The Shining (1980)

fig 1. The Shining (1980)

This film must be one of the most talked about of all time, easily. There is even a documentary name of 'Room 237' which covers some of the crazy theories people come up with. It would be advisable to attempt not to replicate the state of these theories in this essay, but rather scratch upon the surface of the content itself from first viewing. To start, this is a completely enigmatic film which differentiates itself from others of its genre using exclusively paranormal elements, and was based on the original novel by Stephen King. There are a number of reasons why is actually works instead of collapsing in on its own deficiencies without expanding on the separate events depicted in the film. The story begins with a completely average, if a bit down, American family with son name of Danny who has the mysterious ability known only as 'the Shining', a prophetic ability shared between him and hotel chef Hallorann. 'In a snowbound hotel, three people descend into versions of madness or psychic terror, and we cannot depend on any of them for an objective view of what happens. It is this elusive open-endedness that makes Kubrick's film so strangely disturbing'.(Ebert, 2006) The course of the movie brings parent and child down a dark path that leads to a very interpretive ending. 

fig 2. Room 237 (2013)

Themes of paranormal tropes, manipulation and bloody gore brings the movie to a suspicious aspect. This factor, on top of producing the suitable uncomfortable atmosphere, also acts as a sort of glue to connect all the mysterious events surrounding the family. Primarily this effect is applied through the use of filming techniques interspersed throughout the movie. As a result this practise of attention to detail is akin to composition, and can be used to summon obtrusive thought, by being distracting enough it is possible to cement reality in a high pressure theatrical environment.

fig 3. The Shining, (1980)

Theoretically the father, Jack, goes through a series of actions highlighting the displacement of his soul or absence thereof. Over the course of their stay at the hotel he becomes increasingly predatory and territorial, like a wild animal, seen as he occupies a oversized hall just for him and his typewriter, and when he rages at his wife when she comes in can be completely compared to that of predatory complexity. When he gets lost in the maze at the end of of the film further cements his disconnect, giving him similar feral aspects like the blatant disregard for tracking technique. While this state could have been brought on by the paranormal effect, there is also a degree of stress that feeds into Jack's anger.  The amount of pressure the jobless mother and young child put into him probably led onto the rending of his mind slightly, plus the complete absence of sex; his wife always covers up. The sight of rapid change can be jarring over the course of the plot, which is one of the reasons it is successful. From this we an say simply having a lot going on is a film doesn't make it good, but prioritising those events brings them closer together. 

fig 4. The Shining, (1980)

Interestingly, unlike other movies of the same genre, the  plot does not wrap itself up at the end  to form a 'complete story' as you might expect but rather leaves itself open ended.  In terms of storytelling a lot of media seems to enact this mechanic in order to generate interest in itself, but the Shining seems to do it in more of an indication of concept, to more directly implore the audience to think for themselves. The recognition and respect the film could show the audience lends a real sense of involvement which many viewers in that audience seek for in the cinema as a mode of release, another reason for its success in the box office. However an important thing we have to remember about the target audience, what they may look for and hope to find in that genre maybe also connected to the directors previous accomplishments in films of this style, less about the genre and more about recognition. 'In the end, once the film is released, the filmmakers' intentions don't really matter anymore because it belongs to the audience. At that point, if something's there, it's there.' (Emerson, 2016) As a Auteur, Stanley Kubrick works hard to deliver quality, lending his vision to his perfectionist personality; having the capacity to recognise the target audience in depth is just as important as the personal dwellings of the creator.

fig 5. The Shining, (1977)

To conclude all these musings and dissections it would be safe to say the shining is very well thought out, expertly composed and performed in an original, uninhibited perspective separate from the novel, bringing it to a classic psychotic genre that has dominated the years following. Despite it operating at somewhat of a distance form the original author the film generated its own versions of horror 'Despite its relations to the original author the film fails to work in tune with the ideas presented at first Among the prime sources of irritation to horror-zap buffs is that Kubrick (writing with novelist Diane Johnson) has thrown out most of Stephen King’s ectoplasmic and otherwise preternatural inventions—most of the more outré ghosts, the demonic elevator, the deadly drainpipe, the sinister hedge animals'.(Ebert, 2006) It has all the right reasons for being the centre of attention, since it has evaded the results of age from its era, it can still affect the current generation through its subject matter and visual aspects.  The mere fact of that can be enough to solidify its existence beyond money, to prove the soul behind its creation. Why this has form as an idea is all in the directors head, Kubrick has played this back to himself countless times before providing the perfected product to the box office. It has proven techniques, curious composition and adjusted perspectives; another process like censorship could have been destructive. It brings everything together and puts in front of an audience, and tells them to broaden their perspective and that's what makes the film good.

Bibliography

Ebert, R. (2006). Roger Ebert.com. [online] Roger Ebert.com. Available at: http://www.rogerebert.com/reviews/great-movie-the-shining-1980 [Accessed 6 Dec. 2016].
Emerson, J. (2016). Room 237 Movie Review & Film Summary (2013) | Roger Ebert. [online] Rogerebert.com. Available at: http://www.rogerebert.com/reviews/room-237-2013 [Accessed 6 Dec. 2016].

T. Jameson, R. (1980). Kubrick’s Shining - Film Comment. [online] Film Comment. Available at: http://www.filmcomment.com/article/stanley-kubrick-the-shining/ [Accessed 6 Dec. 2016].

Figures

figure 1. The Shining, 1980, From: The Shining, Directed by: Stanley Kubrick [film still], Great Britain, Elstree Studios

figure 2. Room 237, (2013), [poster], http://static.rogerebert.com/uploads/movie/movie_poster/room-237-2013/large_7EDxLdQ8bBG8YC2JAnhvoVhTe3.jpg (4/12/16)

figure 3. The Shining, 1980, From: The Shining, Directed by: Stanley Kubrick [film still], Great Britain, Elstree Studios

figure 4. The Shining, 1980, From: The Shining, Directed by: Stanley Kubrick [film still], Great Britain, Elstree Studios

figure 5. Stephen king, (1977), The Shining, [book cover], United States, Doubleday,