Unit 3 Final Essay Shining Blog

8/3/2019 Unit 3 Final Essay Shining Blog

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CG Arts & Animation

Unit 3:

Environment

Simon J. Bloyce

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Table of Contents

Page 3: Introduction

Page 4: Book List

Pages 5-10 : Essay Body

Page 11 : Bibliography

Page 11 : Image List

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Introduction

The purpose of this introduction is to give the reader an understanding of The Uncanny

(ger: Unheimlich). This is the principal which defines objects, places, persons or

circumstances that when experienced, either remotely (by reading a book or watching a

film) or directly (by being in the presence of said objects, places, persons or

circumstances) give the observer a sense of unease. This principal is described and

researched in great depth by Sigmund Freud in his paper, The Uncanny. Here he relates

the experience of Unheimlich (unhomely) to items, people and places that wouldbe

familiar but for their uncanny. Starting from the homely and the domestic, there is a

further development towards the notion of something removed from the eyes of

strangers, hidden, secret...(Freud S., p133 point 4)

A dictionary definition of uncanny is, strange or mysterious, esp. in an unsettling way: an

uncanny feeling that she was being watched.

What Freud does state however is, Unheimlich is clearly the opposite of heimlich,

heimisch, vertraut, and it seems obvious that something should be frightening

precisely because it is unknown and unfamiliar. But of course the converse is not

true: not everything new and unfamiliar is frightening. All one can say is that what is

novel may well prove frightening and uncanny; some things that are novel are

indeed frightening, but by no means all. Something must be added to the novel and

the unfamiliar if it is to become uncanny. , (Freud S., p124-5 para 4).

From the examples and definitions above it may become clear to the reader that the idea

of the uncanny is a delicate one, and possibly deeply personal. What scares one will not

necessarily scare another, even in the same circumstances.

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The uncanny principles have been employed and manipulated by storytellers since ever

stories were first told. The purpose of this essay is to relate the principles in the

introduction to a particular piece of media. In this case Stanley Kubricks, The Shining,

(1980). The film is an adaptation of Stephen Kings novel and is regarded by many to be a

masterwork of horror and suspense, and Stanley Kubricks finest film.

Figure 1

The following is a list of books used in this essay.

Rorty R., Philosophy and the Mirror of nature, (1980)

Arendt H., The Human Condition, (1958)

Bergan R., filmisms... UNDERSTANDING CINEMA , (pub. date unknown)

Stevenson J., The Complete Idiots Guide to Philosophy, (2005)

Grant M. and Hazel J., Whos Who In Classical Mythology(1973)

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In order to be more concise regarding Kubricks inclusion of the uncanny in his film it is

easier to concentrate on certain aspects of Freuds paper and relate how these

observations fit into Kubricks work

Repetition

Whilst coincidence may cause a feeling of unease in a subject it is the repeating of certain

circumstances that many find uncanny. Kubrick uses this principal to good effect.

Throughout the film the audience is taken on very private tours through the Overlook Hotel

where the film is set. Mostly with the young character Danny.

Figure 2

As shown in the image above Dannycan be seen riding his trike through the fairly

inconspicuous corridors of the Overlook. The symmetry of the scene is useful, not only to

disorient the viewer, but also establish the vast plainness of the environment. Kubrick

takes care to lull the audience into a false sense of security before eluding to the story or

providing a shock. Notably with the twin girls who, killed by their father in a mad rage stalk

the young Dannywith alarming effects.

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Figure 3

Perhaps the very appearance of two girls of such similar age, appearance and dress also

contributes to the peculiar feelings experienced when watching this scene. The principal of

repetition in a very basic form.

In a pivotal part of the film where actor Jack Nicholson reveals his madness to actress

Shelley Duvall the very essence of the repetition theory is displayed with the words, All

work and no play makes Jack a dull boy as Duvalls wife discovers the words written

over and over on page after page. This, relatively simple device repeated in different

typesets has an extremely discomforting effect and acts as the catalyst for the turbulent

third act of the film.

Figure 4

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Figure 5

Nicholson is able to play his character with such great effect because of the core element

of the uncanny theory, that being the familiar, unfamiliar. As the film progresses the already

emotionally distant Nicholson becomes further removed from the husband and father he

was before the Overlook Hotel took effect. In an interesting scene between Nicholson and

his young co-star the boy is made uncomfortable by the absence of his father despite his

patriarch's presence. As the scene progresses the boy comes to the realisation that the

man on whos knee he sits is no longer his father. Whilst this knowledge would no doubt

distress a child of that age in any circumstances, Kubrick is playing to the audience. With

an eighteen certificate Kubrick knows that his vision is being seen by those who can truly

appreciate the horror of a man who may abandon his duty of care with dangerous

consequences. Those who have children may be shocked, but since we have all been

children we have the potential to identify with and relate to the danger the child and his

mother are in.

Figure 6

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Figure 8

Figure 9

At first it is just Lloyd and Jack Torrance (Nicholson). Passing the time as customer and

dedicated Barman do, exchanging pleasantries. From the beginning of the scene it is clear

that we are locked into a figment of Nicholsons imagination. Sharp editing and a little filmic

illusion changes the bar from an empty space inhabited by dust to a fully stocked bar

inhabited by Lloyd. The sudden change is startling, but not entirely unexpected. What does

unnerve however is the familiarity with which they speak to each other. Both staff and

client interact as if they have ever been. Again, concerns can be allayed if one believes

that Kubrick is allowing his audience to believe that this is an extension of Nicholsons

psyche. Certainly as Nicholsons insanity increases so does his susceptibility to his visions

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and as in Fig. 9 his immersion in them. In this scene he is no longer alone with the ever

faithful Lloyd but in the Overlook ballroom, in the Hotels heyday.

Kubrick uses the ideas of secrecy and hiding less subtly in other ways. When the young

Danny hides in the kitchen the audience hides with him, holding their breath and clutching

to their arm rests.

Figure 10

Figure 10 depicts one of Kubricks less subtle forays into the uncanny, but both the figure

in the mask and his well dressed playmate have been caught out, their secret laid bare.

Whilst not a particularly successful scene in uncanny terms, it still obeys the basic rules.

Conclusion

Kubrick has stood by many of the principals outlined in Freuds paper. Whether he has

direct knowledge of these is unclear, but between them King and Kubrick have created

and displayed a story which provides the viewer with a sense of the uncanny throughout.

Using repetition, secrecy and the plain bizarre at times he grips his audience tight, wrong

footing and disturbing them at every turn, to the extend that debate still rages over the

nuances of the film. Is Jack Torrance the caretaker, has he always been? Is this a ghost

story set in a spooky castle or is this a tale of emotional distance and cruelty? Are we

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simply seeing a man driven mad by cabin fever? Whatever the answer, one fact remains

clear. Kubricks 1980 classic will continue to thrill and disturb audiences for a long time to

come.

Bibliography

Arendt H.(1958). The Human Condition. USA: The University of Chicago Press

Bergan R. (pub. date unknown). filmisms... UNDERSTANDING CINEMA. USA: Universe

Publishing

Grant M. and Hazel J. (1973). Whos Who In Classical Mythology. UK: Michael Grant

Publications Limited

Stevenson J.(2005). The Complete Idiots Guide to Philosophy. USA: Penguin Group

Rorty R. (1980). Philosophy and the Mirror of nature. UK: Blackwell Publishers

Image List

Fig 1: dvdbeaver.comFig 2: free-extras.comFig 3: free-extras.comFig 4: allstarpics.netFig 5: timemachinego.comFig 6: fanpop.comFig 7: furishnie.blogspot.comFig 8: brianvsmovies.blogspot.comFig 9: allstarpics.netFig 10: horrorfanzine.com

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