On this site will be posted analyses of popular media productions. These analyses will have to do with determining the underlying meanings of various movies, songs, and certain novels. Methods used to analyze a given production will include exploration of the creators' use of symbolism, allegory, metaphor, etc., and deciphering any arcane or obscure references that it may contain.
Showing posts with label 2001: A Space Odyssey (1968). Show all posts
Showing posts with label 2001: A Space Odyssey (1968). Show all posts
Individual songs from Pink Floyd's 1973 album The Dark Side Of The Moon, are synchronized by the band to play alongside certain scenes from Stanley Kubrick's 1968 movie, 2001: A Space Odyssey. These 'sync videos' are posted on YouTube, and are accessible by clicking on the links listed below.
While the lunar lander spacecraft (above left) is on its way from a space station orbiting Earth (above right), to the moon, Heywood Floyd, who is aboard the lander, is shown sleeping (left) during part of the journey. Note the gold coloring of Floyd's surroundings inside the lander.
The lander also has an area within it that looks somewhat like a bank vault or gold bullion depository (below left). In the sync video, a 'cash register' sound plays when the stewardess in this vault/depository area, operates the food tray dispenser (below right). This sound, the presence of the vault area, and the gold color of the interior of the lander, taken together with Money's lyrics (e.g., "Grab that cash with both hands and make a stash"), suggest that Heywood Floyd's trip is tied in with something of monetary value, and with greed.
The demise of Discovery One astronaut Frank Poole is foretold in the part of the lyrics in Us And Them in which we hear a voice speaking, and one phrase spoken by this voice is, "So if you give 'em a quick short, sharp, shock": Mission computer HAL (whose camera 'eye' is shown in the screencap at left), is here thinking to himself that he is going to shock (that is, surprise) "'em", i.e., 'them' - Poole (below left) and his fellow astronaut, David Bowman (below right) - by performing some kind of drastic action directed against Poole.
The attack on astronaut Frank Poole by mission computer HAL, represents the fulfillment of that which was foretold in the other Us And Them sync video (from above), that is, the demise of Poole: HAL takes control of Poole's EVA pod (the small spacecraft shown at below left) while Poole's outside of it, about to perform a repair on the Discovery One spaceship, and HAL uses the pod to strike Poole so that Poole is sent off into space with a severed air hose (below right).
Astronaut David Bowman, wearing a green space helmet in the screencap at left, is here inside mission computer HAL's logic/memory compartment, disconnecting HAL's circuitry.
Below left: In part of this sync video, the monolith (the shiny, black, rectangular object in the screencap) aligns with Jupiter and its moons. Below right: A portion of the stargate itself, as astronaut David Bowman sees it while moving through it.
The title of this song is a reference to the colorful views of Earth's sky and surface (below left and right, respectively) that astronaut David Bowman sees, after having passed through the stargate.
As described in the caption to the two screencaps below, there is a match for part of the lyrics of Time, with the Space Odyssey 'hotel' sequence. During part of this sequence, astronaut David Bowman ages rapidly (in the sync video, while Time plays):
Bowman goes from a man around age sixty (above left) to a man of about seventy (above right), while part of the lyrics of Time that play are, "And then one day you find ten years have got behind you." (The screen time that elapses between the two shots shown above, is approximately two minutes).
Another vocal confirmation for this sync, comes in the (spoken) words of the second song in the sync video, The Great Gig In The Sky, a portion of these words being, "And I am not frightened of dying, any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it, you've gotta go sometime." These words refer to David Bowman on his deathbed, which is what is being shown in the video while the words are being spoken, beginning at approximately the point shown in the screencap at left. Note that Bowman is gesturing with his right hand toward the rectangular, black monolith (click image to enlarge).
See the analysis of 2001: A Space Odyssey on this blog for a detailed explanation of the film's themes.
a. Cover for the album The Dark Side of the Moon by the artist Pink Floyd: by Hipgnosis and George Hardie. The cover art copyright is believed to belong to the label, Harvest / Capitol, or the graphic artist(s). Designed by Storm Thorgerson, drawn by George Hardie.
All song lyrics in this post are believed to be used in accordance with the U.S. Copyright Fair Use Act (Title 17, U.S. Code).
Welcome to the analysis of 2001: A Space Odyssey. Buttons at the bottom of each post enable navigation through the parts of the analysis. You may want to view the table of contents. Regarding the appearance of possible anti-Semitism on this blog, please see the 'Disclaimers' section near the bottom of this page. The contents of the analysis of 2001 on this blog are identical, to those of the analysis of the movie on the Can Analyze Kubrick blog, except that there are a few additional posts in this analysis that are not contained in the other one, most of which have to do with hints for interpreting A Space Odyssey, from some of the films of Quentin Tarantino.
An introduction and plot synopsis for the movie appear below.[b]
2001: A Space Odyssey is a 1968 epic science fiction film produced and directed by Stanley Kubrick, and co-written by Kubrick and Arthur C. Clarke. The story deals with a series of encounters between humans and mysterious black monoliths that are apparently affecting human destiny, and a space voyage to Jupiter tracing a signal emitted by one such monolith found on the moon. Keir Dullea and Gary Lockwood star as the two astronauts on this voyage, with Douglas Rain as the voice of the sentient computer HAL, who seems human and has almost full control over their spaceship.
The film consists of four major sections, all of which, except the second, are introduced by superimposed titles.
The Dawn of Man
A tribe of herbivorous early humans is foraging for food in the desert. A big cat kills one member, and another tribe of man-apes drives them from their water hole. Defeated, they sleep overnight in a small exposed rock crater, and awake to find that a black monolith has appeared in front of them. They approach it shrieking and jumping, and eventually touch it cautiously. Soon after, one of the man-apes (played by Daniel Richter) realizes how to use a bone as a weapon; the members of the tribe later use bones to kill prey for food. Still later, they reclaim control of the water hole from the other tribe by killing its leader. Triumphant, the tribe's leader throws his bone into the air as the scene shifts (via match cut) from the falling bone to an orbital weapons satellite millions of years in the future.[c]
Above left: A tribe of our ape-like early ancestors, encounters the monolith for the first time. Top right: The leader of the tribe of ape-men discovers how to use a bone as a weapon. Above left and right: The match cut from bone to orbiting weapons satellite.
TMA-1 A Pan Am space plane carries Dr. Heywood R. Floyd (played by William Sylvester) to a space station orbiting Earth for a layover on his trip to Clavius Base, a U.S. outpost on the moon.
The Pan Am space plane carrying Heywood Floyd.
After making a videophone call from the station to his daughter (Vivian Kubrick), Floyd encounters his friend Elena (Margaret Tyzack), a Russian scientist, and her colleague Dr. Smyslov (Leonard Rossiter), who asks Floyd about odd things occurring at Clavius, and the rumor of a mysterious epidemic at the base. The American firmly declines to answer any questions about the supposed epidemic.
Dr. Smyslov (seated at left) questions Heywood Floyd (center) about the supposed epidemic at Clavius base. Elena is seated at right.
Floyd then travels from the space station, to Clavius base on the moon.
At Clavius, Floyd heads a meeting of base personnel, apologizing for the epidemic cover story but stressing the need for secrecy. His mission is to investigate a recently found artifact — "Tycho Magnetic Anomaly One" (TMA-1) — according to Floyd, deliberately buried four million years ago. Floyd and some other men ride in a moonbus to the artifact, a black monolith identical to the one encountered by the apes. The men (six total individuals, including Floyd) examine the monolith, and pose for a photo in front of it. While doing so, they hear a very loud high-pitched noise, presumably coming from the monolith.
The six astronauts descend into the excavation at TMA-1, where a monolith has been sighted.
Jupiter Mission
Eighteen months later, the American spaceship Discovery One is bound for Jupiter. On board are mission pilots and scientists Dr. David Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood), and three other scientists who are in cryogenic hibernation. "HAL" (voiced by Douglas Rain) is the ship's HAL 9000 computer, which runs most of Discovery One's operations. While Bowman and Poole watch HAL and themselves being interviewed in a BBC show about the mission, the computer states that he is "foolproof and incapable of error." HAL also speaks of his enthusiasm for the mission, and how he enjoys working with humans. When asked by the host if HAL has genuine emotions, Bowman replies that he appears to, but that the truth is unknown.
Above left: The Discovery One spaceship as viewed from the front right side. Above right: Discovery One from the rear right.
Top left: Discovery One astronaut David Bowman converses with mission computer HAL. Top right: HAL's camera 'eye'. Above left: Bowman's fellow astronaut, Frank Poole, watches a BBC broadcast about his and Bowman's mission to Jupiter. Above right: Two of the three astronauts who are in hibernation.
HAL asks Bowman about the unusual mystery and secrecy surrounding the mission, but interrupts himself to report the imminent failure of a device which controls the ship's communications antenna. After retrieving the component with an EVA pod, the astronauts cannot find anything wrong with it. HAL suggests reinstalling the (supposedly) defective unit and letting it fail so the problem can be found.
Above left: Bowman (wearing a red spacesuit) has exited his EVA pod, and is here shown approaching Discovery One's communications antenna. Above right: Bowman removes the (supposedly) defective device from the antenna assembly. As will be described later in the analysis, it is evident that this device, known as an AE-35 unit, controls the positioning of the communications antenna. Note the replacement unit sitting to Bowman's right - we are never shown the replacement unit being installed; this fact will come into play later in the analysis.
Mission control concurs with HAL's suggestion (to reinstall the (supposedly) defective unit), but advises the astronauts that results from their twin HAL 9000 indicate the ship's HAL is in error predicting the fault. When queried, HAL insists that the problem, like all previous issues with the HAL series, is due to "human error." Concerned about HAL's behavior, Bowman and Poole enter one of the EVA pods to talk without the computer overhearing them. They both have a bad feeling about HAL, despite the HAL series' perfect reliability, but decide to follow his suggestion to replace the unit. As the astronauts agree to deactivate the computer if it is proven to be wrong, they are unaware that HAL is reading their lips through the pod's window.
Top left: Poole and Bowman converse inside an EVA pod (which is located in the pod bay aboard Discovery One), about their doubts regarding HAL. Note the window in the pod. Top right: HAL, whose camera 'eye' is visible in the distance, can see through the pod window. HAL cannot hear the two men talking, however, since the pod door is shut and the pod itself is sealed, and the men have deactivated all the electronic devices which might enable HAL to hear them. Above left and right: A view from HAL's perspective, of Poole's and Bowman's lips moving, as visible through the window just mentioned. As becomes evident later in the movie, HAL knows the contents of the two men's conversation from reading their lips.
After Poole exits Discovery One to reinstall the (supposedly) defective AE-35, Poole's EVA pod (below left screencap), controlled by HAL, moves toward Poole and then hits him, severing his oxygen hose and setting him adrift in space (below right).
Bowman, not realizing the computer is responsible for Poole's being set adrift, takes another pod to attempt a rescue, leaving his helmet behind. While he is gone, HAL terminates the life functions of the three crew members in suspended animation (below left). When Bowman returns to the ship with Poole's body, HAL refuses to let him in, stating that he cannot allow the mission to be jeopardized. Bowman manually opens the ship's emergency airlock and bodily enters the ship (below right), risking death from lack of oxygen.
After donning a helmet, Bowman proceeds to HAL 9000's memory core intent on disconnecting the computer. HAL first tries to reassure Dave, then pleads with him to stop, and finally begins to express fear. Dave ignores him and disconnects each of the computer's memory modules. HAL eventually regresses to his earliest programmed memory, the song "Daisy Bell", which he sings for Bowman.
When the computer is finally disconnected, a pre-recorded video message from Floyd plays. In it, he reveals the existence of the four million-year-old black monolith on the moon. Floyd says that it has remained completely inert, except for a single, very powerful radio emission aimed at Jupiter, and then adds that the monolith's origin and purpose is "still a total mystery."
Jupiter and Beyond the Infinite
Near Jupiter, Bowman leaves Discovery One in an EVA pod and finds another monolith in orbit around the planet (as shown at left).
Approaching this monolith, Bowman's pod is suddenly pulled into a tunnel of colored light, and a disoriented and terrified Bowman finds himself racing at great speed across vast distances of space, viewing bizarre cosmological phenomena and strange landscapes of unusual colors. He finds himself, older and still in his spacesuit, standing in a room appointed in the Louis XVI-style. Bowman sees progressively older versions of himself, his point of view switching each time, alternately appearing sitting at a table eating, and finally as a very elderly man lying in a bed. A black monolith appears at the foot of the bed, and as Bowman gestures toward it with his right arm and hand, he is transformed into a fetus-like being enclosed in a transparent orb of light. The new being floats in space beside the Earth, gazing at it.
Top left: Bowman sees this image while moving through space (i.e., through the 'stargate') at a high rate of speed. Top right: An aged Bowman sitting at a dining table, in a Louis XVI-style room. Above left: Bowman gestures toward the monolith from his bed. Above right: The fetus in an orb of light, floating near Earth.
One thing we will be doing in this analysis, is looking at hints given to us to help unlock the meaning of Kubrick's movie, in the films of other movie-makers, such as those of Quentin Tarantino, Michael Mann, David Lynch, and the creators of the Hannibal Lecter films.
Above left: Heywood Floyd and the lunar lander captain converse. Floyd's food tray, which had been sitting in his lap, begins to float upward when Floyd lets it go. It seems we are to believe that this happens because the lunar lander environment is, theoretically, at zero-gravity. However, note that the captain is leaning on the seats as if his upper body weight is being supported by them. Also note that Floyd's seatbelt is loosened, indicating that he doesn't need to wear it to be held down. Above right: Just before Bowman and Poole enter an EVA pod to discuss HAL's recent behavior, we're shown this view of the AE-35 unit with its covering removed (the red and black object lying on the counter-top), that Bowman earlier removed from the communications antenna mechanism. Since the pod bay is normally at zero-gravity, the unit, which is unsupported here, should have begun floating upward. The fact that it has not means that somehow, a gravitational (i.e., 'inertial') force is acting upon it to hold it down.
The plot of Arthur C. Clarke's sequel to the film 2001: A Space Odyssey, the novel2010: Odyssey Two,[a] reveals the reason why the aliens need diamonds: The diamonds are to be used so as to help achieve nuclear fusion, converting the planet Jupiter into a star (i.e., to effectively make it a sun). In Clarke's novel, the planet Jupiter is discovered to have a core consisting of diamond. The monolith (containing diamonds), once placed on Jupiter, begins to 'reproduce' itself at a rapidly accelerating rate, eventually resulting in millions of monoliths covering the entire planet; at this point, Jupiter becomes dense and massive enough to collapse upon itself, due to the high density and weight of the diamonds in the monoliths in combination with the planet's diamond core, triggering thermonuclear fusion. The alien race 'stole' enough diamonds from Earth to 'seed' a process whereby the crystals could be 'reproduced' via successive duplications of the monolith on Jupiter. The rays from the star Jupiter has become will thaw out one of Jupiter's moons, Europa, and allow life to evolve there. The civilization to be established on Europa would then correspond to a utopia, a kind of 'paradise', that would have resulted if, in 2001, HAL had defeated Bowman (and had not killed the three hibernating astronauts). Ultimately, the utopia on Europa is being used to represent that which will result here on our own planet, if evil hermaphroditic Jews, certain high-ranking Freemasons, and other parties are allowed to succeed: the establishment by them of a utopia in the United States, in southern Indiana, which only the evil parties are to inhabit, leaving the rest of us to occupy the remainder of Earth, in far-from-optimal conditions.
Final observations
1) The reason 'normal' gravity seems to be in effect in Discovery One's pod bay, while Bowman and Poole are testing the supposedly faulty AE-35 unit, must be because, in accordance with the hint from The Silence of the Lambs discussed in part 44 of this analysis, Discovery One changes attitude and direction by simultaneously banking and accelerating, while Bowman and Poole are in the pod bay testing the supposedly faulty unit, and the resultant 'inertia force' creates the equivalent of gravity while the two men are working on the unit. Bowman and Poole don't notice anything unusual, however, because the alien is at this point influencing their minds. HAL must have changed the ship's direction in order to re-position it so that the hibernating astronauts would be able to implement the planned action to be conducted on Jupiter (i.e., the movement of the monolith, containing diamonds, to the planet).
The AE-35 unit is the piece of equipment that keeps the communications antenna pointed toward Earth. The alien caused Bowman to 'forget' to install the new unit he brought with him when he went out to the antenna to remove the old one. (As mentioned earlier, we're never actually shown Bowman putting in the new unit; Poole was watching Bowman from the ship during this time period, but the alien was influencing his mind so that he wouldn't notice Bowman not putting the new unit in.)
Above left: Poole sits inside Discovery One, while he watches Bowman outside the ship replacing the (supposedly) faulty AE-35 unit. Above right: The view of Bowman that Poole can see is on the screen inside the tan square.
Left: An enlarged view of Bowman at the antenna. Above: Bowman removing the supposedly faulty unit. The alien influences his mind so that he 'forgets' to install the new unit he brought with him. Also, the alien influences Poole's mind so that Poole, while watching Bowman, doesn't notice that Bowman doesn't install the new unit. When Bowman returns to Discovery One, he brings the old unit with him, but the new unit is left sitting on the edge of the antenna; the point is that the situation becomes one in which no AE-35 unit is installed.
Since no AE-35 unit was installed when HAL changed the ship's direction, communication with Earth was lost. Although it appeared that Bowman and Poole communicated with mission control after testing the unit in the pod bay, the reality is that this 'communication' with Earth was pre-recorded prior to the actual mission. The evidence that this is the case is shown in the four screencaps with captions below.
Above left: Before removing the supposedly faulty AE-35 unit, Bowman and Poole are in contact with mission control from Discovery One. Note the man on the screen (indicated by the arrow) speaking from mission control. Above right: An enlarged view of the man on the screen from the screencap at left. Note that he is wearing a light bluish-grey shirt.
Above left: After testing the supposedly faulty unit (i.e., after the ship has changed direction and communication with Earth has been lost), Bowman and Poole appear to again be talking to mission control from Discovery One. Above right: An enlarged view of the man on the screen from the screencap at left. This appears to be the same man shown earlier above (note the hair), but he's wearing a different-colored shirt. Also note that the time displayed on this screen ('20 ...') is earlier than the time shown in the other screencap above ('21 ...'), which is the opposite of what we'd expect. The point is that this second man is, in fact, not the same person as the man who was wearing blue. In actuality, this second 'communication' from Earth was pre-recorded on video-tape, and then the tape was pre-installed on the ship, and it has been designed for HAL to play as a 'response' when the two astronauts attempt to contact Earth, to ask what action they should take next regarding the AE-35 unit. Bowman and Poole know nothing about the tape, and they believe that they are actually speaking to mission control during both conversations. Since the second conversation is not to be part of the mission broadcast, it need only be designed to fool Bowman and Poole themselves. Of course, all of this implies that at least some of the people in mission control are deceiving the two men, which makes sense in light of the fact that Heywood Floyd, in his pre-recorded message played near the end of the movie, is not truthful when he says that the purpose of the monolith is unknown.
The Discovery One communications antenna structure.
2) Recall the 'physiological' description of Discovery One given in part 22 of this analysis. If we go further with the description (i.e., of the ship's structure being similar in 'physique' to a human being's body), and take the communications antenna assembly (shown above - the large round antenna in combination with the two smaller ones, one on either side), as representing the ship's genitals, then the symbolism of the antenna structure being normally pointed toward Earth, has to do with chordee. A chordee is a medical condition in which the head of a man's penis curves downward or upward, at the junction of the head and shaft of the penis. If we take the penis with this condition as curved downward, then the head would be pointed toward the ground, i.e., toward Earth. A chordee may be caused by an underlying condition, such as a disorder of sex development or an intersex condition.[b] Intersex, in biology, refers to an organism having physical characteristics intermediate between a true male and a true female of its species.[c] Note that Discovery One's 'phallus' (the large, center communications antenna) is genitally ambiguous, in that it is rounded, instead of elongated like a normal penis. Also, its 'testes' (the two small antennas) appear abnormally small when compared to the phallus. The point of all of the foregoing is that Kubrick is depicting the ship as a person with ambiguous genitalia.
In a National Institutes of Health study, the most common cause of ambiguous genitalia in newborn patients was congenital adrenal hyperplasia (CAH) due to 21-OH deficiency.[d]
According to the National Adrenal Diseases Foundation,[e] "Non-classical CAH is among the most common genetic disorders, with Ashkenazi Jews having the highest prevalence. In the general population depending on the ethnic breakdown of a given community, 1-5% may be affected with non-classical CAH [the milder form of CAH]. Non-classical CAH does not progress to classical CAH [the more severe form of CAH] in affected individuals." (material inside square brackets in original).
Non-classical CAH is a mild variant of one of the common causes of female pseudohermaphroditism.[f] Pseudohermaphroditism is a condition in which the individual has a single chromosomal and gonadal sex but combines features of both sexes in the external genitalia, causing doubt as to the true sex.[g]
Today Ashkenazim constitute more than 80 percent of all the Jews in the world, vastly outnumbering Sephardic Jews.[h]
With the physical structure of the Discovery One spaceship symbolizing an Ashkenai Jewish person having congenital adrenal hyperplasia, Kubrick must be saying that abnormalities having to do with genital (and thus gender) ambiguity, play some part in the evilness of some Jews. In fact, the specific Jews Kubrick had in mind are the evil hermaphroditic Jews mentioned above, who wish to form a 'utopia'.
3) In the Dawn of Man segment of the movie, the leader of the tribe of ape-men that regains control of the water hole by using bones as weapons, represents the biblical figure Nimrod; and the second battle between the two tribes of ape-men represents the battle between Nimrod and Abraham, and thus symbolizes the final battle between monotheism and paganism, with paganism winning. As an aside, note that the triumphant tribe's leader, and the members of his tribe, walk in a more upright posture while they are carrying their new bone-weapons, than they do in their normal quadrupedal gait. This suggests that Kubrick believed that the reason man evolved into an upright-walking creature was so that he could carry weapons.
Above left: The tribe's leader walking on all fours, prior to his discovery of how to use weapons. Above right: The tribe's leader standing on two legs while holding his new weapon.
4) Jung's theory of psychological types no doubt has relevance to the movie. For example, Bowman's type is introverted thinking.
Above left and right: The EVA pod, under HAL's control and with mechanical arms extended is, metaphorically speaking, like a puppeteer operating a marionette, in that it is 'pulling Frank's strings' so that his limbs jerk about as he drifts off into space.
5) The 'jerking' motions of Frank Poole's body, once he's been knocked off into space by the EVA pod (under HAL's control; see the screencaps above), indicate that he is, symbolically, being manipulated like a marionette (i.e., a puppet operated from above by strings). Note that the viewing window of the pod can be taken to represent HAL's eye, or in other words, HAL himself, who in turn represents the evil elite hermaphroditic Jews (who Kubrick believed control much of the popular and news media), and evil high-ranking Freemasons; also note that the pod has two mechanical arms, which could be taken symbolically to be 'pulling Frank's (invisible) strings' as he floats off into the distance. Since Poole here represents the general public (recall the 'gene pool' name symbolism mentioned earlier in the analysis), then Kubrick is saying that the members of the general public are being manipulated by the evil hermaphroditic Jews (who, as stated, control much of the popular and news media) and evil high-ranking Freemasons.
From The Silence of the Lambs: FBI trainee Clarice Starling deciphers an anagram that cannibalistic psychiatrist Hannibal Lecter has given her, as a (supposed) clue to help the FBI apprehend a certain serial killer (Jame Gumb). This shot in the movie is a clue about something in 2001, in specific, Heywood Floyd's name being an anagram for 'Defy Holy Wood' (as was discussed earlier), and as described below, there is also another anagram of Floyd's name that has significance for our analysis.
6) If we expand out the spelling of Heywood Floyd's name, as was done with 'TMA-1' earlier (to get TMA-One and thus 'no meat'), we get 'Doctor Heywood R. Floyd'. An anagram of this is 'O, doth wooly fodder cry' (wooly can be spelled with either one 'L' or two, both are valid). Here, 'wooly fodder' is a reference to lambs (i.e., sheep) who will be led to their slaughter, and 'cry' refers to the noise these lambs will make when they are led there. The word 'wooly' is being used to mean 'confused' or 'muddle-headed'. The word "silence" in the Lecter movie's name is a clue that the lambs being referred to by the anagram of Floyd's name are currently silent; for these lambs represent the members of the general public who, in their state of confusion and muddle-headedness, do not know that they are about to be led to their virtual slaughter by the evil parties mentioned above.
7) There is an important societal/cultural context within which what was said back in part 41 of this analysis, about the manipulation of Bowman's psyche, must be viewed. The manipulation of Bowman's psyche by the alien (which has usurped the place of mediator between Bowman's unconscious and conscious mind), via taking advantage of Bowman's shadow-contaminated intellect, symbolizes that which evil elite hermaphroditic Jews, evil feminists, and other parties (e.g., certain high-ranking Freemasons, as noted above), working together, have done to us as a society: These parties have tapped into our individual psyches (specifically, our unconscious minds) in order to manipulate us. They have effectively contaminated our conscious and unconscious minds, then used the same means to get control over use, as that used by the alien to get control over Bowman (as just described).
Above left and right: The stewardess walking toward Heywood Floyd's seat on the Pan-Am space plane, takes steps as if she is just learning how to walk (see video here). This is a metaphor for the idea that some women are childlike.
8) In light of what was said earlier in the analysis about part of the movie taking place 'in' the unconscious, about Floyd dreaming during at least part of his trip to the moon, and etc., it must be the case that some of what we see in the movie depicts a dream Bowman experiences, after hitting his head on the airlock wall and then disconnecting HAL: The sequence of events that we see beginning with the monolith floating near Jupiter, and ending with the giant fetus near Earth, consists partly of a dream Bowman experiences just before he dies from his head injury.
9) Referring to the above screencaps and images, the red and yellow coloring of the spacesuit and air pack that Bowman is wearing in the early parts of the 'hotel room' sequence (far left), are a reference to William Blake's Great Red Dragon Paintings, in specific, to the two paintings shown above. The red painting is The Great Red Dragon and the Woman Clothed with the Sun, and the yellow one is The Great Red Dragon and the Woman Clothed in Sun. [Images from the Wikipedia 'The Great Red Dragon Paintings' page, public domain, via Wikimedia Commons.] Since the biblical great red dragon (from the book of Revelation) can be taken to represent Satan, the indication is that even though HAL, who is now assimilated within Bowman, was only a 'pupil' of Satan, it is the case that all along, part of his plan was to usurp the power of Satan himself. This is in accordance with the hint about A Space Odyssey in The Silence of the Lambs, mentioned in part 29 of this analysis: Jame Gumb, the serial killer in The Silence of the Lambs, effectively tries to usurp Satan's place. His attempting to do so is indicated by the fact that he tries to cheat Hannibal Lecter, who himself represents a personification of Satan, out of rulership over an 'evil kingdom' that is to be established. (This kingdom represents the same thing as the utopia that is being represented in A Space Odyssey as described above, i.e., the real-life 'paradise' to be established in southern Indiana).
10) See below.
Above left and right: As suggested in part 33 of the analysis, Bowman experiences a bad (drug) trip while passing through the stargate. This is an indication that he has been using psychoactive drugs during the Jupiter mission.
11) Note that many of the more influential and well-known feminists are/were Jewish:[i] Gloria Steinem, Betty Friedan, Andrea Dworkin, Ruth Bader Ginsberg, Susan Faludi, Naomi Wolf, Susan Sontag, Bella Abzug, Gloria Allred, Ruth Westheimer, Cathy Young, Susan Brownmiller, etc. (see here).
12) See below.
The audience of Manhunter is briefly shown this view of serial killer Francis Dollarhyde's right hand raised in a 'semi-pointing' gesture, when he first shows himself to the evil journalist, Freddy Lounds. As described immediately below, this particular view is a hint about something in A Space Odyssey.
When Bowman raises his right hand toward the monolith at the end of 2001 (shown at left), he is not only pointing toward it, thus indicating that he's reached a kind of enlightenment regarding it (he has come to know its true meaning), but he is also giving a Nazi salute to the monolith. This represents him giving a Nazi salute not only to ideological feminism (since the monolith was planted by an alien race representing radical feminists), but it is also a Nazi salute to those forces in the popular and news media that are evil (in accordance with the hint from Manhunter just described), which includes the evil elite Jews who control this portion of the media. Therefore, this final act of Bowman is the indication that when he is reborn as the 'starchild', the next step in Man's evolution, he has become a fascist entity who associates being enlightened with 'worshiping' both ideological feminism and evil Jewishness.
Above left: This view of the monolith from its base, with the sun and crescent moon above it, has the appearance of the bottom and middle portions of a pyramid, with the sun in place of the top of the structure, and the crescent moon higher up in the sky. What is being suggested here is the idea of 'common man' being at the bottom of some 'pyramidal' (i.e., hierarchical) structure, such as a power structure. Above right: The reverse side of the Great Seal of the United States (1776).[j] The eye above the pyramid in the Great Seal, which is known as the Eye of Providence, is today a common motif in Freemasonry. The point is that the sun above the monolith represents the high-ranking Freemasons who, in the evil parties' 'new world', are to be at the top of the aforementioned power structure, and the crescent moon represents the evil elite hermaphroditic Jews, up above controlling all.
Thus Spoke Zarathustra: "What is the ape to man? A laughing-stock, a thing of shame. And just the same shall man be to the Superman: a laughing-stock, a thing of shame." --F. Nietzsche
a. Clarke's novel, 2010: Odyssey Two, continues the events of Kubrick's movie, 2001: A Space Odyssey, not those of the Clarke novel of the same name.
b. Wikipedia, 'Chordee'. Web, n.d. URL = https://en.wikipedia.org/wiki/Chordee.
c. 'intersex'. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2015. Web. 14 Sep. 2015.
URL = http://www.britannica.com/science/intersex.
d. Zdravković D, Milenković T, Sedlecki K, Guć-Sćekić M, Rajić V, Banićević M. Causes of ambiguous external genitalia in neonates. [Abstract] Srp Arh Celok Lek. 2001 Mar-Apr; 129(3-4): 57-60.
e. National Adrenal Diseases Foundation Congenital Adrenal Hyperplasia (CAH) page.
f. Kukreti, P., Kandpal, M., Jiloha, R.C. Mistaken gender identity in non-classical congenital adrenal hyperplasia. [Article] Indian J Psychiatry. 2014 Apr-Jun; 56(2): 182–184.
g. 'pseudohermaphroditism'. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2015. Web. 26 Sep. 2015.
URL = http://www.britannica.com/science/pseudohermaphroditism.
h. 'Ashkenazi'. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2015. Web. 14 Sep. 2015.
URL = http://www.britannica.com/topic/Ashkenazi.
i. Some of the persons on this list are deceased.
j. Image from the Wikipedia 'Great Seal of the United States' page; Great Seal of the United States (reverse) by Ipankonin (this vector image was created with Inkscape), licensed under GFDL, CC-BY-SA-3.0, or CC BY-SA 2.5-2.0-1.0, via Wikimedia Commons.
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Saint Augustine's Confessions andCity of God from Wikisource (except where otherwise noted); portions from Wikisource used on this blog are released under the Creative Commons Attribution-Share-Alike License 3.0.
Saint Thomas Aquinas's Summa Theologica from the 'Logos Virtual Library' website (except where otherwise noted), compiled and edited by Darren L. Slider; believed to be in public domain.
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