Word: pod
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...rather leisurely two-day stint in Nebraska, where in this week's primary he faced opposition from Ronald Reagan (who was on the ballot) and Rockefeller (who was not). Nixon aimed a P-Shooter at Eugene McCarthy, Robert Kennedy and Hubert Humphrey: "three peas in a pod, prisoners of the policies of the past." And in a 6,000-word formal statement, he attacked the Johnson Administration for failing to reverse the rising crime rate. Nixon proposed a broad program aimed at both organized crime and what he called "street crime," including legalized wiretapping, legislation to offset Supreme Court...
...attempting to re-enter the ship from the pod he has used to retrieve Poole's corpse, Bowman must improvise for the first time, ad-lib emergency procedures to break-in against HAL's wishes. His determination is perhaps motivated by the first anger he has shown, and is certainly indicative of a crucial re-assertion of man over machine, again shifting the film's balance concerning the relationship between man and tool. In a brilliant and indescribable sequence, preceded by some stunning low-angle camera gyrations as Bowman makes his way toward HAL's controls, the man performs...
...from the dispensing machine: Poole chooses food with clashing colors and Bowman selects a meal composed entirely within the ochre-to-dark brown range. In a fascinating selection of material, Kubrick omits the actual act of Poole's murder, cutting to his body in space directly after the mechanical pod-hands sever his air hose, thus taking emphasis off any identification we might suddenly feel and turning the murder into cold, further dehumanized abstraction...
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...
LEFT alone in the space ship, Bowman sees the monolith slab floating in space in Jupiter's atmosphere and takes off in a pod to follow it; knowing by now the properties of the pod, we can conjure images of the mechanical arms controlled by Bowman reaching to touch the monolith as did the australopithicines and the humans. The nine moons of Jupiter are in orbital conjunction (a near-impossible astronomical occurrance) and the monolith floats into that orbit and disappears. Bowman follows it and enters what Clarke calls the time-space warp, a zone "beyond the infinite" conceived cinematically...