file:///E|/Funny%20&%20Weird%20Shit/75%%20Stephen%20King%20Books /Stephen%20King%%20The%maroc-evasion.info The Shining by. Stephen King. By Stephen King and published by Hodder & Stoughton FICTION: Carrie 'Salem's Lot The Shining Night Shift The Stand Chr. THE SHINING BY STEPHEN KING This is for Joe Hill King, who shines on. — — — — — — — My editor on this book, as on.
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Stanley Kubrick'sThe Shining() is an esteemed member of the twentieth century's pantheon of outstanding films while also perhaps being the director&. HORROR WELL BEFORE HE MADE THE SHINING. Kubrick is known for his forays into different genres—and horror was a genre that piqued his interest. In the. THE SHINING (). SYNOPSIS. Jack Torrance, a teacher who has been dismissed from his job because of violent behaviour, dreams of becoming a writer.
Other than that, I have no preconceived ideas about what my next film should be. I wish I did.
It saves a lot of time. In previous films, you have worked within the conventions of specific genres science-fiction, thriller, war film, etc. Were you attracted to The Shining because it gave you the opportunity to explore the laws of a new genre in your career? About the only law that I think relates to the genre is that you should not try to explain, to find neat explanations for what happens, and that the object of the thing is to produce a sense of the uncanny.
And I read an essay by the great master H. Who is Diane Johnson, who wrote the screenplay with you? I was interested in one of the books and started to talk to her about it and then I learned that she also was teaching a course on the Gothic novel at Berkeley University in California.
It just seemed that it would be interesting to work on the screenplay with her, which it was. This was her first screenplay. There are quite a few changes in the film with respect to the novel. Several characters have been, in a good way, simplified, the supernatural and pseudo-psychological sides have been almost eliminated and even the basic horror element is reduced. All this is to me a great improvement to the novel.
Were you trying to escape from the more conventional norms of the genre in order to build something different, although, of course, the film can still be seen by many as a pure horror movie?
People have said that. In the book, for instance, nobody gets killed. When Halloran, the black cook, comes at the end, these topiary animals try to stop him, but that is the only thing lost from the book. I think in the novel, King tries to put in too much of what I would call pseudo-character and pseudo-psychological clues, but certainly the essence of the character such as it is, that he puts in the novel, was retained.
The only change is we made Wendy perhaps more believable as a mother and a wife. I would say the psychological dynamics of the story, even in the novel, are not really changed.
When I said simplified, I meant exactly that: clarified. To me, all that is quite irrelevant. Reading the novel, I constantly felt he was trying to explain why all those horrible things happened, which I think is wrong, since the main force of the story lies in its ambiguity. He seemed too concerned about making it clear to everybody that this was a worthwhile genre of literature. How do you normally work with the actors? Do you like to introduce their improvisations on the set?
Or that the weight of the idea is unbalanced; something is too obvious or not clear enough, so I very often rewrite the scene with the rehearsal. You always try to keep total control of every step taken in the making of a film.
I feel curious about one or two aspects of this fastidious control. The first concerns the art direction of your films, and The Shining is particular.
Do you intervene directly in this? Well, yes. For example in this film, the art director, Roy Walker, went for a month all over America photographing hotels, apartments, things that could be used for reference. We must have photographed hundreds of places.
Then, based on the photographs we liked, the draughtsmen drew up the working drawings from the photos, but keeping the scale exactly as it was, exactly what was there, not something like it.
When the photographs were taken he stood there with a ruler, so that you could actually get a scale of everything, which is very important.
So, things like those apartments and their apartment inside the hotel, which is so ugly, with this sort of lack of design, the way things actually get built without architects, is also important to preserve.
The spectators of the film hesitate for a longer time than the readers of the novel between a natural and a supernatural explanation of the events. The uncanny features of the film are more numerous than the ones of the novel. The horrific and terrific features used in the written medium are different from the ones used in the cinematic one.
Elisa Pezzotta - Roehampton University Thesis 1: The spectators of the film hesitate for a longer time than the readers of the novel between a natural and a supernatural explanation of the events. Elisa Pezzotta - Roehampton University According to Tzvetan Todorov, a text, to be defined fantastic, must fulfil the three following conditions: 1.
Second, this hesitation may also be experienced by a character; … 3. The uncanny can be evoked, for example, by: the double and the repetition of the same things.
Thus the uncanny is something familiar which has become unfamiliar through repression, is something repressed which recurs. Elisa Pezzotta - Roehampton University According to Freud, the uncanny in real life and in fiction can be provoked by: Where? Real Life Fiction setting Fiction setting material reality arbitrary and What? Uncanny Fantastic Marvelous What?
Double Tony: Danny moves his index finger and speaks like a ventriloquist to communicate with Tony Mirrors, for example: 1. Elisa Pezzotta - Roehampton University Thesis 3: The horrific and terrific features used in the written medium are different from the ones used in the cinematic one.
If the monster is: 1. Physically threatening, but 2.