Taking Nietzsche's philosophies in a modern, contemporary setting, I would like to show how they are applied to the films of Stanley Kubrick. However, as opposed to many of the presentations I've seen, I'd like the majority of the presentation to lye on what I know, not what is on the video screen.
             Although my concentration will be on 2001: A Space Odyssey, it would be tragic not to at least mention Kubrick's other post-Dr. Strangelove releases in terms of Nietzschean philosophies:
             -Released in 1999, Eyes Wide Shut was Kubrick's final film. In it, we find a number of references to the use of masks. Kubrick asks the viewer if you know what mask you're wearing and when. Is it on or is it off? Sometimes you yourself forget. We end with a scene where Dr. Harford walks into his bedroom, and the mask from the orgy is sitting there next to his wife. At that point, Harford drops the metaphorical mask he's been wearing to hide from his wife and cries to her "I'll tell you everything."
             -In the late 1980's, Full Metal Jacket opened in theaters across the country. Here we find a strict balance of Apollo and Dionysus. The film is structured in two distinct parts: before and after the soldiers go to war, or boot camp and the Vietnam battle scenes. The boot camp? The view is immaculately clean. Every shot structure is perfectly symmetrical. There is complete order. In contrast to the war scenes, we have total chaos. Soldiers armed to the teeth with weapons are their own form of the law. The man who has no fear, who is "born again hard," and kills without thinking is king. A great example in the film comes when our star, Private Joker, is talking with Colonel. COLONEL: "You write "Born to Kill" on your helmet and you wear a peace button. What's that supposed to be, some kind of sick joke?!" JOKER: "I think I was trying to suggest something about the...