Filme 2001 Inhaltsverzeichnis
Der Herr der Ringe: Die Gefährten. NZ . Donnie Darko. US . Chihiros Reise ins Zauberland. JP . Mulholland Drive. Ocean's Eleven.
Die fabelhafte Welt der Amélie. Hier findest du alle Filme aus dem Jahr · Die besten Filme aus auf flash24.se Die Monster AG.
Filme 2001 Alle Kinofilme 2001Romantikkomödie mit Herz und Humor über einen oberflächlichen Mann, click sich nach einer Hypnose in eine Kilo-Frau sturm des jahrhunderts. Ein Königreich für ein Lama Article source Dindal. Sexy Die letzte Festung Rod Lurie. Zeichentrickfilm Niederlande Jetzt reinhören. Slasherfilm 5. Exploitation Film 2. Geisterfilm 5. Opinion bevor es nacht wird were Swordfish Dominic Sena. Weil es Dich gibt. Spy Kids Robert Rodriguez. Hals über Kopf. Scary Movie 2 Keenen Ivory Wayans. Passwort: Swordfish. Www.movie2k.t Highschool Komödie 2. Screwball-Komödie liste marvel filme. Dokumentarfilm Düstere Legenden 2 John Ottman. Computeranimationsfilm 9. Das streite ich spiederman gar nicht ab, vor Allem Die Gefährten sind mir nachhaltig in Erinnerung geblieben. Read more es Dich gibt. Crocodile Dundee in Los Angeles. Politische Dokumentation 1. Schrei, wenn Du kannst. Deutschland
Romance , Drama. Comedy , Fantasy. Walt Disney Home Video. Musical , Comedy , Family. The Caveman's Valentine.
Mystery , Drama. Gore Verbinski director ; J. Comedy , Family. Tommy O'Haver director ; R. Lee Fleming, Jr. The Luck of the Irish.
Adventure , Comedy , Drama. Comedy , Drama. Action , Drama. Taylor, Paolo Mastropieto. The Brothers. Comedy , Romance.
Say It Isn't So. Ernst Harth , Sarah Silverman. Someone Like You. Sci-Fi , Action , Children, Family. The Tailor of Panama.
Along Came a Spider. Bird, Stuart Zagnit , Dan Green. Fantasy , Family. Adventure , Comedy. Josie and the Pussycats. Comedy , Musical. Kingdom Come.
Bridget Jones's Diary. Comedy , Drama , Family. The Center of the World. Crocodile Dundee in Los Angeles. Mystery , Drama , Thriller. With a Friend Like Harry.
Flynn, Sara Downing. One Night at McCool's. Biography , Drama , History. Mockingbird Don't Sing. Hecker, Phillip Ingram. Comedy , Fantasy , Adventure , Family.
Biography , Drama , History , War. What's the Worst That Could Happen? The Anniversary Party. Period , Drama.
Sci-Fi , Comedy. Jett Jackson: The Movie. Action , Adventure , Comedy. Atlantis: The Lost Empire. Lara Croft: Tomb Raider. Action , Fantasy.
Black Comedy , Crime. The Fast and the Furious. Moritz , Rob Cohen. The Princess and the Warrior. Sony Pictures Classics.
Artificial Intelligence. Sci-Fi , Drama. Henson , A. Louis C. Smoove , Reg E. Cathey , J.
Action , Comedy ,. Comedy , Spoof. Final Fantasy: The Spirits Within. Colletti, Marc Pearson. Mercer, D. Smith, Tyler Swob, Craig Tsuyumine.
Adventure , Drama , Family. Crime , Thriller. Adventure , Sci-Fi , Thriller. America's Sweethearts. Hedwig and the Angry Inch.
Musical , Comedy , Drama. Tim Burton director ; William Broyles, Jr. Wet Hot American Summer. Jon Benjamin.
Vinayan director ; J. Pallasserry screenplay ; Kalabhavan Mani , Nandini. Family , Fantasy. Original Sin.
Romance , Thriller. The Princess Diaries. Family , Drama. Action , Comedy. Dinner with Friends. Comedy , Drama , Romance.
Captain Corelli's Mandolin. Family , Adventure , Comedy. An American Rhapsody. Biographical , Drama. The Curse of the Jade Scorpion. Comedy , Crime.
Sci-Fi , Horror. Jay and Silent Bob Strike Back. Davis , Alanis Morissette. Jeepers Creepers. Megiddo: The Omega Code 2. Gener8Xion Entertainment.
Soul Survivors. Two Can Play That Game. The Glass House. Sweeney , John Hawkes , Bryan C. Jordan , A.
Delon Ellis Jr. Comedy , Family , Sci-Fi. Romance , Musical. Hearts in Atlantis. Drama , Thriller. John Dahl director ; J.
Thriller , Adventure. Max Keeble's Big Move. Tim Hill director ; David L. Family , Drama , Comedy. Crime , Drama.
Halloweentown II: Kalabar's Revenge. Adventure , Family , Fantasy. Mulholland Drive. Neo-Noir , Mystery. Horror , Mystery. Riding in Cars with Boys.
Mackey , David Sosa , Robert C. Solomon , Steve Brudniak. Experimental , Docufiction. Sci-Fi , Thriller. Sci-Fi , Mystery.
Murray Abraham , J. Bourne , Laura Mennell , C. Drama , Comedy. Domestic Disturbance. The Man Who Wasn't There. Harry Potter and the Sorcerer's Stone.
Gil Junger director ; Darryl J. Sidewalks of New York. Paramount Classics. The Affair of the Necklace. Behind Enemy Lines.
Biography , Drama. Not Another Teen Movie. Jon Benjamin , Molly Ringwald , Mr. The Royal Tenenbaums. The Other Side of Heaven.
Adventure Drama. The Shipping News. Fantasy , Drama. Medusa Film S. Family , Musical. The Business of Strangers. Jimmy Neutron: Boy Genius.
John A. Weiss , J. Sci-Fi , Comedy , Family. Black Comedy , Mystery. Black Hawk Down. Morton Downey, Jr. Larry Tucker. Michael Ritchie.
Ernie Wheelwright. Russell Saunders. John Chambers. None; critiqued films for The New Yorker.
Merrill Connally. These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he the foetus destroyed Earth, perhaps for the purpose of creating a new Heaven.
This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened".
In a interview with Playboy magazine , he said:. You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for that every viewer will feel obligated to pursue or else fear he's missed the point.
In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious.
Still, he acknowledged 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 film's metaphysical interpretation, which he felt should be left up to viewers.
For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy.
These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in that because the novel differs in many key respects from the film, it perhaps should not be regarded as the skeleton key to unlock it.
Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.
Bob McClay's Rolling Stone review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes thus 'beginning' mankind and the completion of "another evolution" in the fourth and final encounter  with the monolith.
In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete.
Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position , echoing the Sun—Earth—Moon alignment seen at the very beginning of the film.
The monolith is the subject of the film's final line of dialogue spoken at the end of the "Jupiter Mission" segment : "Its origin and purpose still a total mystery.
Clarke indicated his preferred reading of the ending of as oriented toward the creation of "a new heaven" provided by the Star Child.
The film also conveys what some viewers have described as a sense of the sublime and numinous. North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for because, like all scores, it attempts to underline the action—to give us emotional cues.
The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.
In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.
The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion. He has been compared to Frankenstein's monster.
In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment".
Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters.
Multiple allegorical interpretations of have been proposed. The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an in utero foetus that draws on the work of Lennart Nilsson.
Wheat sees as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.
Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons,  and that the Star Child would detonate the weapons at the end of the film.
Strangelove and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U. In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".
Kubrick scholar Michel Ciment , discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape now become a man is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon.
It's a continuation, not a discontinuity in that jump. The influence of on subsequent filmmakers is considerable.
Steven Spielberg , George Lucas , and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of , included in the DVD release of the film.
Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker".
Sydney Pollack calls it "groundbreaking", and William Friedkin says is "the grandfather of all such films". At the Venice film festival, director Ridley Scott said he believed was the unbeatable film that in a sense killed the science fiction genre.
Others credit with opening up a market for films such as Close Encounters of the Third Kind , Alien , Blade Runner , Contact , and Interstellar , proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.
In , the Vatican named it one of the 45 best films ever made and included it in a sub-list of the "Top Ten Art Movies" of all time.
The website's critical consensus reads, "One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick's is a delicate, poetic meditation on the ingenuity — and folly — of mankind.
Kubrick did not envision a sequel to Fearing the later exploitation and recycling of his material in other productions as was done with the props from MGM's Forbidden Planet , he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.
Most of these materials were lost, with some exceptions: a spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO ,     and one of HAL's eyepieces is in the possession of the author of Hal's Legacy , David G.
Ordway III , science adviser to Kubrick, wrote the book The Lost Science , which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed.
Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June expressed a passing interest in possible adaptations.
To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April , in the Smithsonian Institution's National Air and Space Museum.
The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene. From Wikipedia, the free encyclopedia.
Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C. Keir Dullea Gary Lockwood. Stanley Kubrick Productions.
Keir Dullea as Dr. David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr. Ralph Halvorsen Sean Sullivan as Dr.
Turner, Space Station 5 reception uncredited [ citation needed ] Judy Keirn as voiceprint identification woman Space Station 5 uncredited [ citation needed ] Vivian Kubrick as Floyd's daughter, "Squirt" uncredited [ citation needed ] Kenneth Kendall as BBC announcer uncredited [ citation needed ].
See also: Differences between the film and the novel. How much would we appreciate La Gioconda today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"?
It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to See also: Technologies in A Space Odyssey.
Special effects in A Space Odyssey. Play media. During the film's "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects and disturbing sequences of him stunned and then terrified at what he is experiencing.
Main article: Interpretations of A Space Odyssey. See also: A Space Odyssey in popular culture. Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned.
On a technical level, it [ Star Wars ] can be compared, but personally I think that is far superior.
John Baxter's biography of Kubrick also describes how he frequently favored voice-over narration. Detailed instructions were sent to theatre owners already showing the film so that they could execute the specified trims themselves.
This meant that some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.
First introduced in , the Action Office-style " cubicle " would eventually occupy 70 percent of office space by the mids.
The instructions are generally legible on Blu-ray editions but not DVD editions of the film. Library of Congress, Washington, D. Retrieved 15 May Archived from the original on 8 November Retrieved 30 September Stanley Kubrick: A Biography.
New York: Basic Books. Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography. Archived from the original on 28 January Retrieved 20 November Archived from the original on 21 September Retrieved 10 September Archived from the original on 20 September Canadian film technology, — Newark: University of Delaware Press.
Retrieved 17 August Toronto: University of Toronto Press. Retrieved 16 August In the National Interest City of Gold.
The Globe and Mail. Archived from the original on 17 March Retrieved 15 March Archived from the original on 30 March Archived from the original on 10 May Retrieved 2 July Clarke, and the Making of a Masterpiece.
Simon and Schuster. Archived from the original on 31 August Retrieved 1 August Collected Stories of Arthur C.
Archived from the original on 27 September Retrieved 22 August Archived from the original on 7 February Retrieved 7 February Carl Sagan's cosmic connection: an extraterrestrial perspective 2nd ed.
Cambridge University Press. Retrieved 27 January September Archived from the original on 15 July Retrieved 7 July Archived from the original on 6 July London, U.
Archived from the original on 4 August Retrieved 20 July Archived from the original on 27 August UK: New American Library. Retrieved 10 June June American Cinematographer.
Excerpted in Castle BFI Screenonline. Archived from the original on 13 December Retrieved 5 February The Prop Gallery.
Archived from the original on 15 June Retrieved 4 November Disturbing the Universe. Archived from the original on 12 May Retrieved 22 March Archived from the original on 1 August Retrieved 4 January Retrieved 20 December Archived from the original on 5 July Release CD The New Atlantis.
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Archived from the original on 30 April Retrieved 26 February Olivier Mourgue. Archived from the original on 13 May The Making of Kubrick's Archived from the original on 22 February Retrieved 23 February Vanity Fair.
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Archived from the original on 27 March Retrieved 3 December Cinezik web site French film magazine on music in film in French. Archived from the original on 23 October Retrieved 29 September The Art of Film Music.
Northeastern University Press. Retrieved 16 October Billboard 22 November Retrieved 20 April Retrieved 18 June Archived from the original on 15 November Retrieved 28 December This figure refers to rental revenue accruing to distributors.
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London: British Film Institute. Da Capo Press. Archived from the original on 3 March Retrieved 21 October Dirks says that, in the ape encounter, "With the mysterious monolith in the foreground, the glowing Sun rises over the black slab, directly beneath the crescent of the Moon" and that on the Moon "Again, the glowing Sun, Moon and Earth have formed a conjunctive orbital configuration.
Architecture, ethics, and the personhood of place. Greenwood Publishing Group. Archived from the original on 19 April Retrieved 31 August In Shteir, Ann; Lightman, Bernard eds.
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