2001: A Space Odyssey (1968) has that famous match cut but what about the mirrored scene with the pen floating in space? placed back in Floyd's pocket we get the progression: the pen is mightier than the sword. Force may progress technology but its narrative that drives existence
2001: A Space Odyssey (1968) has that famous match cut but what about the mirrored scene with the pen floating in space? placed back in Floyd's pocket we get the progression: the pen is mightier than the sword. Force may progress technology but its narrative that drives existence
2001: A Space Odyssey (1968) has that famous match cut but what about the mirrored scene with the pen floating in space? placed back in Floyd's pocket we get the progression: the pen is mightier than the sword. Force may progress technology but its narrative that drives existence
2001: A Space Odyssey (1968) has that famous match cut but what about the mirrored scene with the pen floating in space? placed back in Floyd's pocket we get the progression: the pen is mightier than the sword. Force may progress technology but its narrative that drives existence
2001: A Space Odyssey (1968) has that famous match cut but what about the mirrored scene with the pen floating in space? placed back in Floyd's pocket we get the progression: the pen is mightier than the sword. Force may progress technology but its narrative that drives existence
Kubrick creates a false POV shot right under our noses. HAL's POV is established in monitor shots; all from plausible angles. Kubrick's POV is established in similar shots without a monitor. Just before Poole's death we get a HAL view of him emerging from an impossible POV angle.
Kubrick creates a false POV shot right under our noses. HAL's POV is established in monitor shots; all from plausible angles. Kubrick's POV is established in similar shots without a monitor. Just before Poole's death we get a HAL view of him emerging from an impossible POV angle.
Kubrick creates a false POV shot right under our noses. HAL's POV is established in monitor shots; all from plausible angles. Kubrick's POV is established in similar shots without a monitor. Just before Poole's death we get a HAL view of him emerging from an impossible POV angle.
Kubrick creates a false POV shot right under our noses. HAL's POV is established in monitor shots; all from plausible angles. Kubrick's POV is established in similar shots without a monitor. Just before Poole's death we get a HAL view of him emerging from an impossible POV angle.
Kubrick creates a false POV shot right under our noses. HAL's POV is established in monitor shots; all from plausible angles. Kubrick's POV is established in similar shots without a monitor. Just before Poole's death we get a HAL view of him emerging from an impossible POV angle.
This final POV monitor shot is not from any pre established angle that would reasonably belong to a HAL camera eye. It's a free floating POV shot pre established by Kubrick's camera, not HAL's...
This final POV monitor shot is not from any pre established angle that would reasonably belong to a HAL camera eye. It's a free floating POV shot pre established by Kubrick's camera, not HAL's...
This final POV monitor shot is not from any pre established angle that would reasonably belong to a HAL camera eye. It's a free floating POV shot pre established by Kubrick's camera, not HAL's...
This confused or switching POV plays heavily at the end of the film. The more overt POV switch belies a modal shift from established auteur POV to a free floating non "owned" POV. The traditional narrator/protagonist is obliterated and now we have POV without authorship.
This confused or switching POV plays heavily at the end of the film. The more overt POV switch belies a modal shift from established auteur POV to a free floating non "owned" POV. The traditional narrator/protagonist is obliterated and now we have POV without authorship.
This confused or switching POV plays heavily at the end of the film. The more overt POV switch belies a modal shift from established auteur POV to a free floating non "owned" POV. The traditional narrator/protagonist is obliterated and now we have POV without authorship.
This confused or switching POV plays heavily at the end of the film. The more overt POV switch belies a modal shift from established auteur POV to a free floating non "owned" POV. The traditional narrator/protagonist is obliterated and now we have POV without authorship.
This confused or switching POV plays heavily at the end of the film. The more overt POV switch belies a modal shift from established auteur POV to a free floating non "owned" POV. The traditional narrator/protagonist is obliterated and now we have POV without authorship.
The last we see of Bowman as "man" echoes back to a mirrored scene in the beginning. Our "ape" looks down into our right before discovering bones as a weapon. Bowman looks at a pool of spilled water and then discovers his mortality and ultimate transition into the Starchild.
The last we see of Bowman as "man" echoes back to a mirrored scene in the beginning. Our "ape" looks down into our right before discovering bones as a weapon. Bowman looks at a pool of spilled water and then discovers his mortality and ultimate transition into the Starchild.
The last we see of Bowman as "man" echoes back to a mirrored scene in the beginning. Our "ape" looks down into our right before discovering bones as a weapon. Bowman looks at a pool of spilled water and then discovers his mortality and ultimate transition into the Starchild.
The last we see of Bowman as "man" echoes back to a mirrored scene in the beginning. Our "ape" looks down into our right before discovering bones as a weapon. Bowman looks at a pool of spilled water and then discovers his mortality and ultimate transition into the Starchild.
The last we see of Bowman as "man" echoes back to a mirrored scene in the beginning. Our "ape" looks down into our right before discovering bones as a weapon. Bowman looks at a pool of spilled water and then discovers his mortality and ultimate transition into the Starchild.
The final transition of POV is the Starchild. Look into its eyes and see a reflection within. Reflecting back to the beginning of the film our eyes first stared into the film. We are the Starchild. The audiences POV has the power to influence narrative as it's personally seen.
The final transition of POV is the Starchild. Look into its eyes and see a reflection within. Reflecting back to the beginning of the film our eyes first stared into the film. We are the Starchild. The audiences POV has the power to influence narrative as it's personally seen.
The final transition of POV is the Starchild. Look into its eyes and see a reflection within. Reflecting back to the beginning of the film our eyes first stared into the film. We are the Starchild. The audiences POV has the power to influence narrative as it's personally seen.
The final transition of POV is the Starchild. Look into its eyes and see a reflection within. Reflecting back to the beginning of the film our eyes first stared into the film. We are the Starchild. The audiences POV has the power to influence narrative as it's personally seen.
The final transition of POV is the Starchild. Look into its eyes and see a reflection within. Reflecting back to the beginning of the film our eyes first stared into the film. We are the Starchild. The audiences POV has the power to influence narrative as it's personally seen.
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