Through all of these seemingly distinct, independent, and organised layers seep resonant themes such as the disastrous effects which can occur when humankind puts all of its trust in machines they have created the monstrosities and moral quandaries that abound when machines attain sentience what can happen when humanity loses touch with what differentiates them from their technology and thereby regresses as a species the idea that in the 1960s, although space travel was highly publicised in American society, no one truly knew what space looked like or what was present out in the abyss beyond Earth and the dangerous nature of creating a handsome cult of personality around, in particular, the White male astronaut in order to market the future to the public. Even though Kubrick separated his film into distinct parts, respectively, The Dawn of Man, Jupiter Mission, and Jupiter and Beyond the Infinite, within these are subsections which address the three stages of Kubrick’s imagined existence for humankind: the prehistoric the future as he envisioned it being in the 1960s and the beyond, that point of the film after which Bowman escapes from HAL and Discovery One. When asked if he could enlighten audiences on what this work meant, Kubrick stated “‘You are free to speculate as you wish about the philosophical and allegorical meaning of 2001’” (Kapferer 282-283). Unlike his other works, 2001 is deliberately ambiguous in nature, with little to no assistance from its creator as to what he intended to signify. At its core, Stanley Kubrick’s 1968 film, 2001: A SPACE ODYSSEY, is an intimidating, impossible masterpiece to analyse.
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