The Shining (1980)

The Shining (1980) – Review by Richard Schickel

By taking a book by an author who is at the center of the craze for the supernatural, and turning it into a refusal of and subtle comment on that loopy cultural phenomenon, Kubrick has made a movie that will have to be reckoned with on the highest level

Shining (1980) – di Enrico Ghezzi [Il Castoro Cinema]

Vedere, rivedere, stravedere. Sarà possibile inventare uno «stravedere» come possibile ulteriore significato di «to overlook». In ogni caso, Shining è un film da vedere rivedere stravedere, portando la «stravisione» oltre l’intransitività dello «stravedere (per – qualcuno o qualcosa – )». Ed è un film che stravede il cinema e nel cinema, il futuro negli anni ’80.

THE SHINING (1980): JACK THE RIPPER – by Douglas Brode

Jack has consistently avoided the movie-star trap of appearing in a string of safe, conventional movies by involving himself with films made by off-center creative artists involved in honest efforts to put something new and daring on the screen.

From Domestic Nightmares to the Nightmare of History. Uncanny Eruptions of Violence in King’s and Kubrick’s Versions of ‘The Shining’

The impact of past violence on the present is examined in the novel and film versions of The Shining. John Lutz’s essay pinpoints in these works three interrelated elements of what Freud called the “uncanny”—the domestic abuse story, “the postcolonial narrative of American expansion at the expense of nonwhite victims, and the desire for power and control that underlies commodification and the social hierarchies that reinforce it.”


Il presente contributo di Giorgio Cremonini è inserito nel numero monografico intitolato “Quel che resta nella cornice”, dedicato alla descrizione di alcune tra le più suggestive inquadrature della storia del cinema.

Diane Johnson and Stanley Kubrick


We each began by deconstructing King’s novel separately, reducing it to essential scenes, comparing our lists of scenes, and winnowing them down to a hundred or so. I tore bits of exposition and dialogue out of a paper­back copy of the novel and put them in little envelopes on which were written “# 1 The Arrival,” and so on.

The Shining (1980) - Twins bloodbath

Kubrick’S Shining | Review by Richard T. Jameson

The Shining is a horror movie only in the sense that all Kubrick’s mature work has been horror movies—films that constitute a Swiftian vision of inscrutable cosmic order, and of “the most pernicious race of little vermin that nature ever suffered to crawl upon the surface of the earth.”


August 1980 issue of American Cinematographer magazine, including an interview with John Alcott and an article on the use of Garrett Brown’s invention, the steadicam, in The Shining.


Jonathan Romney looks for clues to Stanley Kubrick’s themes in The Shining’s Overlook Hotel (Sight and Sound, September 1999)

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