Monday, February 14, 2011

2/16 - I Don't Shine Much

The Shining: Stanley Kubrick

The 180 degree rule, evident from the bathroom scene between the Caretaker and Jack Torrance. I can say so many things about this scene (as a framing device in writing this response):
1. Kubrick allows the acting to be taken in, this enhances the supernatural, suspense and psychological effects. The moments in the scene is long, played out. Emotional responses are played with from the audience. The dialogue goes on, pauses, we see the reactions, the reception of the action and vice versa better. We over analyzed if we pay attention. The suspense is the best parts of the film. What better way to explore the actions leading up the main ones? Sofia Coppola does this in her character study films way after. Wong Kar Wai as well. I think the whole film does miss the point of wanting to be scary, wanting to be like the book. Sure (but Stephen King is a horrible writer!) but the most important ingredients is the emotion (Walter Murch's number thing). I think Kubrick keeps everything except the story (I don't care for it, and the film delineating from the book proves Kubrick wants another story of the same thing).
2. Breaking the 180 rule: he just does it. No apologies necessary. I think Kubrick thinks people who pay attention will notice the change in positions and realize, the camera is on the opposite side. Like the beginning, Kubrick shows the audience what is needed to be shown, nevermind the correction or the pleasing aesthetics that the audience is accustomed too. We're too smart to be upset. The Shining, the audience is immediately thrown into the psychology of the Jack Torrance and the family, and then, the Hotel---Kubrick wants the audience to get to the point.
3. William Eggleston can be found prevalently locked in (among other photographers that are referenced). The fucking bathroom color is brilliant and the best visually (among the Overlook Hotel, of course). I'd say kudos for the inclusion of Diane Arbus' photograph, Identical Twins, Roselle, N.J. 1967. All the homages are incredible, particularly paying attention to these photographers, the picture, what is being framed, is very important.

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