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CG Arts & Animation
Unit 3:
Environment
Simon J. Bloyce
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Table of Contents
Page 3: Introduction
Page 4: Book List
Pages 5-10 : Essay Body
Page 11 : Bibliography
Page 11 : Image List
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Introduction
The purpose of this introduction is to give the reader an understanding of The Uncanny
(ger: Unheimlich). This is the principal which defines objects, places, persons or
circumstances that when experienced, either remotely (by reading a book or watching a
film) or directly (by being in the presence of said objects, places, persons or
circumstances) give the observer a sense of unease. This principal is described and
researched in great depth by Sigmund Freud in his paper, The Uncanny. Here he relates
the experience of Unheimlich (unhomely) to items, people and places that wouldbe
familiar but for their uncanny. Starting from the homely and the domestic, there is a
further development towards the notion of something removed from the eyes of
strangers, hidden, secret...(Freud S., p133 point 4)
A dictionary definition of uncanny is, strange or mysterious, esp. in an unsettling way: an
uncanny feeling that she was being watched.
What Freud does state however is, Unheimlich is clearly the opposite of heimlich,
heimisch, vertraut, and it seems obvious that something should be frightening
precisely because it is unknown and unfamiliar. But of course the converse is not
true: not everything new and unfamiliar is frightening. All one can say is that what is
novel may well prove frightening and uncanny; some things that are novel are
indeed frightening, but by no means all. Something must be added to the novel and
the unfamiliar if it is to become uncanny. , (Freud S., p124-5 para 4).
From the examples and definitions above it may become clear to the reader that the idea
of the uncanny is a delicate one, and possibly deeply personal. What scares one will not
necessarily scare another, even in the same circumstances.
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The uncanny principles have been employed and manipulated by storytellers since ever
stories were first told. The purpose of this essay is to relate the principles in the
introduction to a particular piece of media. In this case Stanley Kubricks, The Shining,
(1980). The film is an adaptation of Stephen Kings novel and is regarded by many to be a
masterwork of horror and suspense, and Stanley Kubricks finest film.
Figure 1
The following is a list of books used in this essay.
Rorty R., Philosophy and the Mirror of nature, (1980)
Arendt H., The Human Condition, (1958)
Bergan R., filmisms... UNDERSTANDING CINEMA , (pub. date unknown)
Stevenson J., The Complete Idiots Guide to Philosophy, (2005)
Grant M. and Hazel J., Whos Who In Classical Mythology(1973)
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In order to be more concise regarding Kubricks inclusion of the uncanny in his film it is
easier to concentrate on certain aspects of Freuds paper and relate how these
observations fit into Kubricks work
Repetition
Whilst coincidence may cause a feeling of unease in a subject it is the repeating of certain
circumstances that many find uncanny. Kubrick uses this principal to good effect.
Throughout the film the audience is taken on very private tours through the Overlook Hotel
where the film is set. Mostly with the young character Danny.
Figure 2
As shown in the image above Dannycan be seen riding his trike through the fairly
inconspicuous corridors of the Overlook. The symmetry of the scene is useful, not only to
disorient the viewer, but also establish the vast plainness of the environment. Kubrick
takes care to lull the audience into a false sense of security before eluding to the story or
providing a shock. Notably with the twin girls who, killed by their father in a mad rage stalk
the young Dannywith alarming effects.
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Figure 3
Perhaps the very appearance of two girls of such similar age, appearance and dress also
contributes to the peculiar feelings experienced when watching this scene. The principal of
repetition in a very basic form.
In a pivotal part of the film where actor Jack Nicholson reveals his madness to actress
Shelley Duvall the very essence of the repetition theory is displayed with the words, All
work and no play makes Jack a dull boy as Duvalls wife discovers the words written
over and over on page after page. This, relatively simple device repeated in different
typesets has an extremely discomforting effect and acts as the catalyst for the turbulent
third act of the film.
Figure 4
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Figure 5
Nicholson is able to play his character with such great effect because of the core element
of the uncanny theory, that being the familiar, unfamiliar. As the film progresses the already
emotionally distant Nicholson becomes further removed from the husband and father he
was before the Overlook Hotel took effect. In an interesting scene between Nicholson and
his young co-star the boy is made uncomfortable by the absence of his father despite his
patriarch's presence. As the scene progresses the boy comes to the realisation that the
man on whos knee he sits is no longer his father. Whilst this knowledge would no doubt
distress a child of that age in any circumstances, Kubrick is playing to the audience. With
an eighteen certificate Kubrick knows that his vision is being seen by those who can truly
appreciate the horror of a man who may abandon his duty of care with dangerous
consequences. Those who have children may be shocked, but since we have all been
children we have the potential to identify with and relate to the danger the child and his
mother are in.
Figure 6
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Figure 8
Figure 9
At first it is just Lloyd and Jack Torrance (Nicholson). Passing the time as customer and
dedicated Barman do, exchanging pleasantries. From the beginning of the scene it is clear
that we are locked into a figment of Nicholsons imagination. Sharp editing and a little filmic
illusion changes the bar from an empty space inhabited by dust to a fully stocked bar
inhabited by Lloyd. The sudden change is startling, but not entirely unexpected. What does
unnerve however is the familiarity with which they speak to each other. Both staff and
client interact as if they have ever been. Again, concerns can be allayed if one believes
that Kubrick is allowing his audience to believe that this is an extension of Nicholsons
psyche. Certainly as Nicholsons insanity increases so does his susceptibility to his visions
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and as in Fig. 9 his immersion in them. In this scene he is no longer alone with the ever
faithful Lloyd but in the Overlook ballroom, in the Hotels heyday.
Kubrick uses the ideas of secrecy and hiding less subtly in other ways. When the young
Danny hides in the kitchen the audience hides with him, holding their breath and clutching
to their arm rests.
Figure 10
Figure 10 depicts one of Kubricks less subtle forays into the uncanny, but both the figure
in the mask and his well dressed playmate have been caught out, their secret laid bare.
Whilst not a particularly successful scene in uncanny terms, it still obeys the basic rules.
Conclusion
Kubrick has stood by many of the principals outlined in Freuds paper. Whether he has
direct knowledge of these is unclear, but between them King and Kubrick have created
and displayed a story which provides the viewer with a sense of the uncanny throughout.
Using repetition, secrecy and the plain bizarre at times he grips his audience tight, wrong
footing and disturbing them at every turn, to the extend that debate still rages over the
nuances of the film. Is Jack Torrance the caretaker, has he always been? Is this a ghost
story set in a spooky castle or is this a tale of emotional distance and cruelty? Are we
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simply seeing a man driven mad by cabin fever? Whatever the answer, one fact remains
clear. Kubricks 1980 classic will continue to thrill and disturb audiences for a long time to
come.
Bibliography
Arendt H.(1958). The Human Condition. USA: The University of Chicago Press
Bergan R. (pub. date unknown). filmisms... UNDERSTANDING CINEMA. USA: Universe
Publishing
Grant M. and Hazel J. (1973). Whos Who In Classical Mythology. UK: Michael Grant
Publications Limited
Stevenson J.(2005). The Complete Idiots Guide to Philosophy. USA: Penguin Group
Rorty R. (1980). Philosophy and the Mirror of nature. UK: Blackwell Publishers
Image List
Fig 1: dvdbeaver.comFig 2: free-extras.comFig 3: free-extras.comFig 4: allstarpics.netFig 5: timemachinego.comFig 6: fanpop.comFig 7: furishnie.blogspot.comFig 8: brianvsmovies.blogspot.comFig 9: allstarpics.netFig 10: horrorfanzine.com
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