Word: bone
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Dates: during 1960-1969
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...that. Rather than leggy young women, he suddenly found himself surrounded by burly bodyguards. Instead of driving his powder blue Mercedes, he is now being chauffeured in a Chevrolet. And at week's end, forgoing the usual victory parties, he went into seclusion "somewhere on the continent" to bone...
...hairy simians chatters and skirmishes beside a water hole. It is, says the screen, "The Dawn of Man." But is it? From somewhere, a strange rectangular slab appears, gleaming in the primeval sunlight. Its appearance stimulates one of the simians to think for the first time of a bone as a weapon. Now he is man, the killer; the naked ape has arisen, and civilization is on its way. With a burst of animal spirits, the bone is flung into the air, dissolves into an elongated spacecraft, and aeons of evolution fall away. It is 2001, the epoch...
...following scene, an australopithicine discovers what we will call the tool, a bone from a skeleton which, when used as an extension of the arm, adds considerably to the creature's strength. The discovery is executed in brilliant slow motion montage of the pre-ape destroying the skeleton with the bone, establishing Kubrick and Clarke's subjective anthropological notion that the discovery of the tool was identical to that of the weapon. The "dawn of man," then, is represented by a coupling of progress and destruction; a theme of murder runs through 2001 simultaneously with that of progress. Ultimately, Kubrick...
...transition from pre-history to future becomes a simple cut from the bone descending in the air to a rocket preparing to land at a space station midway between earth and moon. A classic example of Bazin's "associative montage," the cut proves an effective, if simplistic, method of by-passing history and setting-up the link between bone and rocket as the spectral tools of man, one primitive and one incredibly sophisticated...
Bowman's complex act parallels that of the australopithicus: his use of the pod ejector to re-enter the craft was improvisational, the mechanism undoubtedly designed for a different purpose--this referring to the use of bone as weapon-tool. Finally in committing murder, Bowman has essentially lost his dehumanization and become an archetypal new being: one worthy of the transcendental experience that follows. For the last part of the film, we must assume Bowman an individual by virtue of his improvised triumph over the complex computer...