![]() The identical dangerous sexual environment inhabits Stefan Zweig’s novella The Burning Secret (1913) from which in 1956 Kubrick wrote a screenplay. The many tracking shots of Danny riding his tricycle through the hallways of the Overlook Hotel suggest the entrapment, loneliness, and sexual temptation surrounding the young boy isolated in a hotel in Ingmar Bergman’s The Silence (1963). Manager Ullman brags about the Overlook’s guests. ![]() But here it is in juxtaposition with an image representing the Native Americans upon whose graves the Overlook was built. The Shining echoes the smug aristocratic self-appraisal in Barry Lyndon (1975), “All the best people,” through the Overlook Hotel manager’s identical description of the hotel’s history of powerful and wealthy guests. The first image of A Clockwork Orange (1971) is a gloomy challenge to the last image of 2001. Strangelove (1964) references Lolita and 2001: A Space Odyssey (1968) references Dr. The first sequence of Lolita (1962) includes a threefold reference to Spartacus (1960). In a reference to The Killing (1956) in that film a horse is frightened by a motorcycle, beginning a series in subsequent films, including The Shining, of references to menacing oppositions of animals and machines. Starting with Paths of Glory (1957) Kubrick’s references to his own films have always been substantive and thematic in content. Substantive and thematic self-reference in Kubrick’s cinema And it is highly autobiographical, referencing Kubrick’s eastern European Jewish family origins and his own lifelong movie-watching that began during his New York City childhood in the 1930s. Appropriate for its genre, The Shining is, moreover, Kubrick’s most concentrated portrait of individual and institutional human evil. It demonstrates that underneath the narrative of the film such references comprise elements of an indirect discourse - also served by Kubrick’s habitual deep focus and found music - on family and history. ![]() 4 The present essay focuses on Kubrick’s references in The Shining to his own films and those of other filmmakers. 1 In this regard The Shining (1980) has itself been the subject of considerable attention in terms of film genre theory, 2 literary adaptation, 3 and transcultural appropriation. Much has been written about the intertextual richness of Stanley Kubrick’s cinema both in and of itself and in terms of its influence on other filmmakers. #99 - Eatin' on the Cuff or The Moth Who Came to.chases after the Road Runner, going so fast that he literally leaves a streak of fire on the ground!Īnd that's when we get the payoff: just as they run over the steel door, it finally shoots up. eats an entire box of "leg muscle vitamins" so he can catch up to the Road Runner (insert your own Barry Bonds joke here). just abandons the door and runs after the Road Runner.įor the last trap, Wile E. Normally, this is where we expect to see the punchline of this gag, but interestingly enough, nothing happens. goes out to take a look, trying to pull it up and even starts jumping on it. However, when the Road Runner runs past it, the door doesn't budge. sets up a steel door that will shoot up from the ground when he releases it. ![]() Some of the best WEC/RR shorts used a different approach to this method, including Stop! Look! and Hasten!Ībout half-way through the short, Wile E. sets trap, trap somehow fails, repeat as necessary. Coyote/Road Runner toons, there was always a formula to the gags: Wile E.
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