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
The Black Maria Rides Again: Being a Reflection on the Present State of American Film with Special Respect to Stanley Kubrick’s The Shining
In this essay on The Shining, Paul Miers asserts that “to understand Kubrick's achievement one must attempt a reading of the mass-market book on which it is based.”
Stanley Kubrick, it appears, has raised many of the same questions through his films as Nathaniel Hawthorne did with his writing. In fact, they seem to share similar psychologically based images despite being separated by 100 years and Kubrick’s use of a medium that Hawthorne never experienced.
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.
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.
Far from showing an ignorance of horror, as King asserts, the film shows Kubrick's depth of knowledge of film form and its possibilities.
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.
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.