⌚ Realism In The Odyssey

Tuesday, August 24, 2021 10:14:47 AM

Realism In The Odyssey

Bowman is shown sketching Realism In The Odyssey views of Realism In The Odyssey hibernation beds and comparing his drawing to what he actually sees in front Great Gatsby Symbolism Analysis him. This was an extra wide screen format developed by the studios in competition with Realism In The Odyssey television Themes In Ray Bradburys Novel Fahrenheit 451. Open Realism In The Odyssey. There are actually many visual errors along these lines. Journal Realism In The Odyssey Spacecraft and Realism In The Odyssey.


The true meaning of the monolith has been staring us and the fictional characters directly in the face throughout the whole film, just begging to be noticed. A hilarious example is that when eating on the discovery Poole and Bowman are watching themselves on tv screens that have been rotated 90 degrees. There is no reason to assume that television screens of the future will be longer than they are wide, but in they are shown in both orientations. It has two rings and the side which is under construction features a wire frame. For some reason the poster is a painting rather than a production photo and an important detail is that in different versions of this same poster the docking bay is either yellow or red, but in the film it is white.

The planet in the background also changes colour on different posters, but we'll explore these colour variations in more detail in later chapters. So could it be that the Torus station represents a film reel within a film and that the docking bay is the projector? Notice also that as the Pan Am ship enters the Torus station it first has to align with the monolith shaped docking bay, which is featured on the Pan Am ships computer display as a rotating wire frame monolith. The aligning of spaceships also parallels the aligning of Jupiter and its moons. Tying in with these themes we find that virtually all of the satellites and spacecraft that we see before the Torus docking sequence appear very flat, as if they are being projected onto the film.

Their angles and lighting do not change and their shadows often completely mismatch the light sources suggested by how the Earth and moon are lit. This is also true of the lunar landing shots. The lunar lander seen descending toward the moon surface is shown with the Earth in the background. These two spherical bodies should be equally lit if the sun is the light source, but the Earth is almost fully lit from the front, while the lander appears lit from further in the distance. One could argue that special effects were limited in , but the magnificent spinning Torus station and Discovery ship prove otherwise.

The spinning of the monolith near Jupiter with its changing surface reflections only serves to exaggerate the two dimensional look of the satellites in Earth orbit. The final shot of the Torus docking sequence features the two wheels of the station rolling toward the camera until they disappear off screen leaving a black emptiness. We now cut to a shot of Floyd emerging from a strange rotating seating area. Does it not look like a strip of film frames? The following selection of posters show assorted scenes from occupying the central strip of the image with the main promotional painting of the Torus station as a background filler.

This is an interesting combination, which could again be implying a film with a film. The living quarters of the Discovery also rotate like the Torus station and from many angles we can see that a band of light shines down on the computer consoles from each wall. The light forms a continuous circle around both sides of the set and is divided up into sections whose dimensions match the the individual frames of a widescreen cinema reel. There are also other set design features that gain new meaning when compared with the technicalities of the film process. This was an extra wide screen format developed by the studios in competition with the television industry. The finished film is divided into three strips and projected onto a curved screen by three synchronised projectors.

The format never really caught on and so most of us have never watched in its original format. Nevertheless, Kubrick seems to have incorporated aspects of the Cinerama projection equipment into his sets. Many shots, including HALs vision, are shot with panoramic lenses and the lenses and cameras were provided by a company called Panavision. The concept of three cinema screens displayed side by side in a slightly curved arrangement can be seen in the council meeting room, the square floodlights of the lunar excavation site and the shot of Floyd watching the approaching moon surface in the lunar landing craft. The excavation site also doubles up as a symbolic movie theatre.

The astronauts walk down a ramp with the intention of viewing the monolith, just as audiences walk down movie theatre isles in order to view a cinema screen. The photographer taking pictures of the monolith tilts his camera 90degrees between taking photos, encouraging us to rotate our view as well. Floyd reaches his hand out and simultaneously touches both the monolith and the rectangular lens flare from one of the floodlights.

As the astronauts gather for their group photo we see the monolith positioned in between two floodlights at the back of the excavation site, which together comprises the triple projection of the Cinerama film format. As the photographer steps backward, the camera movement causes the rectangular lens flare behind him to match up with the floodlight. At this exact moment of alignment the monolith gives off its ear piercing signal — the screen connection has been made.

Another curious set design element, that seems to have several implications, is the space pods inside the discovery. It seems unnecessary to have three of these pods, each with its own separate door, but looking at the ceiling above them we find arrangements of three monolith shaped white lights, as well as a black widescreen shaped computer console, which the three pods are facing. The sides of these pods also feature designs similar to film reels so this could again be a depiction of the Cinerama triple projectors.

Now another important aesthetic theme of is the disorientation caused by zero gravity. This not only adds realism to the space scenes, but it also ties in with the idea of characters being confined within the technicalities of a film reel. As with virtually all forms of photography, images passing through a camera lens are turned upside down and left to right before they are burned into the celluloid. The Discovery ship may have been designed with this in mind. So we find the characters of frequently battling with a lost sense of orientation. I know this sounds obscure, but if you indulge me for a few moments you may find the concept much more plausible. Watch the shots of Frank Poole as he runs around the rotating living quarters of the discovery.

From the positions of the three crew members in hibernation we can tell that in some of the shots Frank is running in reverse directions. Now of course even a perfectionist like Kubrick is capable of continuity errors, but this visual error is only possible in three ways. None of these three possibilities could plausibly have occurred by accident. In fact close examination of the shots shows that Frank is filmed with the wheel spinning the opposite way and the shot was also flipped horizontally in the edit. Bowman is shown sketching his views of the hibernation beds and comparing his drawing to what he actually sees in front of him.

Another example of seemingly deliberate disorientation can be found as the egg shaped craft flies Floyd to the lunar surface. One shot shows the craft moving down screen toward the lower end of the moon, but the next shot flips the scene upside down and left to right so that the craft is now headed upward. How could this continuity error possibly have gone unnoticed during the edit? There are actually many visual errors along these lines. The bone thrown into the air by the ape is spinning anti clockwise as it goes up, but comes back down spinning the other way.

The shot of the aligned Torus station, as seen through the Pan Am craft cockpit, shows the station with a fixed light source, but due to the spin of the station this light source should actually be rotating around the station. The light shining upon the two pilots is also coming from a different direction. The pod is lit from one side but the shadows inside the window are coming from the opposite direction. These examples could be genuine errors, but the following examples of confused orientation are much more reliable. The exact function of this so-called AE unit is not explained to us, though we do see its partially dismantled contents being tested by Bowman.

During my research I found a webpage called www. The creator of this site had found out what the AE was. It is a mechanical device for measuring orientation, called a gyroscope. We adapt to the way they talk, we make them a part of our Instagram passwords, we remember when they told us to cook chicken for 20 minutes instead of We as humans are so lucky to meet so many people that will one day leave us. We are so lucky to have the ability and courage to suffer, to grieve, and to wish for a better ending. For that only means, we were lucky enough to love. When Sony announced that Venom would be getting a stand-alone movie, outside of the Tom Holland MCU Spider-Man films, and intended to start its own separate shared universe of films, the reactions were generally not that kind.

Even if Tom Hardy was going to take on the role, why would you take Venom, so intrinsically connected to Spider-Man's comic book roots, and remove all of that for cheap action spectacle? Needless to say I wound up hopping on the "lets bash 'Venom'" train. While I appreciated how much fun Tom Hardy was having and the visual approach to the symbiotes, I couldn't get behind the film's tone or story, both of which felt like relics of a bygone era of comic book storytelling that sacrificed actual pathos for that aforementioned cheap spectacle. But apparently that critical consensus was in the minority because audiences ate the film up. On top of that, Ruben Fleischer would step out of the director's chair in place of Andy Serkis, the visual effects legend behind characters like 'The Lord of the Rings' Gollum and 'Planet of the Apes' Caesar, and a pretty decent director in his own right.

Now with a year-long pandemic delay behind it, 'Venom: Let There Be Carnage' is finally here, did it change my jaded little mind about the character's big-screen worth? Surprisingly, it kind of did. I won't pretend that I loved it by any stretch, but while 'Let There Be Carnage' still features some of its predecessor's shortcomings, there's also a tightness, consistency and self-awareness that's more prevalent this time around; in other words, it's significantly more fun!

A year after the events of the first film, Eddie Brock played by Tom Hardy is struggling with sharing a body with the alien symbiote, Venom also voiced by Hardy. Things change when Eddie is contacted by Detective Pat Mulligan played by Stephen Graham , who says that the serial killer Cletus Kasady will talk only with Eddie regarding his string of murders. His interview with Kasady played by Woody Harrelson leads to Eddie uncovering the killer's victims and confirming Kasady's execution. During their final meeting, Kasady bites Eddie, imprinting part of Venom onto Kasady.

When Kasady is executed, the new symbiote awakens, merging with Kasady into a bloody, far more violent incarnation known as Carnage. It's up to Eddie and Venom to put aside their differences to stop Carnage's rampage, as well as Frances Barrison played by Naomi Harris , Kasady's longtime girlfriend whose sonic scream abilities pose a threat to both Venom and Carnage. So what made me completely switch gears this time around? There's a couple reasons, but first and foremost is the pacing. Serkis and screenwriter Kelly Marcel know exactly where to take the story and how to frame both Eddie and Venom's journeys against the looming threat of Carnage.

Even when the film is going for pure, outrageous humor, it never forgets the qualms between Eddie and Venom should be at the center beyond the obvious comic book-y exhibitions. If you were a fan of Eddie's anxious sense of loss, or the back-and-forth between he and the overly eccentric Venom, you are going to love this movie. Hardy has a great grasp on what buttons to push for both, especially Venom, who has to spend a chunk of the movie contending with losing Eddie altogether and find their own unique purpose among other things, what is essentially Venom's "coming out" moment that actually finds some weight in all the jokes.

Then there's Harrelson as Carnage and he absolutely delivers! Absolutely taking a few cues from Heath Ledger's Joker, Harrelson is leaning just enough into campy territory to be charismatic, but never letting us forget the absolutely shattered malicious mind controlling the spaghetti wrap of CGI. Serkis' directing itself deserves some praise too. I can't necessarily pinpoint his style, but like his approach on 'Mowgli,' he has a great eye for detail in both character aesthetics and worldbuilding. That goes from the symbiotes' movements and action bits to bigger things like lighting in a church sequence or just making San Francisco feel more alive in the process. As far as downsides go, what you see is basically what you get. While I was certainly on that train more here, I also couldn't help but hope for more on the emotional side of things.

Yes, seeing the two be vulnerable with one another is important to their arcs and the comedy infusions work more often than not, but it also presents a double-edged sword of that quick runtime, sacrificing time for smaller moments for bigger, more outrageous ones. In addition, while Hardy and Harrelson are electric together, I also found a lot of the supporting characters disappointing to a degree. Mulligan has a few neat moments, but not enough to go beyond the tough cop archetype. The only one who almost makes it work is Naomi Harris, who actually has great chemistry with Harrelson until the movie has to do something else with her. It's those other characters that make the non-Venom, non-Carnage moments stall significantly and I wish there was more to them.

I wouldn't go so far as to have complete faith in this approach to Sony's characters moving forward — Venom or whatever larger plans are in the works — but I could safely recommend this whatever side of the film spectrum you land on. This kind of fun genre content is sorely needed and I'm happy I had as good of a time as I did. The sequel to the reboot is an enjoyable, but unremarkable start to the Halloween movie season. There's a reason why the Addams Family have become icons of the American cartoon pantheon although having one of the catchiest theme songs in television history doesn't hinder them.

The family of creepy but loveable archetypes have been featured across generations, between the aforementioned show, the duo of Barry Levinson films in the '90s and, most recently, MGM's animated reboot in That project got a mostly mixed reception and, while I'd count me as part of that group, I thought there was more merit to it than I expected. The characters and animation designs felt kind of unique, and when it surpassed whatever mundane story the writers had in mind to be more macabre, it could be kind of fun.

This is to say my reaction wasn't entirely negative when the sequel was announced, as well as just forgetting about it until I got the screening invitation. With that semblance of optimism in mind, does 'The Addams Family 2' improve on the first film's strengths? Unfortunately, not really. There's fun to be had and the film clearly has reverence for its roots, but between the inconsistent humor and lackluster story beats, what we're left with feels just a bit too unexceptional to recommend. Some time after the events of the first film, Wednesday Addams voiced by Chloe Grace Moretz has made an incredible discovery: a way to transfer personality traits from one living being to another. While she looks to grand ambitions for her education, her parents, Gomez and Morticia voiced by Oscar Isaac and Charlize Theron respectively believe they are losing her and her brother, Pugsley voiced by Javon Walton , as they get older.

The solution: a family road trip cross country alongside their Uncle Fester voiced by Nick Kroll and butler Lurch voiced by Conrad Vernon visiting all the great destinations of the United States. Along the way, a subplot begins to unfold with Rupert voiced by Wallace Shawn , a custody lawyer seemingly convinced that Wednesday is not Gomez and Morticia's biological daughter, and the enigmatic scientist, Cyrus Strange voiced by Bill Hader , who takes an interest in Wednesday's potentially terrifying work. With the exception of Javon Walton replacing Finn Wolfhard, the voice cast returns for the sequel and they're mostly capable here.

Oscar Isaac and Charlize Theron embody a lot of Gomez and Morticia's obsessively sincere dynamic it legitimately makes me think they'd be good in live-action and Nick Kroll delivers a bounty of one-liners that are sure to get a laugh here and there. But the real focus is on Wednesday, who very quickly becomes the center of the film's narrative and it's where I become the most conflicted. The choice to tease Wednesday's "true" connections to the other Addams is admittedly intriguing, especially for how eclectic their backstories are and the film's choice to frame those questions around Wednesday and Morticia's estranged bond.

It's not a lot, but there is some subtext about how children can potentially view the adoption process and how parents choose to frame their relationships with their children. The animation isn't particularly great, but like the first film, I admire how the character designs all feel uniquely bizarre, again ripped right out of Charles Addams original comic strips and getting moments to be themselves. In addition, while the humor is completely inconsistent, I counted at least half a dozen jokes I cracked up at, most of them leaning into the morbid side of the Addams' personalities and one weirdly placed joke at a gas station don't ask, I can't explain it.

Getting back to that original Wednesday narrative though, I found myself getting increasingly bored by it as the movie went on. For as cliched as the movie's story was, it at least felt like an Addams Family movie, with stakes that consistently affected the entire family. But between Wednesday's forays into Captain Kirk-esque monologues, Fester's subplot with the fallout from Wednesday's experiment, and occasionally shifting back to the house under the protection of Grandmama voiced by Bette Midler , the movie feels incredibly disjointed. When the film does finally line up its story after over an hour of setup, it feels too little too late, all in the service of a big obligatory action sequence that is supposed to act as the emotional climax and falls completely flat.

It's not that a minute movie can't support these characters, but rather that it chooses to take them away from situational, self-aware comedy moments to make it feel more important. We love the Addams because they're weird, they don't quite fit in, but they're so sincere and loving that you can't help but get attached to them and the film loses interest in that appeal relatively quickly. There's a joke where Thing is trying to stay awake and has a cup of coffee in the camper.

It's the most disturbing part of the movie, I haven't stopped thinking about it, and now that image is in your head too, you're welcome. Like its predecessor, I'm probably being way too kind to it considering how utterly unimpressive it can feel, grinding to a halt to make its stakes more theatrical on several occasions. That being said, I can't deny the characters are fun when they get the chance to be, there are some decent jokes, and for a potential Halloween watch, it's a family movie on several levels. Its always nice to see the Addams pop up on the big screen in whatever capacity they might, but my enjoyment of this movie comes with an abundance of unnecessary caveats. The music world is a fast evolving and ever changing landscape of influence.

Over the last 20 years, we've seen the influx of home recording technology paired with the rise of streaming, making way for new independent artists and communities to flourish. This is the positive side of the streaming coin, different kinds of music can exist in the same spaces in much more fluid ways. Aesthetic and musical styles are merging and taking on new life in the 21st century. Trends in the music industry can be most easily followed by exploring instagram, TikTok and other social media platforms to see what people are wearing and listening to.

Let's take a look at a few style and artistic trends influencing the world of music. Hip-hop is having a big moment right now. With powerful new releases from Kanye West, Drake and Lil Nas X flooding the airwaves, they're unique brand of style is also taking an influence. Just take a look at the most recent Met Gala pictures to get an idea of what we're talking about here. Mens jewelry is taking the fashion and music industry by storm with so many influential artists expressing their unique craft through their style. Mens hip hop jewelry is a great way to express your passion for the music you love and create a unique look inspired by today's most influential artists.

Classic rock has and always will be a favorite in the music world. Neil Young's famous lyrics still ring true today, rock and roll will never die! Vintage tees and apparel from classic rock bands pull any look together and are the perfect way to express the many facets of your interests and style. The Rolling Stones Merchandise has never been a trendier way to express your love of rock n roll! Spice up your style with their famous logo and get rockin '! Any music fan should have a decent vinyl setup to listen to their favorite records in the way they were intended to be heard: from start to finish and on a great stereo system.

Vinyl has had a huge resurgence over the last two decades and many classic albums have been reissued and remastered for a heightened audio experience. In part, this is a pushback against streaming culture which puts a bigger emphasis on playlists and singles rather than full length album formats. Vinyl is a way for true music fans to dive deep into their favorite records.

From the best rap albums of all time to the classic recordings of Pink Floyd, you can find all of your generation's most classic albums right from your home! For aspiring producers, songwriters and composers, there has never been a time where this much information about music creation and theory has been right at our fingertips. There are so many digital tools available to both make and learn music that almost anyone with an interest can pick them up and start making sounds! Understanding how music works, however, is complex and that's where online resources and tools such as blogs come in handy.

You can use these tools to discover useful information such as the difference between rhythm and beat or how to compose a melody to further your understanding of music and how it's made. If all you do is follow headlines and instagram for your music news, chances are you're missing tons of valuable articles, news, events and new releases that may inspire you. Discover more about the world's greatest music by following music specific news websites and blogs. These are people with the same passion for music as their audience. They know that music news needs its own space, and these blogs are great for discovering new artists and bands to add to your collection of favorite music.

On the rise in popularity again are music festivals, raves and other large gatherings of musicians and audiences. With live music becoming more prevalent after the height of the pandemic, fans are looking for loud and exciting outfits to get back into festival culture. Rave clothes are a really fun way to enjoy these events while expressing your passion for the culture. Stock up on rave supplies for your next electronic music festival! As more and more start to revive their bookings, attendees will want to be prepared with all of their favorite gear. For musicians, producers, sound technicians and engineers, it's essential to have an idea of what kinds of resources are available online for purchasing instruments and new gear.

Virtual shopping has become the way of the future, and having a trusted hub where you can order everything from cables to samplers means that you will always be prepared for action no matter what the gig is. The great thing about buying from online stores is that you can often take advantage of their insurance policies and warranties to get a replacement product if something goes wrong with your original purchase. Instruments and gear are not just luxurious commodities for those in the profession, they are necessary tools. Just as power tools are essential for carpenters, instruments, microphones, cables and audio interfaces are essential for musicians to practice and work in their craft.

At the same time, for amateur musicians it is still just as important to make sure you are buying from a trusted source that offers ideal customer support. Musicians starting out need this just as much as seasoned professionals! Home studios have largely become the norm in the independent recording industry. With so many options available for making home studios, it just doesn't make sense for producers to rent out studio space except in certain circumstances. The essential pieces to the home studio are this: a computer, a set of microphones and plenty of cables, a powerful audio interface, varying microphone stands and a studio desk with monitors.

The piece of this puzzle that often gets overlooked is soundproofing! Soundproofing is something that can be done in a DIY fashion, or you can order nicer looking sound panels for your space. Depending on your budget and aesthetic preference, raw materials or fully constructed panels are easy to purchase and simple to install. This will help make your home studio dry and ideal for recording delicate parts such as vocals or acoustic instruments. This will also help distribute and absorb sound reflection in your space, which will make your speakers produce a 'truer' signal. These are just a few of the trends taking the music world by storm. Today's music industry is all about reclaiming style, genre and aesthetic from the industry.

Part of the way we can do this is by expressing ourselves more fully, listening to our favorite artists without shame, and taking our creative spaces back into our own control. Nothing is more empowering than having control over your influence, style and preferences. Especially when it comes to personal expression and art. As this new world evolves after a year and a half of rest, it will be inspiring to see where the music world ends up and what trends will appear next. This year has been stressful for us all. And it has highlighted the need for selfcare, especially headed into the fall season. With the weather getting colder, the sun going down earlier and this pandemic not going anywhere, it is important to give ourselves some extra selfcare to prevent us from feeling run down and fatigued.

But what type of selfcare should we be giving ourselves?

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