The Shining

Stanley Kubrik

1980 - USA


Color palette:

Shinig

Time and space in this film that has been repeatedly ranked the best horror film ever, are at the behest of Director heavily confused. While the scene jumping by months, days, hours, space is defined by pristine labyrinthine Interior and exterior that will not only make the man small and insignificant, but also create a feeling of perdition of perception.

The sets, designed by the genius of Kubrick, are mostly filmed at night or indoors, with a suffocating artificial light that shines from behind the characters and makes marked evil expressions of Jack.

The colours have been studied thoroughly, like white that is used to emphasize even more the sense of loneliness, or the Red “blood” in the bathroom.

In the course of the narrative the colors pass soft hues of the hotel, populated by his last customers, to red, in connection to the affirmation of madness in Jack. Wife and child, on the other hand, always wear clothes with white, red and blue in honor of the American flag.

The Director is supported by the most advanced technologies as the steadycam, that allows you to watch the characters just without sudden jerks. Even the Assembly of some scenes, such as those that depict the hallucinations of Danny, is very special, because the background is quickly replaced an image of strong emotional impact that arises in the boy’s head.

Despite being set in the United States, the interior scenes are shot in the studio in England, with the biggest set ever made so far. Some shooting from above portray a second location that is missing the maze of hedges when Jack gets lost and die frostbite.

The Stanley Kubrick’s daughter Vivian, he filmed the Making The Shining, a documentary in which stylistic techniques are taken and the reasons for the Director’s technical choices.