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Symbolism in stanley kubrick's "the shining
Stanley kubrick the shining analysis
Aspects of the film the shining
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1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
Stanley Kubrick’s “The Shining” presents the audience a twisted tale of a man named Jack Torrance and his wife Wendy and son Danny, who spend a few winter months in isolation as caretakers of the Overlook hotel. This is no typical horror movie. Viewers are slowly lead though a slow film journey following the Torrance family in their moments of horror and insanity with help from bizarre events connected to the haunted Overlook Hotel.
Through unique camera shots, Stanley Kubrick vividly captures and displays an emotional roller coaster of the facial expressions of Jack, Wendy, and Danny as they experience horror straight from hell. The Shining goes above and beyond the average horror film because of Kubrick’s brilliant vision and technical understanding of camera, lighting, and film. His choice of actors is phenomenal, and the script is changed in ways from the book that benefit the film medium and pulls on the emotions of its viewers.
The film begins with aerial camera shots taken from a helicopter that reveal the long secluded path to the Overlook Hotel. Kubrick did this to give a peaceful and calming feeling that misleads the audience about what is soon to be the winter home for the Torrance family. As the scenery changes, the different landscapes foreshadow the end of the film. The aerial shots make the forest look like the hedge maze next to the hotel, which is a huge part of the plot and where Jack ends up at the end. The idea of a maze is crucial to the plot, as well as the confusion and feeling of being lost that “The Shini...
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...ze and hotel were a maze for Jack, Wendy, and Danny. It will always be a wild journey in and out, and “The Shining” will always provide something new to mystify viewers. The movie will not quell the fears that Kubrick pulled out of the audience, but viewers are left to ponder and reflect on their meaning. And the Overlook Hotel is an embodiment of immortality and all the fears and unknowns associated with it.
Works Cited
Nelson, Thomas Allen. Kubrick: Inside a Film Artist’s Maze. New & Expanded Edition.
Bloomington: Indiana University. Press, 2000. Print.
The Making of The Shining. Dir. Vivian Kubrick. Warner Bros. 2007. Blu-ray.
The Shining. Trivia. The Internet Movie Database.
Web. 11 May 2014.
View from the Overlook: Crafting The Shining. Dir Gary Leva. Warner Bros. 2007. Blu-ray.
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Wizard of Oz, The. Dir. Victor Fleming. Perf. Judy Garland, Frank Morgan, and Ray Bolger. Warner Bros., 1939.
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With the setting in a hotel in the snowy Colorado Mountains, it is about a man taking a job as a sitter for the Overlook Hotel throughout the winter time frame. The father and husband Jack took his wife Wendy and son Danny with him to live while he takes care of the place even after finding out about the pass events that happened there. The film provides a visual output for the text of what the author was trying to say. Which could be the way the way that the readers could not have seen the text, even if they have read the book before. Carr said “The Shinning doesn’t necessarily come off as a horror film” (Critical Genre). It may be that way because of the beautiful scenery in the film, but many claim for the time that is being created it is better than the book. Which is for everyone to decide based on their own perspective. Faye Carr states that King “directs the audience towards a psychological explanation for the apparitions” (Critical Genre). The Shining is not like other horror films during its time. In the movie when Wendy said “It wasn’t your daddy trying to hurt me” and that it was “the Overlook has gotten into [him]”(The Shining). During his time at the hotel while trying to write his novel, Jack mind slowly starts to be submissive to both auditory and visual hallucination. That soon started to make him act in irrational ways to, showing why Jack went on the rampage in the hotel to kill his wife and
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One scene in particular stands out as a masterfully edited moment in the movie. In this scene, Wendy and Danny Torrance leave the inside of the hotel to go outside and explore the giant hedge maze. Wendy and Danny both run around in excitement as they delve deeper and deeper into the massive maze. The scene then cuts to a shot of Jack throwing a ball around the lobby of the hotel in boredom. He walks up to a three-dimensional model of the maze that is on a table in the lobby. The camera then cuts to a close-up of the model of the maze, and the audience sees what appears to be miniature versions of Wendy and Danny exploring the many corridors of the hedge maze. The audience can hear Wendy and Danny talking, and this helps assist the allusion of Jack watching the two go through the maze.
The film begins with a title card sequence upon a static backdrop of shrubbery, mountains and distant clouds; a lingering sight that doesn’t truthfully establish forthcoming events in Vienna’s saloon. Her saloon may be quiet, but it is always occupied, and whilst the opening sequence, in which we are introduced to Johnny Guitar, is filled with a bravado of horns and orchestral accompaniment, the saloon itself is inversely populated by the sound of wind, tumbleweed, and stark silences - something perhaps more associated with the western expanse in which the story takes place. Yet for this dichotomy in sound, the initial visuals after the credit sequence foreshadow the destruction of locale, and the audience takes the place ...
In recent decades, many have argued that the line between realism and fiction in cinematic endeavours has become increasingly blurred. It has not been until recently that the world has truly been exposed to this completely innovative cinematic style, which has captivated audiences with its new approach to filmmaking. This new cinematic style was first introduced in Eduardo Sánchez and Daniel Myrick’s The Blair Witch Project. Here I will focus on breaking down the various levels of realism within The Blair Witch Project, in order to convey why it had such a monumental impact on the cinematic world, while still remaining a popular and modern horror film to today’s audiences. In order to achieve this I will pay particular attention to the style of filming, the clever marketing campaign and the combination of fact and fiction, which helped captivate even the most, experienced of cinemagoers.
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’
The Shining. Dir. Stanley Kubrick. Perf. Jack Nicholson, Shelley Duvall and Danny Lloyd. Warner Bros., 1980. DVD.