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TO CONVOLUTE MCLUHAN, IN 2001 THE MESSAGE IS THE MEDIUM. --STANLEY KUBRICK
The great films hypothesis posits a history of film style within 2001: A Space Odyssey’s own evolving style. The film can be divided into five parts, and each of these five parts can be divided into six parts, which we call “sequences.” Some of the earliest “sequences” are only a few seconds long and consist of a single shot; some are composed of multiple scenes. Each of these thirty sequences (5 X 6 = 30), we contend, is an homage (or a parody) of a specific great film in film history, roughly in chronological order and only with some exceptions. Each of these great films of film history looked back at their predecessors and strove to push past these predecessors in telling the truth, in realism, culminating in the full-bodied, chaotic, materialistic realism of The Battle of Algiers, which was released just early enough for Kubrick to include it in his idiosyncratic history of film style. The final six sequences that come directly after the sequence devoted to Algiers, then, are not associated with specific, existent, films, but more so with a distinct style of experimental film, some of which anticipates David Lynch’s debut Eraserhead nearly a decade later. The Starchild finale that comes after these is, then, Kubrick predicting a mytho-spiritual rebirth of cinema, a rebirth he attempted to initiate with 2001: A Space Odyssey itself. This rebirth would abortively come to pass about a decade later with Star Wars.
I do not really consider the great films hypothesis a new "interpretation", i.e. it is not intended to reduce the film to a new "deeper meaning" or to invalidate the normal experience of this film we know and love. I mostly ignored the issue of why the structure, which I postulate, is in fact in the film--this structure being akin to scaffolding--because I wanted to avoid adding more complexity to the discussion. This question will be addressed thoroughly in the second and final part of ROOM 2001.
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