Parker Thomson
Sieving
Film History II
12/11/15
2001: Technological Art Cinema
The emerging art cinema in the 1960s offered a twist in international cinema,
even in the similarly emerging sci-fi genre. Stanley Kubrick and Arthur C. Clarke’s film
2001: A Space Odyssey presents an aesthetically artistic approach to a film on space
exploration, or technology. From the film’s aesthetic style, Technology is presented as
one of the primary topics in the film’s significance. In Stanley Kubrick’s 2001: A Space
Odyssey, the narrative and style of its art cinema aesthetics enhance the spectacle and
focus of technological techniques that are present in the film. These techniques apply
both in the story and on-set. Kubrick likes to give a lot of attention to detail, in 2001’s
case, to support a realistic style. He isolates many of the spacecrafts or their interiors in a
way to emphasize the design of such props. It’s the authenticity and pacing within these
shots that give credence to Kubrick’s presentation of technology. The slow, dance-like
display of the ships brings a documentary feel that introduces the audience to the
futuristic structures. Furthermore, the narrative projects a mostly negative viewpoint on
technology as a seemingly ill-advised discovery of humanity. Ultimately, Kubrick’s
direction counters typical Hollywood sci-fi genre narratives. In doing so, his ability as an
art film auteur is expressed.
The European art cinema style that Kubrick employs supports his attention to
detail, which allows technology to have such a fascinating display on-screen. In the
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production of 2001, there was clearly a significant amount of attention put towards the
set. The centrifuge was an expensive piece of the set, as “it cost $750,000” to build
(Schwam, 6). The centrifuge was “a spinning drum 12m in diameter, weighing some 30
tonnes” (Bizony, 48). Along with this dedication to construct an incredibly compelling
film set, Kubrick’s fascination with authenticity always led his direction. In an article
titled An Odyssey Into The Future by Piers Bizony, he mentions a Kubrick quote:
“There’s a deep emotional relationship between man and his machines, which are his
children.” Kubrick certainly wanted to emphasize his creations by giving the audience
prolonged vantage points into the set. During the introduction of the space stations, a
hostess carries food to the pilots in a one-minute long shot, where a special effects
illusion carries out. As she walks in place, the set, as well as the camera, rotates around
her, which gives the appearance that she is walking up the wall to the ceiling.
Considering art cinema aspects, 2001 does not portray realism in the behavior of
characters, but rather through its technological components. Along with this realism,
detail follows closely. The film had an “unusually rigorous attention to scientific detail, a
rigor that had pointedly been missing both from the ‘space operas’… that had largely
dominated the genre” (Kolker, 44). Considering this insight, the hostess’ character
essentially serves as a vessel to bring the anti-gravity trick and motif to the audience.
Furthermore, this one minute shot brings the detailed set construction to the forefront of
the film. These shots also bring up how selective Kubrick was in camera placement
throughout the film.
Kubrick used a delicately placed camera throughout his shots that emphasize
color, contrast, and shapes of the technology on-set, and like an art film, can take
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precedence over the narrative. 2001’s attraction to organization is seen throughout most
of the film. Scenes typically show symmetry, such as the cockpit shot at 23:35 or the
hangar shot at 40:15, which show very picturesque, colorful images. The hangar scene is
an all red color shot. Shots like these are major portions of the film. So much so, that they
dominate over the narrative and characters in the film. Furthermore, the red glow as Dave
takes apart Hal displays the more emotionally stark tone rather than editing techniques
typically do. Kubrick himself states, “filmmaking is ‘dealing in a primarily visual
experience, and telling a story through the eyes’” (Kolker, 45). Ultimately, through the
nature of the camera it seems as if Kubrick wants us to see the technology as the most
unified and structured aspect of the film. The unbroken symmetry and solidity of Hal’s
eye symbolizes his control and intelligence. Furthermore, the sleek design of the
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