What was this movie really about?

what was this movie really about?

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niggers

Penis in vagina in space.

yeah we all get that
but what does it mean

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Reproduction is fun. Reproduction in space is more fun.

Evolution.

kubrick2001.com/

award winning
comprehensive
complete

>monolith
>vagina

This almost literally couldn't be more wrong.

Is your pic supposed to imply that it can't symbolize a vagina?

Not directly, but the fact that the monolith is clearly phallic in aspect and spurs the progression of violence through another phallic object (the bone) which is then symbolically transfused into all future technology via a jump-cut to a phallic satellite, kind of hints that maybe "The monolith is a vagina" is barking up the wrong tree.

the transcendental/transformative powers of cinema as an art form.

The monolith is also a narrow opening.

This, the monolith is a screen

Aliens.

In the book. Hard to say the same in the movie, if I remember rightly.

no ones dick looks like a fucking rectangle you retard

Actually in the movie they made it even more narrow than it's supposed to be with the 1:4:9 proportions

The monolith is a piece of alien technology that moves a species forward in evolution.

that's it.

Missing the point of the movie when you focus on every detail lol

yes we get that, but what did it really mean

>i don't know how something can symbolise something else, i literally don't know how that works
>i also apparently think vaginas are rectangular

No, I mean in the movie there's no IT'S FULL OF STARS bit.

>No, I mean in the movie there's no IT'S FULL OF STARS bit.
Are you seriously suggesting that the monolith isn't a doorway in the movie?

>because things can symbolize other things,every object in the film has another hidden meaning instead of just being a set peice to move the plot along

aliumz are the reason humans are humans desu

>every object in the film

No, just the one that we're talking about.

yeah, we get that, but what did it really mean?

Does Dave Bowman enter it in the movie? It's not made explicit that he does and it never occurred to me that he did until I read the book, so I dunno. The monkeys and the dudes on the moon didn't.

>Does Dave Bowman enter it in the movie?
It's heavily implied that the monolith is the reason why he's transported across space and time

Yeah, I know, I'm asking if he physically goes inside it, though.

>What is needed is not a leap in technological prowess, but a leap in existential prowess

Indeed. That film Mr. Nobody with Jared Leto painted a depressing view of space travel: The only reason humans would leave Earth is for more resources. We colonize Mars but Mars is owned by corporate entities and people are shipped there regularly to work and manufacture bicycles. As long as corporations lobby congress, any sort of space travel will be for corporations.

Not everything has to spelled out, you know.

I feel like that's not something that needs to be spelled out.

That depends does a doorway have swirly light show or are the rays of light always straight?

It's a piece of speculative science fiction which, between Clarke and Kubrick, was a means to show off how smart and worldly they are. To that end, they included several "modern" themes in the work:

-the notion that man did in fact evolve from monkeys
-technological progression
-modern orchestral music, including atonal, ambient pieces (which helped to influence later musical culture)
-artificial intelligence, both its inevitable development, and hazards
-the realistic tedium and grave danger of deep space travel
-acid trip (inserted at an appropriate place in the narrative) as a nod to contemporary culture

-revisionist history by means of the monolith's intervention. We never really address God as such, as in other sci-fi, but the monolith fills in for God, to start things going, and tantalize with mystery.

The movie has two points: first, to showcase that the creators could synthesize all these elements and themes into a coherent story at all, and thereby demonstrate their artistry-mastery, and further legitimize themselves as artists. The second point of the movie is to suggest a vaguely ambitious, modern view of progression (which is agreeable to the creators' personal temperaments), which inspires further technological development in every sense - IRL, and in the movies themselves. God is minimized by means of the mysterious monolith, a stand-in, which the creators are obliged to include as an animating mystery for the story, but whose details they do not wish to probe (at this point. See 2010 for literal probing and beating it to death).