The movie of Stanley Kubrick: A Space Odyssey base on Clarke’s short story “The Sentinel”. The core theme of the movie was fiction and the story of Clarke reflects the same. “The Sentinel” provided the original basis for Kubrick’s film version and the story itself published after the film’s release. “A Space Odyssey” book reviews discuss the plot, characters and themes found in the story. One can learn more about the different literary elements that should be examined in the story. According to the plot of the movie the space navigators David Bowman and Frank Poole, along with three frozen hibernauts and a talkative computer named Hal, are aboard the spaceship Discovery on a ...view middle of the document...
” In any case, both Kubrick's film and Clarke's book captured the public's imagination, and both will remain science fiction classics.
The central character in the story's first section is Moon-Watcher, the leader of a group of prehistoric man-apes chosen by the monolith to receive its knowledge (Otten, 1982). Before the arrival of the monolith, Moon-Watcher's group is close to starvation and too preoccupied with individual survival to understand the advantage of communal values. The monolith imparts information about how to survive (also, somewhat ominously, about how to kill one's fellow creatures) and thus allows Moon-Watcher and his companions to experience the benefits of quiet family living. In this way, the monolith serves as a guide and guardian to the developing human race. Clarke has been praised for his convincing portrayal of the rough but recognizably human emotions of Moon-Watcher, whose name refers to his lifelong wish to find a tree tall enough to allow him to touch the moon (Otten, 1982).
The second section of 2001 features Dr. Heywood Floyd, the chief space administrator of the United States. Floyd does not disclose to press the true purpose of his visit to the moon, which is to investigate the report of a monolith found during excavation there (Westfahl, Slusser, 2002). Contemplating the fact that the monolith has been on the moon for three million years, Floyd experiences a heightened awareness of time and of loneliness and vulnerability of the human race concepts prevalent in other parts of the story.
En route to Saturn, astronaut Frank Poole receives a recorded birthday greeting from his family on Earth, to which he reacts with a sense of remoteness, of increasing withdrawal from the rest of humanity, which he finds somewhat unnerving. Yet even as he becomes less emotional, Poole is not entirely machinelike either; he may be in a transitional state on the path to transcendence (Westfahl, Slusser, 2002). After Poole's death, Bowman consoles himself that his friend's floating body will reach Saturn before any other human being, so that even in death he will play a part in human development.
Like Poole, astronaut David Bowman is fluent in the robot-like “Technish” language in which the ship's functions performed, and his daily routine, strictly regulated (Williams, 2007). Yet he too retains some of his humanity, even as he finds himself listening to night to the eerie, inhuman hum of Jupiter's radiation on his radio. Whereas at one time Bowman enjoyed recorded plays, he now prefers the orderly music of Bach. The human problems examined in drama are too remote to interest him. He is losing his capacity for emotion, but he never loses contact with Earth until he enters the Star Gate (Williams, 2007). Rather, he broadcasts...