Some theories even say that the screen itself is a monolith, where the audience is drawn to. You're free to speculate as you wish about the philosophical and allegorical meaning of the film In other words, the room is a place where Dave can observe our planet and play God in order to further advance the human race. Dave is now the film's version of God sent back to advance his race further than they ever could have by themselves. In the last 30 minutes of the film Dave is given all the knowledge of the universe and has been transformed into an immortal, all knowing being. The reason the Starchild was sent back to Earth is because the monolith has completed its duty of advancing human life to its evolutionary limits so it sent the Starchild back to continue its work. After this scene Dave is sent back to Earth by the monolith and the film ends as Dave, now the Starchild, looks on at our planet. The psychedelic light show before that represents the vast knowledge being given to him by the monolith, which our minds can't even comprehend (and also, possibly, him being transported across enormous oceans of time and space).Īfter Dave points to the monolith he is transformed into the Starchild which is a glowing, fetus like being but also has the appearance of a man in the face. Next, the one on the moon pointed us farther out into space, toward Jupiter (and may have given us the ability to create artificial intelligence i.e., HAL, which was another massive leap in technology).įinally, Dave reaches the third monolith and is transformed into the next stage of human evolution, the Star Child seen in the final shot. The first encounter with a monolith gave our ancient ancestors the knowledge of how to use tools. The black monolith you saw in the beginning of the film, and the one found buried on the moon, were placed there by a supremely advanced alien race as a way to nudge along the evolution of humanity. The one based on the book goes like this: I understand that it was owned by Ron Magrid, who got it from Greg Jein.The ending is largely symbolic, and reading the book helps with its interpretation. I DON’T KNOW EVERYTHING ABOUT PROPS, WARDROBE, AND PRODUCTION ART – NO ONE DOES – BUT WHEN YOU BUY FROM ME AND THE MUSEUM OF MOM AND POP CULTURE, WE GUARANTEE THE MATERIAL WE SELL TO BE AUTHENTIC, VINTAGE AND AS DESCRIBED. HAVING BEEN A COLLECTOR OF MOVIE MEMORABILIA SINCE 1957, I WROTE THE FIRST BOOK ON SCI-FI AND HORROR MOVIE POSTERS AND FOUNDED THE ARCHIVES AT 20TH CENTURY FOX, RUNNING THAT DEPARTMENT FOR 10 YEARS AND CURATING THE FIRST FOX MUSEUM IN SYDNEY, AUSTRALIA. WE ALSO ISSUE COA’S WHEN WE ARE TOTALLY SURE OF AN ITEM’S PROVENANCE. WE ALWAYS FULLY DISCLOSE WHAT WE KNOW ABOUT ANY ITEM THAT WE SELL. *REGARDING PROVENANCE: THERE IS A GREAT DEAL OF FAKE MATERIAL IN THE MARKETPLACE – AND WE DO OUR BEST TO THOROUGHLY RESEARCH EACH PIECE WE SELL. *COMES WITH COA FROM THE MUSEUM OF MOM AND POP CULTURE! *GUARANTEED VINTAGE AND ORIGINAL TO PRODUCTION! *THIS HELMET CAME ORIGINALLY FROM GREG JEIN, WHO MADE THE HELMETS FOR 2010 - THIS HELMET HAS HAD THE BACK PANELS ADDED TO THE ORIGINAL CASTING - SO IT IS MORE COMPLETE THAN JUST THE STRAIGHT 2001 PULL WITH THE BLANK BACK - THIS IS WHY THIS HELMET APPEARS SIMILAR TO A CASTING OF THE 2010 HELMET, WHICH HAD THE BACK PANELS MOLDED INTO THE DESIGN - THIS IS A GUARANTEED VINTAGE AND ORIGINAL HELMET FROM 2001 - BID WITH CONFIDENCE AND ENJOY! *THIS LOT IS FOR A VINTAGE AND ORIGINAL, PRODUCTION-MADE (NOT LATER PRODUCED), FIBERGLASS HELMET CASTING - THIS HELMET WOULD HAVE GONE FARTHER IN THE PRODUCTION PROCESS, BUT WAS NOT FINISHED FOR ONE REASON OR ANOTHER - NOTE THE PRODUCTION MARKINGS INSIDE HELMET / THESE WERE PERHAPS MARKINGS FOR THE EVENTUAL ADDING OF INTERIOR PADDING AND PARTS - A GREAT PIECE - BEAUTIFUL DESIGN! *A RARE BEAUTY - THE FINEST SPACE HELMET EVER CRAFTED!
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