CCS

The Shining is a cinematic experience

The Shining was directed by Stanley Kubrick and released in 1980. It is considered one of the greatest horror films of all time.Adapted from Stephen King’s novel of the same name, the film mainly tells the story of Jack’s family in the distant look at the hotel during a series of horrific encounters.

The third is the horror film, but the creation of the sense of terror rarely makes use of the unexpected sudden scare, more is a psychological fear brought about by the use of camera language, which is equivalent to the feeling of aftertaste and back row.The techniques used by the director in the film can be called textbook roots.Many films have had an impact since.At the heart of the film’s horror is the concept of danger in a confined space.So in the movie, whether it’s the hotel peak of the snowstorm or the room by room in the hotel, the closed road of the hedge maze, or even the grid on the carpet.But the context in which the characters are talking.

These marketing elements all emphasize the concept of enclosed space over and over again in the minds of the audience.Therefore, the potential danger for the leading role is foreshadowed.And then the second is the color system that underlines the danger by making it difficult to light up the background of the room with reddish objects in many scenes of the film.And the blue and green colds represent the safe environment or mood.The colors of the Imperial City are intermediate.Rooms that look out at hotels can be dangerous, safe or somewhere in between.

It is worth noting that Kubrick does not use isolated and light color symbols because of this implication.It is a kind of preparation, even from the first interior scene in the film.For example, during an interview, the map next to the office is like a grid of many closed Spaces, with red, green, yellow and blue cities.And this one doesn’t look like the one overlooking the hotel.It was arranged by the director because the map was very visible in the shot.If you don’t want to highlight him, it makes sense for the art to be more photostealing, and the map to be more mundane, like a wall clock on the right.

But Kubrik was more than we thought. Because in the last beat of this long shot, just a very bright word, he encounters in our minds this idea of red, green, yellow, blue, and enclosed space.
Notice that he looks at the map of the next room in the same place, and this painting is indeed the most vivid and attractive in the picture at this time.
For example, although the classic room 237 has a female aging lady challenge, it makes people think it’s very scary.
Take a black room in a scene. At first, the upper part of the black subjective shot is a yellow emotion, close to the neutral black naked woman. When the next shot is pulled out, the corresponding position in the room will be found. There is a red naked girl. And that means that nude-neutral women have become dangerous.
So in fact in the next shot, the change from a woman to an old woman was already hinted at in the sequence of the previous scene.
It is important to note that the effect of this information on attention is not on the conscious area but on the unconscious area.
The audience does not logically sense the existence of these arrangements, but the information is implanted in the audience’s mind and sets the mood and story for the future. These are the thoughts of the director. If we revisit the whole text, we will find that this premeditated arrangement is habitual.
That is to say, the director is so precise and patient in his treatment of this work that he can’t find any recklessness in the plot treatment. And compared to coming up at the drop of a hat on a scare technique, I have eaten admirable.
There are many interpretations of the details of the film. One of the most famous documentaries, Room 237, discussed many of the details of the film.