{"id":14479,"date":"2024-11-15T21:56:03","date_gmt":"2024-11-15T21:56:03","guid":{"rendered":"https:\/\/rsgproduction.fr\/?p=14479"},"modified":"2025-01-11T20:54:49","modified_gmt":"2025-01-11T20:54:49","slug":"2001-lodyssee-de-lespace-dossier","status":"publish","type":"post","link":"https:\/\/rsgproduction.fr\/?p=14479","title":{"rendered":"2001 : L&rsquo;Odyss\u00e9e de l&rsquo;Espace [Dossier]"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"14479\" class=\"elementor elementor-14479\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-11ad8f1 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"11ad8f1\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7b391f1 exad-glass-effect-no exad-sticky-section-no\" data-id=\"7b391f1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-65beec5 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"65beec5\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f265675 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"f265675\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c5f9418 exad-glass-effect-no exad-sticky-section-no\" data-id=\"c5f9418\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d83485d exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"d83485d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default elementor-inline-editing pen\" style=\"font-size: 24px; font-style: normal; font-weight: bold; color: #000000; line-height: 1.2em; text-align: right;\" data-elementor-setting-key=\"title\" data-pen-placeholder=\"\u00c9crivez ici...\">2001 : L&rsquo;Odyss\u00e9e de l&rsquo;Espace<\/h2><h5>\u00a0<\/h5><h5 style=\"text-align: right;\">2001: A Space Odyssey<\/h5><h5>\u00a0<\/h5><h5 style=\"text-align: right;\">[Dossier]<\/h5><h6>\u00a0<\/h6><h6 style=\"text-align: right;\">Best Visual Effects &#8211; Oscars<\/h6><h6 style=\"text-align: right;\">Best Art Direction &#8211; BAFTA<\/h6><h6 style=\"text-align: right;\">Best Cinematography &#8211; BAFTA<\/h6><h6 style=\"text-align: right;\">Best Sound &#8211; BAFTA<\/h6><h6 style=\"text-align: right;\">Donatello Best Foreign Film &#8211; Italy<\/h6><p style=\"text-align: right;\">1968<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-207dee7 exad-glass-effect-no exad-sticky-section-no\" data-id=\"207dee7\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c9ca946 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"c9ca946\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><span style=\"font-style: inherit; font-weight: inherit; letter-spacing: 0px; text-align: justify;\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone wp-image-14706 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2107.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2107.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2107-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2107-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2107-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-390b3ee elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"390b3ee\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-69fe0cf exad-glass-effect-no exad-sticky-section-no\" data-id=\"69fe0cf\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b179872 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"b179872\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p style=\"text-align: center;\">FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c40b310 e-transform exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-html\" data-id=\"c40b310\" data-element_type=\"widget\" data-settings=\"{&quot;_transform_scale_effect_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.9,&quot;sizes&quot;:[]},&quot;_transform_scale_effect&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.8,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_mobile_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\r\n<input id=\"content_switcher\" class=\"toggle_switch toggle_switch-ios\" type=\"checkbox\" \/> \r\n<label class=\"toggle_switch-button\" tabindex=\"0\" for=\"content_switcher\"><\/label>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a3a5f05 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"a3a5f05\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\">\u00a0<\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p>Nous sommes en 1968, Stanley Kubrick sort son nouveau film apr\u00e8s \u00ab\u00a0Docteur Folamour\u00a0\u00bb, et signe ce qui restera sans aucun doute l\u2019un des plus grands de l\u2019histoire du cin\u00e9ma.<\/p><p>Apr\u00e8s un film de guerre, un drame psychologique, et une satire politique, le r\u00e9alisateur britannique s\u2019attaque donc \u00e0 la science-fiction avec un sc\u00e9nario qu\u2019il co-\u00e9crit avec Arthur C. Clarke (auteurs des deux nouvelles ayant inspir\u00e9 le film \u00ab\u00a0A l\u2019aube de l\u2019histoire\u00a0\u00bb et \u00ab\u00a0La sentinelle\u00a0\u00bb) en parall\u00e8le du livre \u00e9ponyme \u00e9galement publi\u00e9 en 1968. \u00ab\u00a02001\u00a0: L\u2019odyss\u00e9e de l\u2019espace\u00a0\u00bb symbolise parfaitement le style Kubrick en s\u2019attaquant \u00e0 un nouveau genre, en relevant de nouveaux d\u00e9fis, et en combinant une incroyable pr\u00e9cision technique avec un message fort aux nombreuses questions sous-jacentes. Pour son premier film en couleur, il se renouvelle donc une nouvelle fois et prend un risque consid\u00e9rable en proposant une \u0153uvre de science-fiction tr\u00e8s en avance sur son temps, une histoire sans synopsis v\u00e9ritablement apparent ou \u00e9vident, et une exp\u00e9rience de cin\u00e9ma qui pose <em>in fine<\/em> plus de questions qu\u2019elle ne donne de r\u00e9ponses laissant le spectateur libre de se faire sa propre id\u00e9e sur le sens du film. Comme l\u2019indique le poster, \u00ab\u00a02001\u00a0\u00bb est un \u201cdrame \u00e9pique d\u2019aventure et d\u2019exploration\u201d o\u00f9 l\u2019on y suit donc une exploration spatiale mais le film lui-m\u00eame en est aussi une tant il interpelle son public. Kubrick se d\u00e9tourna tout simplement des conventions cin\u00e9matographiques et narratives, il innova et r\u00e9alisa l\u2019une des \u0153uvres de SF les plus embl\u00e9matiques de l\u2019histoire. Il y a un cin\u00e9ma pr\u00e9 et un cin\u00e9ma post-2001.<\/p><p>C\u2019est d\u2019ailleurs le film qui permit \u00e0 Kubrick de remporter son premier et unique Oscar de toute sa carri\u00e8re pour ses impressionnants effets sp\u00e9ciaux dont les visuels \u00e9taient si in\u00e9dits pour l\u2019\u00e9poque. Tout y est \u00e9videmment fait sans l\u2019aide d\u2019ordinateurs avec une incroyable minutie. Les vaisseaux sont tous d\u2019immenses maquettes tr\u00e8s soign\u00e9es avec l\u2019\u00e9clairage appropri\u00e9 pour donner l\u2019impression d\u2019avoir d\u00e9j\u00e0 servis et ainsi renforcer la suspension d\u2019incr\u00e9dulit\u00e9 du spectateur. Un d\u00e9cor en constante rotation fut cr\u00e9\u00e9 pour d\u00e9fier les lois de la gravit\u00e9 dans les vaisseaux, c\u2019\u00e9tait alors une vraie r\u00e9volution technique. \u00ab\u00a02001\u00a0\u00bb adapta de plus le proc\u00e9d\u00e9 du slit-scan au cin\u00e9ma pour la s\u00e9quence de \u2018Stargate\u2019 et fut pionnier dans l\u2019utilisation de la projection frontale pour les sc\u00e8nes sur la Lune ou en Afrique. En effet, pour l\u2019anecdote, le film ne fut m\u00eame pas nomm\u00e9 pour l\u2019Oscar des meilleurs costumes pour son prologue nous plongeant plusieurs millions d\u2019ann\u00e9es en arri\u00e8re avec une tribu d\u2019Homini (chimpanz\u00e9s) en Afrique qui \u00e9tait en r\u00e9alit\u00e9 tourn\u00e9 en studio par des acteurs, avec ce qui ne pouvait \u00eatre que des costumes tout simplement trop parfaits pour \u00eatre vus comme tels. Cette s\u00e9quence se conclut par ailleurs par ce qui reste s\u00fbrement comme le meilleur raccord de mouvement de l\u2019Histoire r\u00e9sumant parfaitement l\u2019\u00e9volution de l\u2019humanit\u00e9 en un seul raccord qui ne sert alors pas que de transition mais devient aussi un \u00e9l\u00e9ment de l\u2019histoire, c\u2019est une ellipse qui dit plus qu\u2019un simple dialogue ne le pourrait.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-14704 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Il donne \u00e9galement une voix \u00e0 la musique du film \u2013 \u00e0 des ann\u00e9es-lumi\u00e8re des compositions \u00e9piques auxquelles nous sommes depuis habitu\u00e9s dans les aventures SF \u2013 avec des choix surprenants structurant les aspects narratifs et sp\u00e9culatifs du film. Le po\u00e8me symphonique de Richard Strauss \u00ab\u00a0Ainsi parlait Zarathoustra\u00a0\u00bb (Nietzsche) sugg\u00e8re ainsi la notion de progr\u00e8s en introduction et conclusion du film quand le Requiem oppressant et d\u00e9structur\u00e9 de Gy\u00f6rgy Ligeti \u00e9voque la dimension indiscernable et irrationnelle du monolithe, pi\u00e8ce centrale de l\u2019intrigue. Ses d\u00e9cors rotatifs lui \u00e9voquent la valse du \u00ab\u00a0Bean Danube Bleu\u00a0\u00bb de Johann Strauss pour les sc\u00e8nes spatiales de gravit\u00e9 artificielle et la chanson \u00ab\u00a0Daisy Belle\u00a0\u00bb de Harry Dacre que chante un HAL agonisant renvoie \u00e0 la toute premi\u00e8re chanson \u2018apprise\u2019 par un ordinateur (un IBM) en 1961. Quant \u00e0 la composition originale d\u2019Alex North, elle existe bien puisque le studio <em>MGM<\/em> l\u2019avait engag\u00e9 pour composer la musique du film, mais Kubrick n\u2019a tout simplement utilis\u00e9 aucune de ses cr\u00e9ations pr\u00e9f\u00e9rant ses choix plus riches de sens. S\u2019il donne un sens \u00e0 la musique, il laisse \u00e9galement les images parler par elles-m\u00eames et ose simplement recourir au silence pour exprimer l\u2019inconnu de l\u2019espace, ce qui s\u2019est depuis r\u00e9v\u00e9l\u00e9 juste, car l\u2019on sait maintenant qu\u2019il n\u2019y a en effet pas de son dans l\u2019espace. Il faut se rendre compte que lorsque \u00ab\u00a02001\u00a0\u00bb est tourn\u00e9, il n\u2019y avait pas encore de photographies de l\u2019espace, personne n\u2019avait encore march\u00e9 sur la Lune, et on ne savait pas \u00e0 quoi ressemblait la Terre vue depuis l\u2019ISS.<\/p><p>Toutes ces d\u00e9cisions visuelles et musicales n\u2019en sont que plus impressionnantes et d\u00e9montrent l\u2019incroyable ind\u00e9pendance artistique du r\u00e9alisateur britannique et son souci du d\u00e9tail pour tous les aspects techniques. Pourtant, \u00ab\u00a02001\u00a0\u00bb est loin d\u2019\u00eatre seulement un bijou d\u2019orf\u00e8vre, c\u2019est aussi une v\u00e9ritable mine d\u2019or abordant plusieurs th\u00e8mes, parfois juste l\u2019espace de quelques secondes, poussant constamment le spectateur \u00e0 r\u00e9fl\u00e9chir \u00e0 son propre monde et \u00e0 son futur envisag\u00e9.<\/p><p>Le film \u00e9voque \u00e0 la fois l&rsquo;\u00e9volution de l&rsquo;humanit\u00e9, les voyages dans l&rsquo;espace et l&rsquo;influence extra-terrestre, ainsi que l&rsquo;intelligence artificielle et le voyage \u00e0 travers une autre dimension : l&rsquo;espace-temps. C&rsquo;est consid\u00e9rable pour un seul film (le tout en moins de 2h30)\u00a0! Toutes ces th\u00e9matiques ne sont cependant pas trait\u00e9es avec le m\u00eame degr\u00e9, le leitmotiv portant plut\u00f4t sur une interrogation sur l\u2019humain \u00e0 la fois sur nos origines et notre sort entre progression et r\u00e9gression. Mais le film inclut \u00e9galement des questions sous-jacentes abord\u00e9es seulement dans une sc\u00e8ne ou dans un court dialogue. C\u2019est le cas notamment de l\u2019uniformisation culinaire dans une sc\u00e8ne o\u00f9 des astronautes am\u00e9ricains choisissent des plats diff\u00e9rents qui ont tous exactement la m\u00eame couleur et la m\u00eame consistance\u00a0; ainsi que des relations ext\u00e9rieures \u00e0 double vitesse avec une opposition entre la coop\u00e9ration des astronautes pour la science et la recherche spatiale (ce qui est donc ext\u00e9rieur aux nations) et les tensions g\u00e9opolitiques bien pr\u00e9sentes sur Terre comme en t\u00e9moigne le refus des Am\u00e9ricains de r\u00e9v\u00e9ler \u00e0 leurs \u2018coll\u00e8gues\u2019 russes quoi que ce soit sur leurs op\u00e9rations lunaires \u2013 le film est en cela \u00e9galement un produit de la guerre froide. Cette d\u00e9cision de l\u2019ex\u00e9cutif am\u00e9ricain d\u00e9montre \u00e9galement comment les Humains g\u00e8rent ce qu\u2019ils ne comprennent pas (ici le Monolithe, symbole m\u00eame de l\u2019\u00e9nigme)\u00a0: ils le cachent au reste du monde (y compris \u00e0 leurs propres citoyens) et ne collaborent surtout pas.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-14701 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>C\u2019est donc un film sur l\u2019Homme, l\u2019histoire de l\u2019humanit\u00e9 et son parcours, d\u2019un d\u00e9but hypoth\u00e9tique \u00e0 une fin hypoth\u00e9tique en passant par des \u00e9tapes auxquelles les spectateurs des ann\u00e9es 1960 jusqu\u2019\u00e0 aujourd\u2019hui s\u2019identifieront. Tr\u00e8s logiquement le prologue de cette \u00e9pop\u00e9e dans le temps d\u00e9marre par la d\u00e9couverte de l\u2019outil par le singe. Il se sert ainsi de l\u2019os d\u2019abord comme un outil, puis comme d\u2019une arme contre les autres esp\u00e8ces dans le but de prot\u00e9ger la sienne, puis comme d\u2019une arme contre sa propre esp\u00e8ce pour conqu\u00e9rir un territoire avant de lancer les progr\u00e8s techniques dans le ciel jusqu\u2019aux satellites orbitaux. Voil\u00e0 donc l\u2019histoire de l\u2019humanit\u00e9 r\u00e9sum\u00e9e sans aucun dialogue en un prologue d\u2019un r\u00e9cit SF questionnant aussi bien nos choix que notre futur. L\u2019un des choix remis en question dans cette progression de l\u2019esp\u00e8ce est donc son recours \u00e0 la technologie symbolis\u00e9e par l\u2019intelligence artificielle nomm\u00e9e HAL (Kubrick utilisant ainsi un d\u00e9calage alphab\u00e9tique pour mettre en lumi\u00e8re le d\u00e9veloppement de l\u2019informatique \u00e0 cette \u00e9poque et en particulier de la c\u00e9l\u00e8bre marque IBM). Cette intelligence artificielle (IA) tr\u00e8s avanc\u00e9e est d\u2019ailleurs plus vue comme un membre d\u2019\u00e9quipage \u00e0 part enti\u00e8re que comme un simple programme, ce qui est renforc\u00e9 par sa sc\u00e8ne d\u2019agonie qui est la plus \u00e9mouvante du film et contraste fortement avec les d\u00e9c\u00e8s cliniques et froids des astronautes humains. Mais le comportement de HAL n\u2019est jamais v\u00e9ritablement expliqu\u00e9 dans le film (contrairement au livre), Kubrick pr\u00e9f\u00e9rant \u2013 comme sur tous les autres sujets abord\u00e9s \u2013 laisser le spectateur dans le doute comme face \u00e0 ce myst\u00e9rieux Monolithe noir dont la pr\u00e9sence et la d\u00e9couverte structurent les chapitres. Un objet au design si simple qu\u2019il en est devenu iconique et une v\u00e9ritable r\u00e9f\u00e9rence dans le monde de l\u2019art. En effet quoi de plus simple et de plus symbolique pour repr\u00e9senter ce qu\u2019on ne comprend pas et qu\u2019on imagine tous diff\u00e9remment. Sa simple forme noire rectangulaire repr\u00e9sente tout ce qu\u2019il y a de plus banal, un \u00e9cran noir qui n\u2019indique rien, o\u00f9 l\u2019on ne discerne rien, permettant \u00e0 tous d\u2019y apposer sa propre interpr\u00e9tation, qu\u2019il s\u2019agisse comme le sugg\u00e8re l\u2019intrigue d\u2019une esp\u00e8ce alien ou non. Le film sugg\u00e8re en effet plus qu\u2019il ne repr\u00e9sente dans la mesure o\u00f9 il est peu probable qu\u2019une forme de vie extra-terrestre ait une quelconque ressemblance avec la vie sur Terre.<\/p><p>Pour revenir \u00e0 la description du poster, \u00ab\u00a02001\u00a0\u00bb est bien une v\u00e9ritable exploration pleine de questions et totalement libre d\u2019interpr\u00e9tation. Si le livre explique certaines questions laiss\u00e9es en suspens dans le film, ce dernier gagne \u00e0 ne rien expliciter, chaque spectateur sortant de la salle avec sa propre version de la m\u00eame aventure (n\u2019est-ce pas le sort de notre propre histoire <em>in fine<\/em>\u00a0?). Un long \u00e9cran noir tel l\u2019intermission d\u2019un long film, symbolise le point de bascule o\u00f9 l\u2019on quitte le commentaire social humaniste de l\u2019\u0153uvre SF pour rentrer dans sa dimension utopique plus onirique et sp\u00e9culative lorsque Bowman traverse l\u2019espace-temps (l\u2019acte \u00e9tant inimaginable, le spectateur exp\u00e9rimente son incompr\u00e9hension). Cette s\u00e9quence de couleurs psych\u00e9d\u00e9liques contient de nombreux jeux d\u2019images et de formes. On peut par exemple y voir les couleurs et formes d\u2019un f\u0153tus rouge avec une tache blanche en approche assimilant visuellement cette entr\u00e9e dans le temps \u00e0 une p\u00e9n\u00e9tration. L\u2019on peut tout \u00e0 fait voir l\u2019entr\u00e9e dans le temps aussi comme une naissance, qui donne une tout autre lecture de l\u2019enfant des \u00e9toiles \u00e0 la fin. Qu\u2019est-ce que ce b\u00e9b\u00e9-univers nous indiquerait-t-il alors\u00a0? Nous voyons-nous au centre de l\u2019univers ou sommes-nous tout simplement l\u2019univers\u00a0? A toujours chercher l\u2019autre, jusqu\u2019\u00e0 l\u2019au-del\u00e0 on ne finirait que par se trouver soi-m\u00eame\u00a0? C\u2019est une interpr\u00e9tation plus philosophique que je fais de l\u2019\u00e9pilogue, mais l\u2019interpr\u00e9tation cosmique selon laquelle une esp\u00e8ce extra-terrestre se consacrerait \u00e0 l\u2019\u00e9volution dans l\u2019univers et aurait exp\u00e9riment\u00e9 avec la vie sur Terre est \u00e9galement parfaitement valable. \u00ab\u00a02001\u00a0\u00bb s\u2019apparenterait alors \u00e0 un mythe nous transportant de la transition du singe \u00e0 l\u2019Homme jusqu\u2019\u00e0 celle de l\u2019Homme au Surhomme, un \u00eatre sup\u00e9rieur d\u2019\u00e9nergie pure, prochaine \u00e9tape de notre \u00e9volution\u00a0?<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-15023 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>D\u2019innombrables films et autres \u0153uvres lui ont depuis rendu hommage ou s\u2019en sont inspir\u00e9s \u00e0 commencer par \u00ab\u00a0Barbie\u00a0\u00bb le r\u00e9cent succ\u00e8s box-office plan\u00e9taire des studios <em>Warner<\/em> (avec qui Kubrick travailla apr\u00e8s \u00ab\u00a02001\u00a0\u00bb) dont tout le prologue est un hommage plan pour plan \u00e0 celui de \u00ab\u00a0L\u2019odyss\u00e9e de l\u2019espace\u00a0\u00bb rempla\u00e7ant les singes par des fillettes et le Monolithe apportant le progr\u00e8s humain par la Barbie st\u00e9r\u00e9otyp\u00e9e de Margot Robbie. Le film de Kubrick a \u00e9galement \u00e9t\u00e9 d\u00e9terminant dans la cr\u00e9ation en 1977 du ph\u00e9nom\u00e8ne de George Lucas s\u2019inspirant notamment de la s\u00e9quence de \u2018Stargate\u2019 pour les visuels du passage en hyperespace dans Star Wars. Plus r\u00e9cemment, Christopher Nolan signait une nouvelle \u0153uvre majeure de la SF avec \u00ab\u00a0Interstellar\u00a0\u00bb qui doit beaucoup \u00e0 \u00ab\u00a02001\u00a0\u00bb en termes de structure de l\u2019intrigue et y fait r\u00e9f\u00e9rence dans ses s\u00e9quences de travers\u00e9e du trou noir proche de Jupiter et d\u2019exploration de l\u2019espace-temps, ainsi qu\u2019\u00e0 travers le personnage de TARS, une IA en forme de Monolithe m\u00e9tallique. Le questionnement de la technologie et plus sp\u00e9cialement de l\u2019IA dans \u00ab\u00a02001\u00a0\u00bb a depuis \u00e9t\u00e9 repris par de nombreux films \u00e0 commencer par \u00ab\u00a0AI\u00a0: Artificial Intelligence\u00a0\u00bb de Steven Spielberg qui termina un projet inachev\u00e9 de Kubrick sorti justement en 2001\u00a0; mais aussi les films am\u00e9ricains \u00ab\u00a0Her\u00a0\u00bb ou \u00ab\u00a0Ex Machina\u00a0\u00bb sur la question du remplacement de l\u2019esp\u00e8ce humaine, ou r\u00e9cemment Mission Impossible \u00ab\u00a0Dead Reckoning\u00a0\u00bb sur les dangers d\u2019une IA hors de sa boucle, ainsi que \u00ab\u00a0Oblivion\u00a0\u00bb et \u00ab\u00a0Wall-E\u00a0\u00bb des studios <em>Pixar<\/em> pour le design devenu embl\u00e9matique.<\/p><p>\u00ab\u00a02001\u00a0: L\u2019odyss\u00e9e de l\u2019espace\u00a0\u00bb est au final une \u0153uvre assez inclassable sur l\u2019humain et l\u2019humanit\u00e9, un film extr\u00eamement riche, particuli\u00e8rement pr\u00e9curseur (il y a un Ipad en 1968\u00a0!), et profond\u00e9ment intelligent. C\u2019est une exp\u00e9rience visuelle intens\u00e9ment subjective con\u00e7ue directement pour notre inconscient sans v\u00e9ritable grille de lecture. Telle une symphonie, ce n\u2019est pas une \u0153uvre qui doit \u00eatre expliqu\u00e9e \u2013 ce serait l\u2019\u00e9masculer \u2013 mais doit juste amener le public \u00e0 y r\u00e9fl\u00e9chir et se questionner. Un vrai chef d\u2019\u0153uvre \u00e0 voir en salles \u2026<\/p><p>Rapha\u00ebl Sallenave<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-42480e6 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"42480e6\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p style=\"text-align: left;\">The year is 1968, Stanley Kubrick releases his new film after \u201cDoctor Strangelove\u201d, and delivers what will undoubtedly go down as one of the greatest in the history of cinema.<\/p><p>After a war film, a psychological drama and a political satire, the British director turns to science fiction with a screenplay he co-wrote with Arthur C. Clarke (who wrote the two short stories that inspired the film \u201cEncounter in the Dawn\u201d and \u201cThe Sentinel\u201d), concurrently with the book of the same name also published in 1968. \u201c2001: A Space Odyssey\u201d epitomizes the Kubrick style, tackling a new genre, taking on new challenges, and combining incredible technical precision with a strong message and many underlying questions. For his first project in color, Kubrick once again takes a considerable risk, presenting a work of science fiction far ahead of its time, a story with no real clear or explicit plot, and a cinematic experience that ultimately raises more questions than it provides answers, leaving the viewer free to make up their own thoughts about the film&rsquo;s meaning. As the poster indicates, \u201c2001\u201d is an \u00ab\u00a0epic drama of adventure and exploration\u00a0\u00bb, in which we do follow an exploration of space, but the film itself is also one of its own, as it constantly challenges its audience. Quite simply, Kubrick refused to acknowledge there were any rules he had to play by in terms of narrative, he broke new ground and created one of the most iconic science-fiction piece in history. There is a cinema before and a cinema after \u201c2001\u201d.<\/p><p>In fact, this is the movie that won Kubrick his first and only Oscar of his entire career for its impressive special effects, as the visuals were so unprecedented at the time. Everything, of course, is done with incredible meticulousness and without the use of computers. The ships are all huge, carefully crafted models, with the right lighting to give the impression of having been used before, and thus enhance the viewer&rsquo;s suspension of disbelief. A constantly rotating set was created to defy the gravity laws in the spaceships which represented a true technical revolution. \u201c2001\u201d also adapted the slit-scan process to cinema for the &lsquo;Stargate&rsquo; sequence, and pioneered the use of front projection for scenes on the Moon or in Africa. Indeed, for the record, the film wasn&rsquo;t even nominated for an Oscar for Best Costume Design for its prologue immersing us several million years in the past with a tribe of Homini (chimpanzees) in Africa, which was actually shot in the studio with actors in what could only be costumes simply too perfect to be seen as such. The sequence concludes with what is surely the best match cut of all time, perfectly summarizing the evolution of mankind in a single cut that not only acts as a transition but also becomes part of the story, an ellipsis that says more than dialogue ever could.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-14704 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2105-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>He also gives a voice to the film&rsquo;s music \u2013 far, far away from the epic scores we&rsquo;ve become accustomed to in sci-fi adventures \u2013 with surprising choices structuring the film&rsquo;s narrative and speculative aspects. Richard Strauss&rsquo;s symphonic poem \u201cThus Spoke Zarathustra\u201d (Nietzsche) suggests the notion of progress in the film&rsquo;s introduction and conclusion, while Gy\u00f6rgy Ligeti&rsquo;s oppressive, unstructured Requiem evokes the indiscernible, irrational dimension of the monolith, the plot&rsquo;s centerpiece. His rotating sets evoked to him Johann Strauss&rsquo;s waltz \u201cThe Blue Danube\u201d for the space scenes of artificial gravity, and Harry Dacre&rsquo;s song \u201cDaisy Belle\u201d, sung by an agonizing HAL, referred to the very first song &lsquo;learned&rsquo; by a computer (an IBM) in 1961. As for Alex North&rsquo;s original composition, it does exist, since the MGM studio hired him to compose the film&rsquo;s music, but Kubrick simply didn&rsquo;t use any of his scores, favouring his more meaningful choices. While he gave meaning to the music, he also let the images speak for themselves, and dared to use silence to express the unknown of space, which has since been proven right, as we now know that there is indeed no sound in space. Remember that when \u201c2001\u201d was shot, there were no photographs of space yet, no one had walked on the Moon, and we didn&rsquo;t know what the Earth looked like from the ISS.<\/p><p>All these visual and musical decisions are all the more impressive, and demonstrate the British director&rsquo;s incredible artistic freedom and attention to detail in every technical aspect. And yet, \u201c2001\u201d is far from just a craftsman&rsquo;s jewel; it&rsquo;s also a real goldmine, dealing with several themes, sometimes in the space of just a few seconds, constantly pushing viewers to ponder their own world and imagined future.<\/p><p>The film deals with the evolution of humanity, space travel and extraterrestrial influence, as well as artificial intelligence and the journey through another dimension: space-time. That&rsquo;s quite a lot for a single movie (under 150 minutes)! However, not all these themes are dealt with to the same extent, with the leitmotif being a questioning of the human being, both in terms of our origins and our fate between progression and regression. But the film also includes a number of underlying issues that are only touched on in one scene or in a short piece of dialogue. These include the standardization of food in a scene in which American astronauts choose different kinds of dinner, all of which have exactly the same color and consistency; as well as double-edged foreign relations, with the opposition between the astronauts&rsquo; cooperation in science and space research ( i.e. external to the nations) and the geopolitical tensions present on Earth, as evidenced by the Americans&rsquo; refusal to reveal anything about their lunar operations to their Russian &lsquo;colleagues&rsquo; \u2013 in that respect, the film is also a product of the Cold War. This decision by the American executive also demonstrates how humans deal with what they don&rsquo;t understand (in this case, the Monolith, the very symbol of the enigma): they hide it from the rest of the world (including their own citizens) and, above all, do not work together.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-14701 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2102-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>It&rsquo;s a film about humans, the history of mankind and its journey, from a hypothetical beginning to a hypothetical end, passing through stages with which viewers from the 1960s to the present day will relate to. Logically, the prologue to this epic journey through time begins with the discovery of the tool by the ape. He first used the bone as a tool, then as a weapon against other species in order to protect his own, and then as a weapon against his own species in order to conquer a territory, before launching technical progress into the sky, culminating in orbital satellites. This is the history of mankind, summed up with no dialogue in a prologue to a sci-fi tale that questions both our choices and our future. One of the choices called into question in this progression of the species is its reliance on technology, represented by the artificial intelligence known as HAL (Kubrick uses an alphabetical shift to highlight the development of computing at the time, and in particular the famous IBM brand). This highly advanced artificial intelligence (AI) is seen more as a full-fledged crew member than as a mere program, a point emphasized by its agony scene, which is the most moving in the whole film and contrasts sharply with the cold, clinical deaths of the human astronauts. But HAL&rsquo;s behavior is never really explained in the film (unlike in the book), Kubrick preferring \u2013 as with all other issues \u2013 to leave the viewer in doubt, as with the mysterious black Monolith whose presence and discovery structure the chapters. An object of such simple design that it has become an iconic reference in the art world. Indeed, what could be simpler and more symbolic to represent what we don&rsquo;t understand and what we all imagine differently? Its simple rectangular black shape represents all that is most ordinary, a black screen that indicates nothing, where nothing can be seen, allowing everyone to draw their own interpretation on it, whether, as the plot suggests, it&rsquo;s an alien species or not. Indeed, the film suggests more than it depicts, since it is unlikely that any alien life-form would bear any resemblance to life on Earth.<\/p><p>To get back to the poster&rsquo;s tagline, \u201c2001\u201d is a real exploration, full of questions and totally open to interpretation. If the book explains some of the questions left unanswered in the film, the latter is better off not spelling anything out, with each viewer leaving the theater with their own version of the same adventure (isn&rsquo;t that the fate of our own history in the end?). A long black screen, reminiscent of the intermission of a long movie, symbolizes the tipping point where we leave the humanist social commentary of the sci-fi work to enter its more dreamlike, speculative utopian dimension when Bowman crosses space-time (the act being unimaginable, the viewer experiences his puzzlement). This sequence of psychedelic colors features numerous patterns of images and shapes. For example, the colors and shapes of a red fetus with an incoming white spot can be seen, visually assimilating this step into time with a penetration. This entry into time can also be seen as a birth, which gives a completely different perspective on the star child at the end. So, what does this baby-universe tell us? Do we see ourselves at the center of the universe, or are we simply THE universe? By constantly searching for the other, all the way to the beyond, do we only end up finding ourselves? This is my more philosophical interpretation of the epilogue, but the cosmic one, in which an extraterrestrial species devoted itself to evolution in the universe and experimented with life on Earth, is also perfectly valid. Could \u201c2001\u201d be a myth, taking us from the transition from ape to man, to the transition from man to superman, a superior being of pure energy, the next stage in our evolution?<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-15023 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2293-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Since then, countless films and other works have paid tribute to or been inspired by this movie, starting with \u201cBarbie\u201d, the recent worldwide box-office smash from <em>Warner Studios<\/em> (with whom Kubrick worked after \u201c2001\u201d), whose entire prologue is a shot-for-shot homage to that of \u201cA Space Odyssey\u201d, replacing the apes with little girls and the Monolith bringing human progress with Margot Robbie&rsquo;s stereotypical Barbie. Kubrick&rsquo;s film was also instrumental in the creation of George Lucas&rsquo;s 1977 phenomenon, with the &lsquo;Stargate&rsquo; sequence providing the inspiration for the Star Wars hyperspace jump visuals. More recently, Christopher Nolan created a new sci-fi gem with \u201cInterstellar\u201d, which owes a great deal to \u201c2001\u201d in terms of plot structure and references it in its sequences of crossing the black hole near Jupiter and exploring space-time, as well as through the character of TARS, an AI in the shape of a metallic Monolith. The questioning of technology, and AI in particular, in \u201c2001\u201d has since been taken up by numerous movies, starting with Steven Spielberg&rsquo;s \u201cAI: Artificial Intelligence\u201d, which completed Kubrick&rsquo;s unfinished project and was released in 2001; as well as the American films \u201cHer\u201d and \u201cEx Machina\u201d on the question of the replacement of the human species, or more recently Mission Impossible \u201cDead Reckoning\u201d on the dangers of the AI out of its loop, or \u201cOblivion\u201d and <em>Pixar Studios<\/em>&lsquo; \u201cWall-E\u201d for the AI iconic design.<\/p><p>In the end, \u201c2001: A Space Odyssey\u201d is a rather unclassifiable work about humans and humanity, an extremely rich film, particularly visionary (there&rsquo;s an iPad in 1968!), and profoundly intelligent. It&rsquo;s an intensely subjective visual experience designed directly for our subconscious, with no real interpretation framework. Like a symphony, it&rsquo;s not a work that needs to be explained \u2013 to do so would strip its essence \u2013 but should simply lead the audience to ponder and question. A true masterpiece to be seen in cinemas&#8230;<\/p><p>Rapha\u00ebl Sallenave<\/p><\/div><\/div><div dir=\"auto\">\u00a0<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-e213b9d elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"e213b9d\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-f72c849 exad-glass-effect-no exad-sticky-section-no\" data-id=\"f72c849\" 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elementor-widget elementor-widget-html\" data-id=\"559c6b3\" data-element_type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\r\n<script>\r\nif (!(document.querySelector('.elementor-editor-active'))){\r\n    let toggleSwitches = document.querySelectorAll('.toggle_switch'); \r\n    toggleSwitches.forEach((e,i) => {\r\n        let shown = e.closest('.elementor-element').nextElementSibling;\r\n        let toBeShown = shown.nextElementSibling;\r\n        toBeShown.style.display = 'none';\r\n        e.addEventListener('change', function(){\r\n            if (e.checked){\r\n            shown.style.display = 'none';\r\n            toBeShown.style.display = 'block';\r\n            } else {\r\n            shown.style.display = 'block';\r\n            toBeShown.style.display = 'none';\r\n            }\r\n        });\r\n    });\r\n}\r\n<\/script>\r\n<style>\r\n   \/* css for the toggle all switch, credits: 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elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"21a8553\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4c0bbab exad-glass-effect-no exad-sticky-section-no\" data-id=\"4c0bbab\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-fcb1d8b exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"fcb1d8b\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-156e97e elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"156e97e\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-87e8b5e exad-glass-effect-no exad-sticky-section-no\" data-id=\"87e8b5e\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a3e94e1 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-image\" data-id=\"a3e94e1\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/rsgproduction.fr\/?p=14445\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"155\" src=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1204-300x155.png\" class=\"attachment-medium size-medium wp-image-10296\" alt=\"\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1204-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1204-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1204-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1204.png 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Barbie: le succ\u00e8s de l'ann\u00e9e ? [Dossier]<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e2bc5d0 exad-glass-effect-no exad-sticky-section-no\" data-id=\"e2bc5d0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-86dc178 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-image\" data-id=\"86dc178\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/rsgproduction.fr\/?p=10590\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"155\" src=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1251-300x155.png\" class=\"attachment-medium size-medium wp-image-10623\" alt=\"\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1251-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1251-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1251-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1251.png 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Mission Impossible : Dead Reckoning<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-d28d6b8 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"d28d6b8\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-da1cf23 exad-glass-effect-no exad-sticky-section-no\" data-id=\"da1cf23\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7a2941b exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"7a2941b\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>2001 : L&rsquo;Odyss\u00e9e de l&rsquo;Espace \u00a0 2001: A Space Odyssey \u00a0 [Dossier] \u00a0 Best Visual Effects &#8211; Oscars Best Art Direction &#8211; BAFTA Best Cinematography &#8211; BAFTA Best Sound &#8211; BAFTA Donatello Best Foreign Film &#8211; Italy 1968 FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN \u00a0 Nous sommes en 1968, Stanley Kubrick &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/rsgproduction.fr\/?p=14479\"> <span class=\"screen-reader-text\">2001 : L&rsquo;Odyss\u00e9e de l&rsquo;Espace [Dossier]<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":14700,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_acf_changed":false,"_eb_attr":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","footnotes":""},"categories":[22],"tags":[],"class_list":["post-14479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe-en"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/14479"}],"collection":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=14479"}],"version-history":[{"count":25,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/14479\/revisions"}],"predecessor-version":[{"id":17000,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/14479\/revisions\/17000"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/media\/14700"}],"wp:attachment":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}