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Stanley Kubrick's "2001: A Space Odyssey", 1994.
This paper critiques the film Stanley Kubrick's "2001: A Space Odyssey": Title, characters, technology, plot, structure, dialogue and theme.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"The ending of Stanley Kubrick's 2001: A Space Odyssey appears to many viewers to be too obscure and even to have little to do with the film as a whole, but this is a misreading of what takes place. 2001: A Space Odyssey is a film that may appear to lack a cohesive literary structure and to be instead a series of barely related incidents at different time periods, with different characters and somewhat obscure situations. The protracted journey through the starscape near the end of the film and the peculiar imagery that succeeds it, all occurring without external comment or explanation, can add to the sense that there is a lack of cohesion and purpose to the film. In truth, though, the structure of this film is carefully wrought and coheres around thematic concerns, recurring images, and a central issue that carries the plot to a logical if tentative conclusion. There is meaning in the ending, and to ascertain this meaning it is necessary to consider the structure of the entire film and the manner in which the filmmaker carries meaning through imagery and ... "
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2001: A Space Odyssey by Stanley Kubrick, 1996.
Analyzes 1968 science fiction film as expression of social yearning for cosmic, mythic connection, using [E.T.] as another example.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"Janet Hocker Rushing refers to a yearning for wholeness in our time, something that all cultures have longed for in some degree. Our own age is seen as one of fragmentation, secularization, and an absence of unity, leaving us with a modern need for transcendence such as has been noted by a number of writers. Rushing finds that we seek this sense of the transcendent in our entertainment and our art, and she refers to the fact that our modern audiences find transcendence addressed in movies, notably science fiction films that make a cosmic connection in mythic form. She cites E.T. as one particular representative of this genre, and she applies what she calls the "perennial philosophy" to this film, as will be done here with reference to another science fiction film of an earlier era and one of the first to make this mythic connection most directly..."
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The Musical Experience of "2001: A Space Odyssey", 2002.
Examines the film version of "2001: A Space Odyssey" as not only a visual experience, but a musical one as well.
1,007 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
Describes and analyzes the score used in the Stanley Kubrick's adaptation of "2001: A Space Odyssey". The paper provides descriptions of scenes in the movie and the accompanying music and explains the images that the music attempts to project through the use of sound, voice, and silence.
From the Paper
"The film is not only a visual experience; it is also a musical journey. Filmed at a slow pace, the opening scene is an image shot from behind earth?s moon with the sun rising over the earth?s crescent shape in the blackness of space. This scene shows the earth, moon, and sun in a vertical alignment. Richard Strauss?s Thus Spake Zarathustra is playing in the background. This scene is striking and beautiful and Strauss?s piece sets the mood for what must be the majestic experience of outer space."
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"2001: A Space Odyssey", 2002.
A discussion of three major themes at work in Arthur Clarke's novel, "2001: A Space Odyssey".
1,060 words (approx. 4.2 pages), 4 sources, MLA, $ 37.95
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Abstract
This paper looks at how Arthur C. Clarke?s "2001: A Space Odyssey" is an account of human progress contrived by a superior intellect. It examines how, unlike many novels that magnify a single blink in the historical spectrum, it traverses the broad range of humankind?s evolution. In particular, it looks at how the three themes that Arthur C. Clarke primarily focuses on in this novel comprise the development of mankind, the clash of human advancement with the continuous evolution of technology, and, ultimately, the role of a superior intelligence in the voyage of human evolution.
From the Paper
"The heart of the narrative lies in the gradual development of humanity, and the entire book is founded upon this theme. As the story begins, man is characterized by the vile ?man-apes.? These creatures neatly correspond with the established stereotypes associated with ancient man. These beasts struggle to operate at the intellectual equivalence of the animal kingdom when suddenly the introduction of a celestial monolith thrusts them to the forefront of progress. The monolith prompts one of the man-apes to use stones for hunting, and the age of simple tools and machines is ushered in. This simple link in the chain of evolution may have very well saved the human race from famine and extinction."
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"2001: A Space Odyssey" and "Lost Horizon", 2002.
A comparison of "2001: A Space Odyssey" by Arthur C. Clarke and "Lost Horizon" by James Hilton.
775 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
An examination of the similarities and differences between Arthur C. Clarke's "2001: A Space Odyssey" and James Hilton's "Lost Horizon". The author identifies core beliefs which both novels hold including their concern with what it is to be human. However, it is also illustrated how different the novels are with regard to structure, literary techniques, and characterizations.
From the Paper
"Lost Horizon has a more traditional narrative structure, with an enclosing frame involving characters who talk about the central figure, remembering him in the past. 2001, on the other hand, at first glance seems to lack a cohesive literary structure and to be instead a series of barely related incidents at different time periods, with different characters and somewhat obscure situations. Yet, the two novels both have a core belief in the ability and innate moral sense of the human being and a belief in positive human development."
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Technology in 2001: A Space Odyssey, 2004.
This paper considers the three stages of technology described in Clarke's "A Space Odyssey."
1,356 words (approx. 5.4 pages), 1 source, MLA, $ 47.95
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Abstract
This paper examines Arthur Clarke's science fiction novel "2001: A Space Odyssey." This paper considers the three stages of technology described and then analyzes whether the technology is extraterrestrial in origin or not.
From the Paper
"Analyze in detail the three stages of technology presented in the novel and conclude with your thoughts on the concept that the origin and cultivation of technology is extraterrestrial. In Arthur C. Clarke's novel "A Space Odyssey" the idea of technological innovation is explored in great detail. Clarke presents three different stages of technological advancement and explores the consequences of each."
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The Ethics of "2001: A Space Odyssey", 2002.
A summary and interpretation of the 2001 story, based mainly upon the movie. Ethical issues are addressed and related to a Christian viewpoint.
2,640 words (approx. 10.6 pages), 7 sources, $ 79.95
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Abstract
In this paper the plot of the movie directed by Stanley Kubrick and the book written by Arthur C. Clarke are summarized with emphasis on the philosophical and ethical issues presented in the story. A more detailed analysis of the ethical issues, including man becoming god and Hal the computer, concludes the paper. The paper is written from a Christian perspective and relates the story to Biblical examples.
From the paper:
"2001: A Space Odyssey" was written by Arthur C. Clarke and published in 1968 at about the same time as the movie of the same title was released. It is interesting to note that the film and the book were being produced at the same time. Rather than to base one on the other, the movie and the book were made almost as one, with modifications being made to suit the needs of the writer and director. Directed by Stanley Kubrick, the movie was left more open-ended than the book, and tended to draw either praise for its ingenuity or harsh judgment for its dullness and lack of imagination. Whether the first or the latter opinion is correct, one thing is for certain: 2001 is an epic that changed the face of science fiction and paved the way for a whole new way of thinking."
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Stanley Kubrick: An Analysis of His Life and Work, 2005.
A biographical account of the life and career of American filmmaker Stanley Kubrick.
1,110 words (approx. 4.4 pages), 8 sources, MLA, $ 38.95
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Abstract
This paper first provides biographical information on the life of filmmaker Stanley Kubrick and then goes on to take a look at his more popular films. The paper also presents brief analyses of the films and looks at what makes Kubrick's films so great and why he will always be remembered as such an accomplished filmmaker.
From the Paper
"Stanley Kubrick, who many would describe as one of the greatest filmmakers every, was born in 1928 in the Bronx, New York. Believe it or not many would say that Kubrick was not a born writer or filmmaker, but rather one that was made. This is the result of some less than spectacular early attempts at writing and filmmaking. Though Kubrick did believe that college might be beneficial at some point in his life, he was actually not able to get into college due to his tremendously bad grades in high school (SK-TMF 1). His passions while young included "jazz drumming, chess and photography" (SK-TMF 1). Considered a "non-brilliant student", it took some time for Kubrick to begin pursing his real dream... filmmaking (SK-TMF 1)."
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"A Clockwork Orange" ( Stanley Kubrick ) and "The Player" ( Robert Altman ), 1995.
Compares the directors' styles, control, structure, character and views of society.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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From the Paper
"The films A Clockwork Orange and The Player reflect the interests and styles of their respective directors, Stanley Kubrick and Robert Altman. The two filmmakers are very different in their methods of filmmaking--Kubrick is a former photographer with an eye for composition and control, while Altman prefers improvisation and the power of the moment, often a moment created by the actors themselves as they interact with one another and with the material. A Clockwork Orange is very much a controlled work showing the hand of Kubrick in every frame, while The Player shows how Altman improvises and relies less on control and more on spontaneity. Both filmmakers are commenting on cultural and social values they see in the world around them, and both see the values of the past, and the values that actually have value, as being eroded by various forces in the culture itself. Kubrick's ..."
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"A Clockwork Orange" by Stanley Kubrick, 1997.
Psychosocial analysis of portrayal of deviance in the violent futuristic 1970 film.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
" The film A Clockwork Orange presents a vision of deviance in a future society, a society extrapolated from the growing urban crime problems of 1970 when the film was made. The exact year in which the film is set is not indicated, but it is likely somewhere around our current era. The film creates a sense of menace from the first, and yet at the same time, it uses strong imagery and high stylization to turn its dark vision into a black comedy. The concept of deviance by which sociologists try to explain aberrant and anti-social behavior, or behavior that goes against the norms of society, explains the delinquent activity in A Clockwork Orange, though the film undercuts a strict interpretation of crime as deviance by developing the idea that some crime is an expression of personal preference and inner freedom."
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Trade Spaces in "Trading Spaces", 2002.
A representation of hegemonic masculinity in the popular television series "Trading Spaces".
3,010 words (approx. 12.0 pages), 13 sources, APA, $ 88.95
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Abstract
The textual analysis of the TV series "Trading Spaces" explores the possibility of interchanging gender roles in this home improvement showcase. A strong case is built on the unchanging male hegemony. However, the paper shows that the series does focus, in a particular way, on issues of gender and power, and especially on the supposedly changing nature of masculinity. Provides limitless examples from the show to exemplify gendered television.
From the Paper
"Since its launch in September 2000 as a late-afternoon show, Trading Spaces has regularly scored a 2 or 3 household rating in its universe in prime time, according to Neilson Media Research data, peaking one Saturday evening in April at a 3:2 for an episode featuring the Dixie Chicks. With that all-time household record for TLC, Trading Spaces also beat out all broadcast networks in delivery of adults 18-49 that night (the network regularly ranks in the top 10 of all cable networks in delivery of adults 18-49 and adults 25-54). By the conclusion of its third season, Trading Spaces will have taped 65 new episodes compared to last season?s 40, and can be seen in 70 million homes in America, and internationally in Canada, Japan, Australia, Thailand, and the Philippines (Foege)."
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Kubrick?s Heroes, 1996.
A review of ?Barry Lyndon? a film by Stanley Kubrick, emphasizing the direct conflict between the main character and the constraints of social organization.
1,704 words (approx. 6.8 pages), 13 sources, MLA, $ 55.95
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Abstract
This paper discusses the works of the director, Stanley Kubrick, in general, and the film, ?Barry Lyndon? in particular. Background into Kubrick's films and audiences is highlighted, and comparisons are made to other films directed by Kubrick. The paper outlines the struggles that the main character, Barry Lyndon, faces on a daily basis. The writer illustrates how such struggles not only transform Kubrick?s heroes into products of the era in which they live but also the times and conditions in which the film was made.
From the Paper
"In order to understand the meaning behind one of Kubrick?s films, one must first meet the director. He has a reputation of being meticulous in his use of detail and some critics view him as a unique artist who appeals to the audience?s intellect. They say his films ?have a way--at least with some people of working on in the mind of passing through all the stages from imitation to exhilaration (Hoffsess 152). According to The Film Encyclopedia, however, Kubrick is a fussy, pretentious, unfeeling, and self indulgent film-maker who detaches himself from the characters in his movies (767). It has been argued that his detachment is a direct result of his skepticism about the rationale in mankind."
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Kubrick and Moliere Compared, 2002.
Compares Stanley Kubrick's movie "Barry Lyndon" by with the play by Moliere "The Would-Be Gentleman".
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This paper will compare and contrast the movie "Barry Lyndon" with the play "The Would-Be Gentleman" and will give a history analysis between the two in this scope. By understanding the two different themes of history here, we can see how they resemble each other yet have historical differences in the approaches they use in this period of history.
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The Vietnam War, 2002.
This paper offers a comparative analysis of the views of the Vietnam War in the movie "Full Metal Jacket" by Stanley Kubrick and Ed Kugler's book "Dead Center: A Marine Sniper's Two-Year Odyssey in the Vietnam War".
2,400 words (approx. 9.6 pages), 1 source, $ 89.95
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Abstract
This paper discusses the movie "Full Metal Jacket" and compares it to the book by Ed Kugler entitled: "Dead Center: A Marine Sniper's Two-Year Odyssey in the Vietnam War". The writer reveals the differences in the opinions of the war that have been made. The writer shows that the authors all have differing takes on what really happened in Vietnam, but that parallels can be drawn as well to cover the full scope of the war with a balanced perspective. By analyzing the two elements of media, the writer shows how entertainment value and literature can have two angles on an event that will always be remembered for its complex nature.
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Cinematic Success of "A Clockwork Orange", 2001.
A comparison of Anthony Burgess's novel, "A Clockwork Orange" with Stanley Kubrick's motion picture representation.
2,165 words (approx. 8.7 pages), 2 sources, $ 67.95
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Abstract
A look at the novel by Anthony Burgess and the film representation by Stanley Kubrick. The author discusses Burgess?s moral message, unique use of language, and plot structure in comparison to Kubrick?s use of cinematography, visual symbolism, and plot alteration. The author argues that Kubrick?s film is successful in representing Burgess?s narrative.
From the Paper
"Kubrick?s adaptation of Burgess? novel would obviously be viewed as incomplete to someone who read the novel prior to watching the movie. However, Kubrick?s film comes complete with all the elements needed to create a full literary tale, making it successfully stand on its own as an individual work of art. The fact that Kubrick paid attention to much of the detail, such as symmetry, shapes, and other symbolism, further validates the film in being considered by serious critics as a thought-provoking piece of work, and a reliable account of Burgess? intentions concerning free will."
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