Famous Film Director Paper: Stanley Kubrick 10/9/2000 1.
Student Name: Andrew Novell Hand in Date: 18/9/2000
Course: BA Directing Word Count: 3000
Level: 3
Module: 2.2
Unit: 5
Famous FilmDirector Paper
Title...
“Does the Director studied have a coherent style? How does this style function aesthetically and in its reception by an audience.”
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Famous Film Director Paper: Stanley Kubrick 10/9/2000 2.
STANLEY KUBRICK'S USE OF STYLISTIC TECHNIQUES IN
THE FILMS 2001: A SPACE ODYSSEY AND THE SHINING.
Introduction.
Stanley Kubrick.
Stanley Kubrick's brilliantly orchestrated
images of perpetual gliding motion, perceived
through a cold, unflinching, and dispassionate
eye, probably represent one of the most instantly
recognisable stylistic ‘signatures’ in cinema
history.
However, Kubrick was a far more than merely a
visual genius - he was also a great contemporary
philosopher who adopted and adapted the medium of
film to explore the deepest, and often darkest,
recesses of the human psyche. Kubrick's
biographer, Vincent LoBrutto writes:
“In his heart Kubrick was a fatalist, and existentialist, and he was attractedto literary material, which spoke to his
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growing dark vision. Photographicallyhe was on a quest to take the implementsof cinematography and reinvent them for his own purposes. The viewfinder he used to determine and plan shots became an important bridge between his inner eye and the final light-struck result onfilm.”1
To illustrate something of Kubrick's ‘dark
vision’, and how this is transferred
stylistically from Kubrick's own ‘inner eye’ to
the final ‘light-struck result’ perceived by his
audience, it is interesting to focus on two of
his best known films; 2001: A Space Odyssey (1968),
and The Shining (1980).
Kubrick's use of Movement.
A compulsive autodidact, Kubrick taught
himself film making by studying and absorbing the
work of the greatest exponents of the art.
Kubrick was especially influenced by directors
who concentrated on the technical aspects of
cinematography to convey their vision,
particularly European directors like Sergei
1 Vincent LoBrutto, Stanley Kubrick, (London: Faber And Faber, 1998), p.126.
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Eisenstein (1898 - 1948) and Max Ophuls (1902 -
1957), and American directors who shared the
European's fascination with the technical
possibilities of the medium, like Orson Welles
(1915 - 1985). From these illustrious peers,
Kubrick began to evolve his own personal
cinematic style. As LoBrutto explains:
“Kubrick learned lessons from the masters. The fluid tracking shots he so admired from Max Ophuls and the deep-focus, low wide-angle shots that became Orson Welles's signature are articulatedthrough Kubrick's geometric, symmetrical, photographer's eye.”2
Kubrick's most distinctive stylistic device,
and one of the most influential on the minds and
emotions of his audience, is the movement of his
camera.
Like Max Ophuls, Kubrick's camera is ever on
the move. Something of this overwhelming sense
of camera motion may be gleaned from the critic
Max Kozloff's description of camera-work in 2001:
“Every moment of the lens has a
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surprising yet slow lift and lilt to it.With their tangibly buoyant, deceleratedgrace, Kubrick's boom and pan shots wield the glance through circumferences mimed already by the curvature of the screen itself... Equilibrium seems always to be widening itself through thepanorama, and finally tracking across the adjusting tangents of orbiting objects.”3
Throughout Kubrick's work this inertia-free
symphony of boom and pan, tracking, and slow zoom
shots form the backbone of the unmistakable
‘Kubrickesque’ cinematic repertoire. Yet
Kubrick was not merely interested in movement for
movements sake, but in thoroughly exploiting its
potential for dramatic effect, as LoBrutto
observes:
“Throughout his career Stanley Kubrick had tried to find new ways to move the camera and to explore the grammar of themotion picture.”4
Kubrick's camera movement brings a sinisterly
3 Max Kozloff, “2001,” Film Culture, No. 48-49, (New York: Winter and Spring, 1970.)
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beguiling and darkly mesmeric quality to his
films - a quality which not only serves as a
constant subliminal reminder to the audience of
the all powerful auteur behind the view-finder -
but also appears to hold sway over the lives of
the characters court under its spell, who appear
trapped inescapably in its pre-destined course.
As LoBrutto notes:
“Kubrick inherited the mantle of the moving camera from Ophuls, but when combined with his own bleak vision the dance became not Ophuls's dance of elegance and humanity but a Kubrick dance of doom.”5
In The Shining the slow panning shots of Jack
Torrance (Jack Nicholson) entering the Overlook
Hotel for the job interview which will ultimately
seal his fate, seems to lead him to his pre-
ordained destiny rather than follow his progress.
Similarly, in 2001 the endless spiralling motion
of the camera seems to epitomise a mankind
trapped within the gravitational certainty of
5 Ibid., p.138.
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some mysterious and dominating cosmic ‘plan’.
Kubrick's use of the Still.
Conversely, given Kubrick's relentless camera
movement, the selective use of the still shot
becomes an incredibly powerful cinematic tool,
and one which the director often reserves for the
most enigmatic or disturbing moments in his
films. In 2001, Kubrick fills the screen with
the motionless still of the HAL 9000's red eye to
illustrate the computer's complete dominance over
the Discovery crew. Similarly, Kubrick again
using the still in 2001 to enhance the silent
enigma of the monolith looming over the
bewildered proto-historic man-apes. In The
Shining the still is almost exclusively used for
the recurrent master shot of the Overlook Hotel,
the epic cyclorama of the Colorado Rockies
framing its already imposing edifice, and
reinforcing our sense of the insurmountable
forces, both sociological and natural, bearing
down upon the Torrance family. Interestingly,
Kubrick often uses still shots of Jack Torrance
too, and by already establishing the still shot
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with the hotel, cleverly manipulates the audience
into a subconscious merging of Torrance with the
hotel.
Kubrick's Voyeurism.
Kubrick's camera, prying ceaselessly into the
most intermit corners of his character's lives,
brings a distinct ‘voyeuristic’ quality to his
films. The camera's POV as an omnipotent
‘Peeping Tom’ is often employed by Kubrick to
illustrate a character's obsession with
surveillance - most notably in the HAL 9000's
malevolent voyeurism in 2001. In The Shining,
Kubrick's ‘stalking’ camera become a voyeuristic
entity in its own right, as critic Stephen Shiff
observed:
“Most of the film feels like an endless subjective shot: we appear to be watching the hotel and its inhabitants through the eyes of an unearthly prowler, someone who sees very differently from the way we see.”6
Kubrick's creation of this ‘unearthly prowler’
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owes much to his use of the Steadicam. Kubrick
had personally shot his earliest films with a
hand-held 35mm Eyemo camera. Developed
principally for filming newsreel footage, the
Eyemo proved ideal for allowing the freedom of
movement and accessibility demanded by Kubrick's
developing style. Kubrick continued to use
hand-helds on his later films, but the heavy and
cumbersome nature of the professional hand-helds
made them difficult to manœuvre and their picture
quality shaky, limiting their use only for
specific shots - for example the Cat Woman's
murder in A Clockwork Orange (1971). When filming
of The Shining coincided with the development of the
Steadicam by the American cinematographer Garrett
Brown, Kubrick was quick to exploit the new
invention. With the Steadicam, which combined
technical sophistication with almost unlimited
movement, Kubrick's was able to return to the
freedom he had enjoyed with his Eyemo.
On The Shining, Kubrick shot an unprecedented
amount of footage with the Steadicam, where, as
mentioned above, the device takes on an almost
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supernatural life of its own. The critic
Alexander Walker writes:
“The Steadicam tailing Danny as he pedals his sturdy little tricycle down the hotel’s haunted corridors supplies an invisible companion far more chillingly than a wagging digit or ventriloquial trick courtesy of The Exorcist.”7
In The Shining, the Steadicam effects the audience
so powerfully not only because it creates the
impression of some un-known prowler following
Danny (Danny Lloyd), but more disturbingly, hints
that the audience and prowler - like Torrance and
hotel - are somehow one and the same. Kubrick
also inverts the Steadicam so as to shoot from
Danny's POV, further heightening the audience's
sense of his vulnerability.
Interestingly, Kubrick's use of the hand-held,
and its successor the Steadicam, make the
voyeuristic nature of his films strongly
reminiscent of the “fly on the wall” documentary.
7 Alex Walker, Stanley Kubrick - Director: A Visual Analysis, (London:Weidenfeld & Nicolson, 1999), p.294.
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Kubrick began his career as a photojournalist
for the pictorial magazine Look. One of his
assignments was a photo-montage of a young prize-
fighter preparing for a fight, which also formed
the bases of his first film, a documentary short
entitled Day Of The Fight (1951). Many of
Kubrick's later stylistic techniques continued to
resemble those of photography and documentary -
most notably his cold objectivity and detached
POV.
One way in which this objectivity is created
technically is by Kubrick's frequent use of short
focal length or ‘wide-angle’ lenses which produce
extreme depth of field or ‘deep-focus’ - i.e.
where objects in the foreground, mid-field, and
background appear equally in focus but highly
exaggerated in comparative scale. This,
combined with Kubrick's habitual placing of his
actors in the mid-field, has the effect of making
his characters appear part of the visual image but
rarely the sole focus of it, and surrealistically
disproportionate to the surrounding architecture.
Kubrick's passion for deep-focus is another
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inheritance from Welles, who utilises it
extensively in Citizen Kane (1941), interestingly
another film dominated by documentary techniques.
Other Kubrick documentary devices include
captions, (‘chapter headings’ appear in both 2001
and The Shining), narration (newsreel of the
Discovery mission to Jupiter in 2001, and of
blizzards in The Shining), and interviews (news
interviews with the Discovery crew in 2001).
Kubrick's use of Structures.
Kubrick's style demands structural perfection
in his films. The brilliance in balance and
composition of Kubrick's images is remarkable -
the symmetrical fastidiousness of almost every
frame is surely a legacy of Kubrick's exacting
photographic eye, but also perhaps representative
of the director's deeper personality. LoBrutto
writes:
“Since Kubrick's early days as a still photographer, he had used a pictorial approach that centred his compositions. A centred image represents order, control, discipline, logic, and organisation - the very qualities inherent in Kubrick's personality and
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his psyche as an artist.”8
Kubrick's obsession with order may also have
resulted from his fascination with chess, as
LoBrutto also explains:
“In the years when he was developing hisskill as an image maker Kubrick spent hundreds of hours sitting over a chess-board - a visual emblem of order, with its sixty-four squares in eight rows of eight alternate dark and light blocks. The representation of a chessboard - real and symbolised - appears often in Kubrick's films.”9
Indeed, 2001 and The Shining reveal themselves to
be just as ordered as a chessboard - dominated,
physically and symbolically, by two rigid
structural forms: the straight line and the circle.
Kubrick's rectilinear structuring is most
powerful in the invisible lines drawn in the mind
by the convergent perspective of his ubiquitous
deep-focus shots. Kubrick often uses the power
of these subliminally ‘railroad tracks’ of
8
9 Ibid., p.423.
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perspective to fix the point of focus as an
alternative to selective focusing. In The
Shining the convergent perspective of the
perfectly symmetrical hotel corridors not only
concentrates the eye down to a specific point of
focus, but also adds to the sensation of the
building's claustrophobic entrapment of its
victims. This effect is mirrored outside by
the passages of the giant maze, which continually
funnel down and lead the eye to a suspected
horror lying in wait at their end.
In fact Kubrick frequently uses architectural
structures to increase the audience's sense of
man's repression by external forces. As in the
previous example of Danny and the Steadicam,
Kubrick habitually uses low-angle shots to expose
the ceilings of sets and heighten their
architectural dominance, another technique
pioneered by Welles on Citizen Kane. This
architectural repression is further enhanced by
Kubrick's frequent use of wide-angle lenses,
which together with their depth of field also
produce the subtle optical effect of
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‘equidistant’ projection - i.e. a curving of the
image around the edges of the frame. In The
Shining, the wide-angle lens is particularly
effective in making the already architecturally
repressive hotel appear to be enveloping Torrance
- while the Steadicam wide-angle shots of Wendy
(Shelley Duvall) and Danny exploring the maze,
create the illusion that the hedges are folding
around them.
By contrast to the dominance in The Shining of
lineal imagery, 2001 is a film composed almost
entirely of circular structures. Here, Kubrick
uses this underlying circularity to subliminally
emphasise man's entrapment by invisible forces
beyond his control - both the physical and
metaphysical. In 2001 this circularity is
particularly evident in the architectural design
of edgeless, curving, revolving space stations
satellites. Again Kubrick enhances this with
the ‘wrap-around’ effect of wide-angle lenses,
which add to the already enveloping nature of
this architecture. Kubrick also takes the
effect to its extreme by using the ultra wide-
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angle or fisheye lens to depict the eye of the HAL
9000 and its monocular ensnaring of the Discovery
crew.
Metaphysically, circularity also seems to
equal entrapment. In The Shining, Torrance is
trapped circularly in a perpetual time-loop,
doomed for eternity to re-enact his terrible
crimes - while in 2001 the “The Dawn of Man” on
the African savannah is mirrored by the last
enigmatic image of his re-birth as a Star Child,
and again a mysterious cyclic return to his
origins.
Kubrick reinforces this mysterious cyclical
regeneration through language - a favourite
Kubrick yardstick of man's level of humanity or
de-humanisation. In 2001, Kubrick parodies
mankind's return to pre-cognitive inarticulacy in
the HAL 9000's slow wind down from crystal clear
articulation to childish rendition of “Daisy,
Daisy.” - while in The Shining, Torrance
degenerates from raconteur and aspiring literary
genius to prattler of the second hand catch-
phrase “He-e-e-e-e-re's Johnny!”
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Similarly, musical symmetry also functions in
creating this circularity. This is
particularly noticeable in 2001, where humanity's
odyssey from primitive genesis, through
technological mastery, and eventual return to
embryonic innocence, is shadowed by the
primordial percussion of Thus Spake Zarathustra
(Richard Strauss) forming the prelude and coda to
the heights achieved in the strict rhythmical
perfection of The Blue Danube (Johann Strauss).
Technically, editing was fundamental in
creating many of the above subliminal structures.
Kubrick placed great emphasis on editing,
devoting a tremendous amount of post-production
time to the process, as he himself revealed:
“When I am editing, I work seven days a week. In the beginning I work ten hours a day and then as we get closer tothe deadlines I usually push that up to fourteen or sixteen hours a day.”10
Kubrick, like so many, had learnt from
Eisenstein the limitless dramatic possibilities
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of cinematic montage, but he had also discovered the
power of montage through his own photo-montage
studies for Look magazine. In montage, the
director can create associations in the
subconscious of the audience simply through the
juxtaposition of opposing shots. For example,
in The Shining, Jack Torrance wandering through the
‘labyrinth’ of the hotel is cut with Danny and
Wendy walking through the literal ‘labyrinth’ of
the maze. Later, as Torrance stands looming
like a colossus over a scale model of the maze,
Kubrick immediately cuts to an aerial shot of
Danny and Wendy entering its heart. Here,
through cinematic montage, Kubrick creates in the
subconscious of his audience the association of
hotel as the labyrinth and Torrance as its
Minotaur.
Kubrick and the Actor.
Although Kubrick did utilise some innovative
techniques to assist his performers - his use of
improvisation and ‘mood music’ greatly assisted
the performances of the extrovert Nicholson and
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the inexperienced Danny Lloyd respectively in The
Shining - it is clear that Kubrick considered that
the main responsibility of creating and fleshing
a role lay squarely in the hands of the actor
concerned. Vincent LoBrutto writes:
“Kubrick never gave his actors too much direction. He listened to suggestionsand worked by having them refine their characterisations through constant searching for every nuance in the scene by shooting repeated takes.”11
Kubrick's repeated takes may also to have been
deliberately designed for their psychological
effect on the actor, and consequent stylistic
effect on his performance - another technique
which may have originated from Kubrick's
photographic background. Author Frederic
Raphael observed:
“There is nothing that a serious photographer wants less than a model that smiles. On the contrary, he wants for his subject to be bled of personality. He clicks on, and on, until they reveal their real appearance
11 Ibid., p.403.
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by no longer having the energy or the will to put a good face on themselves.”12
The director John Boorman makes a similar
point:
“Kubrick likes to do many takes. JackNicholson told me that on The Shining, Stanley sometimes did seventy or eighty takes on a set-up, when I saw the film Icould see what Kubrick had been up to. He was trying to get performances that came out of extremity, exhaustion.”13
Through this slow psychological stripping away
of his actor's will-power, Kubrick often
succeeded in revealing the more primitive, more
instinctive, and more haunting facets of an
actor's performance - an effect frequently
exploited in creating the predominately
‘dehumanised’ characters which inhabit Kubrick's
worlds, and one which contributes greatly to the
overall stylistic vision of his films.
Conclusion.
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13 John Boorman, The Emerald Forest Diary, (New York: Farrar, Straus and Giroux, 1985), p.173.
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Kubrick's Style: ‘coldness’ or ‘dark vision’?
In the final analysis, Kubrick's exceptional
aesthetic skills clearly succeed in elevating
films like 2001 and The Shining to the level of high
art.
Yet there remains a constant criticism that
Kubrick's style is flawed by its ‘coldness’ -
i.e. his film's apparent lack of emotion, of
human scale, and dispassion towards characters.
This apparent ‘coldness’ is particularly
perplexing given Kubrick's clear humanist
ideology. Friends and colleagues generally
agree that Kubrick was a deeply sensitive and
perceptive man - one who cared passionately,
perhaps obsessively, about humanity and the
challenges to its survival.
In fact it appears that much of Kubrick's
‘coldness’ in his films stems from a deliberate
stylistic choice to focus less on man as an
individual, to permit a greater exploration of the
wider, and darker, questions about mankind as a
species.
Interestingly, Kubrick's films are often
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referred to as ‘epics’. Indeed the critic Jack
Kroll described The Shining as, “The first epic
horror film.”14 It could be argued that in many
ways a Kubrick ‘epic’ resembles less a
traditional Hollywood epic - like for example The
Searches (John Ford, 1956) - and much more the
theatrical ‘epic’ of Bertolt Brecht.
Like Brecht, Kubrick's stylistic techniques
often appear to produce a similar ‘alienation’
effect. Kubrick's objective POV, documentary
techniques, stylised use of music and language,
montage juxtaposition of images, narration and
captions, etc., all seem designed to distance his
audience from experiencing too much catharsis
with the events in his films, forcing them to be
viewed more dispassionately in their wider
sociological and philosophical context.
Kubrick characters also appear stylistically
‘Alienating’. Often representational,
sometimes bordering on caricature, they seem
designed to represent archetypes rather than
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fully fleshed-out naturalistic characters.
They are often capable of commenting objectively
about themselves without emotion, as is the case
with Delbert Grady (Philip Stone) and the other
‘super-natural’ inhabitants of the Overlook
Hotel, and Bowman (Keir Dullea) and Poole (Gary
Lockwood) in their dispassionate TV interview
aboard the Discovery in 2001.
Again, similar to Brecht's plays, Kubrick's
films often carry simple didactic messages which
effect the audience on a more instinctive level.
Kubrick's chosen collaborators on 2001 and The
Shining - Arthur C. Clarke and Steven King - both
habitually feature folk-stories, fables, and
fairy tales in their work (consider Torrance's
line “Little pig, little pig, let me come in!”),
many of which contain simple didactic ‘lessons’
at their heart, and are derived from the earliest
forms of popular drama - like the Morality and
Mystery plays. Interestingly, critic Myron
Meisel described The Shining as:
“Our first modernist medieval morality
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play.”15
Indeed, in The Shining, Jack Torrance appears to
represent less of an individual character and
more a kind of Everyman or Faust figure who,
tempted by evil, degenerates from apparent
civilised ‘family man’ to the axe wielding
‘animal’ inherent in his bestial subconscious.
The search for more allegorical story-lines may
also have influenced Kubrick's decision to work
in the horror genre. Kubrick has stated his
belief that:
“There's something inherently wrong withthe human personality, there's and evil side to it. One of the things horror stories can do is to show us the archetypes of the unconscious...”16
True, Kubrick's decision to work in the fields
15 Myron Meisel, “Why The Shining is a Fourteenth Century
Film.” Los Angeles Reader, (Los Angeles, California: May 13,
1980), p.4.
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of sci-fi and horror came from the shrewd business
sense of a committed independent film maker out to
exploit their themes for their box-office
potential (2001 was released to coincide with
man's first steps on the moon - while The Shining
capitalised the huge popularity of horror films
in the late 70s and early 80s, along with
classics like The Amityville Horror (Stuart Rosenberg,
1979) and Friday the 13th (Sean S. Cunningham, 1980),
both of which share strikingly similar story-
lines to The Shining), but it is also arguable to
say that these highly popular genres served to
lift Kubrick's films out of the art-houses and
into the mainstream cinemas, and consequently
function again similarly to medieval Morality plays
in spreading their message to the widest possible
audience.
In conclusion it is perhaps wrong to criticise
Kubrick's ‘coldness’. For all the majestic
technical orchestration and aesthetic brilliance
of his films, it is the cold detachment and
clinical objectivity of his work which remains
the most coherent of ‘Kubrickesque’ stylistic
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techniques, and arguably one of the most
influential in communicating Kubrick's ‘dark
vision’ to his audience.
BibliographyBaxter, John. Stanley Kubrick: A Biography. London:
HarperCollins, 1997.
Boorman, John. The Emerald Forest Diary. New York: Farrar, Straus and Giroux, 1985.
Brown, Garrett. “The Steadicam and The Shining.” American Cinematographer. Los Angeles, California: August, 1980.
Dalton, Stephen. “Symphony For The Devil.” Uncut. London: IPC Magazines, April 2000, pp.52-74.
Dick, Bernard. F. Anatomy Of Film. 2nd edition. New York:St. Martin's Press, 1990.
Kagan, Norman. The Cinema of Stanley Kubrick. Oxford: Roundhouse Publishing Ltd, 1997.
Kozloff, Max. “2001.” Film Culture. No. 48-49, New York: Winter and Spring, 1970.
Kroll, Jack. “Stanley Kubrick's Horror Show.” Newsweek.New York: May 26, 1980.
LoBrutto, Vincent. Stanley Kubrick. London: Faber And Faber, 1998.
Meisel, Myron. “Why The Shining is a Fourteenth Century Film.” Los Angeles Reader. Los Angeles, California: May 13, 1980.
Raphael, Frederic. Eyes Wide Open. London: Orion Books Ltd, 1999.
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Famous Film Director Paper: Stanley Kubrick 10/9/2000 27.
Shiff, Stephen. “The Shining.” Boston Phoenix. Boston, Massachusetts: June 17, 1980.
Walker, Alexander. Stanley Kubrick - Director: A Visual Analysis. London: Weidenfeld & Nicolson, 1999.
FilmographyKubrick, Stanley (dir.) 2001: A Space Odyssey. Metro-
Goldwyn-Mayer, 1968.
Kubrick, Stanley (dir.) The Shining. Warner Brothers, 1980.
Kubrick, Vivian (dir.) The Making of The Shining. London: BBC, TX. 10th April, 1980.
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