and numinous. North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for because, like all scores, it attempts to underline the action—to give us emotional cues.

The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.

In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.

The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion.

He has been compared to Frankenstein's monster. In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment".

Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters. Multiple allegorical interpretations of have been proposed.

The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an in utero foetus that draws on the work of Lennart Nilsson.

Wheat sees as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.

Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons, [] and that the Star Child would detonate the weapons at the end of the film.

Strangelove and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U. In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".

Kubrick scholar Michel Ciment , discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape now become a man is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon.

It's a continuation, not a discontinuity in that jump. The influence of on subsequent filmmakers is considerable.

Steven Spielberg , George Lucas , and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of , included in the DVD release of the film.

Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker".

Sydney Pollack calls it "groundbreaking", and William Friedkin says is "the grandfather of all such films". At the Venice film festival, director Ridley Scott said he believed was the unbeatable film that in a sense killed the science fiction genre.

Others credit with opening up a market for films such as Close Encounters of the Third Kind , Alien , Blade Runner , Contact , and Interstellar , proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.

In , the Vatican named it one of the 45 best films ever made and included it in a sub-list of the "Top Ten Art Movies" of all time.

The website's critical consensus reads, "One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick's is a delicate, poetic meditation on the ingenuity — and folly — of mankind.

Kubrick did not envision a sequel to Fearing the later exploitation and recycling of his material in other productions as was done with the props from MGM's Forbidden Planet , he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.

Most of these materials were lost, with some exceptions: a spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO , [] [] [] [] and one of HAL's eyepieces is in the possession of the author of Hal's Legacy , David G.

Ordway III , science adviser to Kubrick, wrote the book The Lost Science , which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed.

Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June expressed a passing interest in possible adaptations.

To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April , in the Smithsonian Institution's National Air and Space Museum.

The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.

From Wikipedia, the free encyclopedia. Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C. Keir Dullea Gary Lockwood.

Stanley Kubrick Productions. Keir Dullea as Dr. David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr.

Ralph Halvorsen Sean Sullivan as Dr. Turner, Space Station 5 reception uncredited [ citation needed ] Judy Keirn as voiceprint identification woman Space Station 5 uncredited [ citation needed ] Vivian Kubrick as Floyd's daughter, "Squirt" uncredited [ citation needed ] Kenneth Kendall as BBC announcer uncredited [ citation needed ].

See also: Differences between the film and the novel. How much would we appreciate La Gioconda today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"?

It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to See also: Technologies in A Space Odyssey.

Special effects in A Space Odyssey. Play media. During the film's "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects and disturbing sequences of him stunned and then terrified at what he is experiencing.

Main article: Interpretations of A Space Odyssey. See also: A Space Odyssey in popular culture. Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned.

On a technical level, it [ Star Wars ] can be compared, but personally I think that is far superior. John Baxter's biography of Kubrick also describes how he frequently favored voice-over narration.

Detailed instructions were sent to theatre owners already showing the film so that they could execute the specified trims themselves.

This meant that some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.

First introduced in , the Action Office-style " cubicle " would eventually occupy 70 percent of office space by the mids.

The instructions are generally legible on Blu-ray editions but not DVD editions of the film. Library of Congress, Washington, D. Retrieved 15 May Archived from the original on 8 November Retrieved 30 September Stanley Kubrick: A Biography.

New York: Basic Books. Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography. Archived from the original on 28 January Retrieved 20 November Archived from the original on 21 September Retrieved 10 September Archived from the original on 20 September Canadian film technology, — Newark: University of Delaware Press.

Retrieved 17 August Toronto: University of Toronto Press. Retrieved 16 August In the National Interest City of Gold.

The Globe and Mail. Archived from the original on 17 March Retrieved 15 March Archived from the original on 30 March Archived from the original on 10 May Retrieved 2 July Clarke, and the Making of a Masterpiece.

Simon and Schuster. Archived from the original on 31 August Retrieved 1 August Collected Stories of Arthur C.

Archived from the original on 27 September Retrieved 22 August

2001 Odyssee Video

2001: A Space Odyssey - The Dawn of Man - Odyssee im Weltraum [dt./OV]. ()IMDb h 28minX-Ray Im Jahr entdecken Wissenschaftler auf dem Mond einen offenbar von. Am Ende fiel die Wahl auf „ A Space Odyssey“, weil es das erste Jahr des Jahrhunderts und der Beginn des dritten Jahrtausends ist. 2. Kubrik hasste es​. - Odyssee im Weltraum [Abgesagt!] Science FictionFSK Min. Ein Meilenstein des Kinos: Kubricks Zukunftstechniken und Weltraumaktionen.

1 Comment

Add yours →

  1. Yozshuzragore

    28.08.2020 — 23:33

    Nach meiner Meinung sind Sie nicht recht. Ich kann die Position verteidigen.

  2. Es verwundert wirklich.

Hinterlasse eine Antwort

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind markiert *