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 primary space scene, anything that is free gliding, similar to the pen or the boats themselves, is consummately in offset with the music. Nothing in circle is ever hurried, and at no time does it ever flounder from its halcyon reality. The Blue Danube coordinates this consummately, and it stands out forcefully from the constrained human heavenly undertakings that are additionally present. For instance, when the chaperon is endeavoring to stroll along the rocket walkway, she resembles a little child who is simply figuring out how to walk, and the music that goes with her is so radiant and unrestricted. Indeed, even the pen she is coming to toward resembles a victor competitor in contrast with her clumsy development. On one level, this can b e viewed as an image for the general thought of people battling with nature itself. Mankind has constantly attempted to isolate itself from the brutes; we have multifaceted eating customs that include utensils, we wear garments that are substantially more mind boggling than those that would be required by essential needs, and above all, we do all that we can to make our social orders completely separated from nature. On the off chance that this message is, actually, a piece of Kubrick's announcement, at that point it is legitimately practically identical to Nietzsche's thoughts on science and innovation. In particular, I allude to the story on science in Along these lines Spoke Zarathustra, where Zarathustra talks about the part of science that goes about as a familiar object for humanity. As a race, we create speculations and developments to comprehend our reality and power our e... ... however. In particular, he makes me fear the scenes that feature his manifestations of struggle and agony. On the off chance that Kubrick planned me to raise my circulatory strain during the principal space-stone monument scene, at that point his utilization of Ligeti worked. Possibly that is actually what he proposed. Perhaps he was attempting to impart the anguish that is innate to the change exemplified by the stone monument or the unfathomability that overpowers our minds on the off chance that we ponder 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 heed to the knowledge at work in the non-Strauss scoring, I still instinctively preferred 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 acceptabl e.