By Arthur C. Clarke
2061 : Odyssée trois (2061: Odyssey 3) est un roman de science-fiction publié en 1987, le troisième livre de los angeles tétralogie d'Arthur C. Clarke initiée par 2001 : L'Odyssée de l'espace.
En 2061, cinquante ans ont passé depuis que Jupiter a été transformée en Lucifer, une nouvelle étoile. Ses anciennes lunes (dont Io, Europe, Ganymède et Callisto) sont devenues ses planètes. Europe, autrefois recouverte par un épais manteau de glace, est à présent une planète océan. Elle demeure l. a. plus mystérieuse des planètes de Lucifer en raison de l. a. stricte interdiction de s'y poser.
Cependant, le vaisseau nouvellement mis en provider, le Galaxie, est contraint de s'y poser, obligeant son vaisseau frère, l'Univers à lui venir en aide. En l'attendant, l'équipage naufragé fait de nombreuses découvertes sur l'astre : il y aurait de los angeles vie sur Europe.
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Extra info for 2061: Odyssée trois (Cycle des Odyssées de l’espace, Livre 3)
This, he sees, as Godard’s ‘counter-cinema’. 57 This statement also serves to reassert in emphatic terms the dichotomy that Wollen is keen to highlight: Godard versus the Hollywood cinema. It is not possible or necessary to address each of Wollen’s distinctions within the context of our discussion here but, keeping in mind my move towards a study of alternative worlds in films, we are bound to find ourselves drawn to Wollen’s concept of single diegesis versus multiple diegesis, and the ways in which he attributes one category to Hollywood cinema and one against it.
47. 33. ’ p. 23. 34. Ibid. p. 25. 35. Ibid. p. 26. 36. Ibid. p. 19. 37. Ibid. p. 17. 38. Ibid. p. 20. 39. Ibid. p. 19. 40. Ibid. p. 20. 41. Ibid. pp. 35–36 The use of ‘barrier’ here relates back to Cavell’s earlier terminology, rather than being a term offered in Perkins’ argument specifically. 42. Perkins Film as Film p. 63. 43. Ibid. 44. Ibid. p. 70. 45. Ibid. p. 122. 46. Ibid. pp. 122–123. 38 | alternative worlds in hollywood cinema 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58.
Imagined Worlds | 51 Spellbound The Persistence of Memory Thus, although it might be argued that the camera quite poorly reproduces the nature and quality of human sight through the use of drifting, fluid tracking shots and a series of zooms, this point-of-view style resists become disconcerting as it coheres with the odd, near-hallucinogenic composition of the imagined world as Ballantine remembers it (and as depicted in Dalí’s designs). Thus, as Hitchcock’s camera movement suggests mobility distinct from the restrictions of ordinary physical laws, such an occurrence does not present a challenge to our sense of coherence and conceivability as we watch the surrealistic dream images.