Plot summary[ edit ] An ancient and unseen alien race uses a device with the appearance of a large crystalline monolith to investigate worlds across the galaxy and, if possible, to encourage the development of intelligent life. The book shows one such monolith appearing in ancient Africa, 3 million years B. The ape-men use their tools to kill animals and eat meat, ending their starvation.
In a interview with PlayboyKubrick stated: The very nature of the visual experience in is to give the viewer an instantaneous, visceral reaction that does not—and should not—require further amplification.
Yet there is at least one logical structure—and sometimes more than one—behind everything that happens on the screen in "", and the ending does not consist of random enigmas, some critics to the contrary. He said he did not deliberately strive for ambiguity, that it was simply an inevitable outcome of making the film non-verbal, though he acknowledged that this ambiguity was an invaluable asset to the film.
He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level", but unwilling to discuss the metaphysical interpretation of the film which he felt should be left up to the individual viewer.
The book explains the monolith much more specifically than the movie, depicting the first on Earth as a device capable of inducing a higher level of consciousness by directly interacting with the brain of pre-humans approaching it, the second on the Moon as an alarm signal designed to alert its creators that humanity had reached a sufficient technological level for space travel, and the third near Jupiter in the movie but on a satellite of Saturn in the novel as a gateway or portal to allow travel to other parts of the galaxy.
It depicts Bowman traveling through some kind of interstellar switching station which the book refers to as "Grand Central," in which travelers go into a central hub and then are routed to their individual destinations.
The Year We Make Contact. The book reveals that these aliens travel the cosmos assisting lesser species to take evolutionary steps.
Bowman explores the hotel room methodically, and deduces that it is a kind of zoo created by aliens—fabricated from information derived from television transmissions from Earth intercepted by the TMA-1 monolith—in which he is being studied by the invisible alien entities.
He examines some food items provided for him, and notes that they are edible, yet clearly not made of any familiar substance from Earth. I found the book gripping and intellectually satisfying, full of the tension and clarity which the movie lacks. All the parts of the movie that are vague and unintelligible, especially the beginning and the end, become clear and convincing in the book.
During an interview with Joseph Gelmis in Kubrick explained: The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium.
The novel came about after we did a page prose treatment of the film at the very outset. This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film.
But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. I think that the divergencies between the two works are interesting. Actually, it was an unprecedented situation for someone to do an essentially original literary work based on glimpses and segments of a film he had not yet seen in its entirety.
A Biography, was inclined to note creative differences leading to a separation of meaning for book and film: The film took on its own life as it was being made, and Clarke became increasingly irrelevant. The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept.Any analysis of Arthur C.
Clarke’s novel A Space Odyssey cannot help but make reference to the Stanley Kubrick film made in collaboration and concert with the book. One of the conventional wisdoms of adapting novels in to film is that “the book is always better.”.
This study guide and infographic for Arthur C. Clarke's A Space Odyssey offer summary and analysis on themes, symbols, and other literary devices found in the text. Explore Course Hero's library of literature materials, including documents and Q&A pairs.
Arthur C. Clarke’s “The Star” won a Hugo Award for best short story of the year. First published in Infinity Science Fiction, it has been widely anthologized since then.
Many of Clarke’s. The following paper will analyze the movie, “ A Space Odyssey” by Stanley Kubrick” and “The Centinel” by Arthur C. Clarke. Although there are many themes present between the story and the film, the following are the most dominant.
A summary of Themes in Arthur C. Clarke's A Space Odyssey. Learn exactly what happened in this chapter, scene, or section of A Space Odyssey and what it means.
Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. "Writer Arthur C. Clarke and moviemaker Stanley Kubrick would borrow the torus design for their exhilarating (and baffling) movie epic A Space Odyssey." - SP SPACEFLIGHT REVOLUTION (NASA archives).