A Response to 2001: A Space Odyssey Essay -- 2001 Space Odyssey Essays

A Response to 2001: A Space Odyssey         I love having the Blue Danube waltz in 2001; it's my preferred piece of the film. What I find generally interesting about it is that it ties in so well with the perfection of a space circle. In the principal space scene, anything that is free skimming, similar to the pen or the boats themselves, is superbly in offset with the music. Nothing in circle is ever surged, and at no time does it ever waver from its halcyon reality. The Blue Danube coordinates this impeccably, and it stands out strongly from the constrained human heavenly undertakings that are likewise present. For instance, when the orderly is endeavoring to stroll along the shuttle path, she resembles a little child who is simply figuring out how to walk, and the music that goes with her is so grand and unrestricted. Indeed, even the pen she is coming to toward resembles a hero competitor in contrast with her ungainly development. On one level, this can be viewed as an ima ge for the general thought of people battling with nature itself. Humankind has constantly attempted to isolate itself from the brutes; we have complicated eating customs that include utensils, we wear garments that are substantially more unpredictable than those that would be required by essential needs, and above all, we do all that we can to make our social orders completely detached from nature. On the off chance that this message is, indeed, a piece of Kubrick's announcement, at that point it is legitimately similar to Nietzsche's thoughts on science and innovation. In particular, I allude to the story on science In this way Spoke Zarathustra, where Zarathustra talks about the part of science that goes about as a familiar object for humanity. As a race, we create hypotheses and developments to comprehend our reality and power our e... ... however. In particular, he makes me fear the scenes that grandstand his manifestations of conflict and torment. On the off chance that Kubrick planned me to raise my pulse during the primary space-stone monument scene, at that point his utilization of Ligeti worked. Perhaps that is actually what he planned. Perhaps he was attempting to impart the anguish that is innate to the change encapsulated by the stone monument or the limitlessness that overpowers our minds in the event that we contemplate the unbounded stretch of room. Or on the other hand, perhaps he simply needed something that made those specific scenes stick out and seem ready for translation from numerous points of view. In any case, paying little mind to the knowledge at work in the non-Strauss scoring, I still instinctively loved the Strauss and very little else musically. That is alright, however, on the grounds that the Blue Danube and the prologue to Thus Spoke Zarathustra are only that acceptable.