2001: A Space Odyssey (USA/UK: Stanley Kubrick, 1968)

2001: A Space Odyssey (USA/UK: Stanley Kubrick, 1968: 141 mins)

Beyl, Cameron. "The Directors Series: Stanley Kubrick, Pts. 1-5." The Film Stage (February 11, 2015)

Copley, Rich. "UK's presentation of '2001: A Space Odyssey' is a musical trip." Herald-Leader (January 29, 2015)

Darius, Julian. " On Jack Kirby’s 2001: A Space Odyssey Adaptation." Sequart (May 21, 2013)

Dutta, Debopriyaa. "The Viewer in Kubrickland: Solving Stanley Kubrick's Hermeneutic Labyrinth." High on Films (June 22, 2017)

Fenwick, James, I.Q. Hunter and Elisa Pezzota. "Stanley Kubrick: A Retrospective. Introduction." Cinergie (December 4, 2017) 

Figueras, Mark Anthony. "Kubrick in Color." (Posted on Vimeo: January 2016)

Ford, Phil and J.F. Martel. Our Old Friend the Monolith: On Stanley Kubrick's 2001: A Space Odyssey." Weird Studies #75 (June 10, 2020) ["'You don't find reality only in your own backyard, you know,' Stanley Kubrick once told an interviewer. 'In fact, sometimes that's the last place you'll find it.' Oddly, this episode of Weird Studies begins with Phil Ford hatching the idea of putting a replica of the monolith from 2001 in his backyard. As the ensuing discussion suggests, this would amount to putting reality -- or the Real, as we like to call it -- in the place where it may be least apparent. Perhaps that is what Kubrick did when he planted his monolithic film in thousands of movie theatres back in 1968. Moviegoers went in expecting a Kubrickian twist on Buck Rogers; they came out changed by the experience, much like the hominids of great veld in the "Dawn of Man" sequence that opens the film. This is what all great art does, and if you look closely, maybe 2001 can tell you something about how it does it. Because in the end, the film is the monolith, and the monolith is all art."]

Kaneria, Rishi. "Red: A Kubrick Supercut." (Posted on Vimeo: 2015)

Kuersten, Erich. "CinemArchetype #4: The Hanged Man." Acidemic  (February 12, 2012)

Like Stories of Old. "The Problem of Other Minds – How Cinema Explores Consciousness." (Posted on Youtube: May 31, 2018) ["How have films engaged the problem of other minds? In this video essay, I discuss cinematic explorations into consciousness in the context of the cognitive revolution that has challenged many of the basic assumptions about what was for a long time believed to be a uniquely human trait." Uses Frans de Waal's book Are We Smart Enough to Know How Smart Animals Are?: "Hailed as a classic, Are We Smart Enough to Know How Smart Animals Are? explores the oddities and complexities of animal cognition--in crows, dolphins, parrots, sheep, wasps, bats, chimpanzees, and bonobos--to reveal how smart animals really are, and how we've underestimated their abilities for too long. Did you know that octopuses use coconut shells as tools, that elephants classify humans by gender and language, and that there is a young male chimpanzee at Kyoto University whose flash memory puts that of humans to shame? Fascinating, entertaining, and deeply informed, de Waal's landmark work will convince you to rethink everything you thought you knew about animal--and human--intelligence."]

LoBrutto, Vincent. "Experimental Narrative: 2001: A Space Odyssey." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 312-318. [BCTC Library: PN1994 L595 2005]

Pulver, Andrew. "Stanley Kubrick: film's obsessive genius rendered more human." The Guardian (April 26, 2019)

Smalley, Gregory J. "2001: A Space Odyssey (1968)." 366 Weird Movies (March 25, 2015)

"Watch the Trailer for a Stunning New 70-Millimeter Print of Stanley Kubrick’s 2001: A Space Odyssey, Released by Christopher Nolan on the Film’s 50th Anniversary." Open Culture (April 23, 2018)

The Work of Stanley Kubrick from Stefano Westerling on Vimeo.

Famously, composer György Ligeti first discovered his shimmering, high tensile works for massed choirs and strings were in the film at his local picturehouse. Kubrick didn't just dump the music onto the screen, he layered the works, collaged them, treating them more like sound design, textures to be woven and warped, than music in any traditional sense. This is what makes the use of works like Lux Aeterna and Atmosphères so magical. And this is how an oblique black oblong managed to become one of the most ominous and eerie things in cinema history. – Bobby Barry