Frank Poole runs in circles like a mouse trapped in a technological wheel, trying to box his way out of a life that is completely dependent on technology. Our first glimpse of the Discovery spaceship features a sombre piece of music that is totally at odds with the uplifting music featured in the space scenes before this part of the story. Let’s now assess the complex interactions that lead to open warfare between HAL and the astronauts. In fact we can’t even tell what point in human history Bowman has returned to. Though this does not happen in the movie its significant that when the starchild returns to Earth there are no satellites or spacecraft to be seen. It was apparently intended in an early version of the script that the starchild would simultaneously detonate all of these nuclear devices upon returning to Earth thus bringing an end to the space warfare threat. So right away we have technology depicted as a threat to human existence. The musical composition of this scene is called The Blue Danube, which was also the name of Britain’s first nuclear weapon. and another air force type insignia appears on the satellite that is travelling toward a rising sun (possibly French or Bulgarian). a Chinese air force insignia on the satellite in which the shot scrolls up to show the Moon. The other satellites include a German flag alongside what appears to be a black Maltese cross. The very first one, which we cut to from the flying bone shot, has a bone shaped feature at the top, signifying it as a weapon just like the bone. The sequence of satellites orbiting the Earth gives itself away as a representation of space warfare. Now we come to an aspect of 2001 that has been written of extensively in relation to the HAL 9000 computer, but has largely been ignored regarding other aspects of the movie – the concept of humans being trapped or enslaved by their own technology. 2001: A Space Odyssey - in-depth analysis - by Rob Ager 2008
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