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Roger Luckhurst's study of Kubrick's dark masterpiece 'The Shining' illuminates the film's themes, tropes and resonances through a detailed analysis of sequences and performances. Taking the maze as a key motif, Luckhurst offers numerous threads with which to navigate the strange twists and turns along the corridors of this enigmatic film.
- Sales Rank: #190333 in Books
- Brand: Brand: British Film Institute
- Published on: 2013-11-08
- Released on: 2013-11-08
- Original language: English
- Number of items: 1
- Dimensions: 7.55" h x .26" w x 5.27" l, .39 pounds
- Binding: Paperback
- 104 pages
- Used Book in Good Condition
About the Author
Roger Luckhurst is Professor of Modern Literature at Birkbeck College, University of London. His many books include The Trauma Question (2008) and The Mummy's Curse (2012).
Most helpful customer reviews
14 of 16 people found the following review helpful.
An Excellent Analysis of a Very Controversial Film
By Joseph V. Iorillo
Mr. Luckhurst has written an incisive, thought-provoking and incredibly illuminating examination of Kubrick's "The Shining," a movie that is notoriously opaque, frustrating and confusing, even for Kubrick fans. Luckhurst brilliantly and clearly analyzes the film in terms of psychology, mythology and horror film history, and he even sheds light on the evolution of the script and the reasons behind many of the film's confounding mysteries. The BFI Film Classics series has published many fascinating volumes, but Luckhurst's analysis of "The Shining" is one of the series' more indispensable offerings. Highly recommended.
2 of 2 people found the following review helpful.
Lost in the Maze of Kubrick's Overlook Hotel
By Syd Dithers
I've read just about everything I could get my hands on about Stanley Kubrick's The Shining, and this brief volume from BFI Film Classics has been one of the best.
When The Shining was released in the summer of 1980, I went to see it eleven times before heading back for my senior year of high school. There was just something mysterious and hypnotic about it and I felt that if I saw it enough times, it would come to me.
(I don't mind admitting this since I've seen Room 237, the very bizarre "documentary" of wild conspiracies surrounding the film by people who's watched it literally hundreds of times, so much so that they're seeing all kinds of crazy things in it!).
But this book is a level-headed and very enjoyable look at a strange, frustrating and resilient horror film that endures to this day.
I'm sure I'll be getting more of the BFI Film Classics series. I've read others that looked at Blade Runner, Eyes Wide Shut and The Exorcist and enjoyed them immensely.
5 of 6 people found the following review helpful.
Unanswered Questions and Sloppy Analysis
By bob
Like a lot of the BFI books, Luckhurst's study of Kubrick's THE SHINING is a mixed bag, but -- despite the tone of this review -- the good does outweigh the bad. The book does a couple of things really well: Luckhurst thoroughly situates Kubrick's film in the historical context of 1960s and 70s horror films. The discussion of music in the film is also interesting, if too brief. I also thought the book raised some interesting questions about subjectivity in the film.
Although he occasionally pushes a preferred reading, Luckhurst tends to present various theories for the film's labyrinthine enigmas. This inclusivity of perspectives makes the book useful if you're just beginning to study the film's mysteries. Unfortunately, in the end, I don't think the book makes the film any more comprehensible.
Specifically, I wish that Luckhurst had devoted more discussion to the film's final shot. While he presents various theories about what the final shot signifies, he ultimately evades the question by retreating to a discussion of the ending of King's novel. If, as one of the popular theories holds, Jack Torrance has "been there all along," what does that even mean?
In that final image, is Kubrick actually parodying the twist endings popularized by The Twilight Zone (as another theory suggests)? What does that say for the echo chamber of rigorous intellectual discussion that accompanies every detail in the film in books like Luckhurst's? It starts to sound like this film is Kubrick's PALE FIRE, and, hey, he did make his own LOLITA adaptation...
Also for a book that is so consumed with subjectivity (going so far as to speculate that the film's opening helicopter shots are the POV of evil spirits), what is the perspective of this final ultra-smooth tracking shot?
Having recently watched the Blu-ray's extras which include a commentary track and Vivian Kubrick's documentary on the making of the film, I found that some of the information in Luckhurst's book was repetitious. That's not necessarily a good sign when an academic study is echoing your Blu-ray's supplemental features.
There's arguably a larger issue with the book's description of various shots in the film. In an extended passage, Luckhurst analyzes the Room 237 sequence, which he sees as the core of the narrative. I watched this sequence with the help of my Blu-ray player, pausing it while I read Luckhurst's text.
There is at least one glaring inaccuracy: describing the camera's uncertain perspective as it moves into room 237, Luckhurst writes, "Jack's presence is only established once the woman behind the shower curtain has shifted, pulled the curtain back and revealed herself as a seductive nude. The reverse shot, sharing the viewpoint of the ghost, shows Jack's face turn from terror to slack-jawed desire" (64).
The biggest problem with this description is Jack's presence is actually confirmed *before* the woman behind the shower curtain is revealed. The sequence first shows us the empty bathroom while the figure behind the curtain isn't apparent; *then* we see a reverse shot of Jack's face. After that, we see the woman pull the curtain back. This matters, because Luckhurst's discussion of the scene is focused on the complicated subjectivity of the images. Yet the cinematic grammar suggests that Jack may be imaging the woman -- she only appears after Kubrick shows us that Jack Torrance is doing the watching. This kind of imprecise description makes me wonder if Luckhurst has rendered other scenes with similar sloppiness.
There's another minor error that I noticed: Luckhurst refers to "Frank Lloyd Wright's Biltmore Hotel." Unfamiliar with that work of Wright's, I did a quick internet search which showed the hotel was not designed by him. Strange, the amount of information we can access on our computers (and phones) yet books continue to be published with errors that should be caught in the editing phase.
No doubt, these flubs, like the intentional continuity errors in THE SHINING, are enigmas placed there by the author for the reader's bemusement. Yeah, let's go with that.
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