How about a comfy thread for any and all things Shining.
For starters, how did Jack know that the bartenders name was Lloyd when he never saw him before?
The Shining
Benjamin Price
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Xavier Walker
Because he actually has seen him before.
James Myers
BbUMP
Jacob James
Shitty script
Xavier Flores
>entry level
dude he was always the caretaker
>advanced level
dude kubrick only fucked with us
>master level
kubrick forgot about it and fucked up the script
Tyler Sanchez
The ghosts at the hotel shined into him. Fairly obvious they wanted both his and Danny's shine.
Wyatt Morales
Why do the ghosts care about making people kill each other?
Robert Gutierrez
They want to eat their magic points
Aaron White
crap source material, theres only so much a director can do
Jace Diaz
The Shining is the most complex film ever made. It isn't a film about any one theme. It's composed of many. Isolating any of them dilutes Kubrick's intent. Seeing how they thread and overlap is key to understanding its complexities. All of its themes merge. Native American vs. Manifest Destiny, mirroring vs. doubling, linear vs. continuum, supernatural vs. natural, text vs. visual, text vs. spoken word, fable vs. myth, cartoon vs. realism.
All focused through film's effect on the brain, neurophenomenology (or to be explicit, cognitive scientist Daniel Dennett's definition of heterophenomenology). But this is confusing. On one hand film is structural, which simply means there is an order to the storytelling: gesture, movement, word, reaction. On the other hand, there is the audience's perception of these structures, which is phenomena. A door is opened, a room is entered. While very meticulous, many of Kubrick's structures are illusions. Not just illusions of time, which are necessary for an audience to experience any movie, but illusions of space and meaning. Look deeper at his canon. Poole appears to jog towards himself as the wheel switches direction in 2001. Sideways lighting switches from stage lighting in the derelict casino battle in Clockwork. Kubrick is playing with a specific phenomena of threshold. It emerges in full blast in The Shining, as 'things' like doors or windows seem correct but aren't possible. Space distorts around key locations, with corresponding, meaningful mirrors of each arrayed throughout. Kubrick directs rigorously to ensure we never see these illusions and mirrors (or doubles) easily. He keeps his frames carefully aligned. He adheres to both subliminal and liminal horizons and focuses attention to light qualities. He even carefully navigates colors, shades and patterns. Why? Well if you keep the view very stable, you lull an audience into thinking they're looking at a pure reality.