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Old 13-04-2012, 05:19 AM   #181
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That Plato quote is from a Socratic dialogue he wrote where Socrates is describing the labyrinth. I don't know why, but this just really had an effect on me all of a sudden after reading it again:

"Then it seemed like falling into a labyrinth: we thought we were at the finish, but our way bent round and we found ourselves as it were back at the beginning, and just as far from that which we were seeking at first." ... Thus the present-day notion of a labyrinth as a place where one can lose [his] way must be set aside. It is a confusing path, hard to follow without a thread, but, provided [the traverser] is not devoured at the midpoint, it leads surely, despite twists and turns, back to the beginning."

Emphasis mine. This is my interpretation. This is an allegory conveying a message about our material life.

We have fallen into a labyrinth. Whatever it is that we seek, we will never find. Instead, we will find ourselves back where we started. It is impossible to get lost. Our lives are on a confusing path that is difficult to traverse without help. As long as we don't lose ourselves, we'll find our way to the end. The end being the beginning. Alpha/Omega

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Old 13-04-2012, 07:38 AM   #182
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Originally Posted by marianneh View Post
I don't post often, but have a keen interest in this subject. Incredibly fascinating! Size_of_light - that's some incredible stuff there!!
Pretty cool, isn't it?

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Originally Posted by mata View Post
Wow. To be frank: This is HUGE. I know there's been a lot of ground covered in the thread since you first opened this up size_of_light - but I hope that all of us here, watching your work unfold, can find it in ourselves to appreciate this with fresh eyes. I, for one, am blown away! It really is a total game-changer! We are now seeing what you have been implying all along made manifest; may it be afforded the space, the careful consideration - and of course, the unmitigated respect - that it deserves. This clip is, afterall, the core reason that we are all here. My hat off to you!
Thanks.

Lots more to come...

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Originally Posted by believenothing View Post
Leads back to the beginning. Hmmm... I'm only speculating. Could be another meaningless dead end.
Good post. Will come back and comment on it and others further down the track.


---

Interesting that when the endings are aligned as in the below clip, the monolith and the photo wall* form an intersecting cross (1:03)


Possibly/probably why Kubrick used an intersecting monolith-type cross for the 'T' in the rare, early promo poster:



* With the correct aspect ratio on The Shining overlay above, that white photo board will be much wider and slightly narrower, with dimensions that likely approximate those of the monolith.

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Old 13-04-2012, 08:43 AM   #183
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Posting this now for future reference:

Quote:
Does anyone know the story behing this fullscreen vs. widescreen 'The Shining' business? Or why Kubrick wanted it that way?

Thanks.

---

Ever since 2001 he has filmed all his movies with the 1.33:1 aspect ratio in mind. That has been OAR for Clockwork, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut. I believe his reasoning was that he wanted it to be accesible to those with televisions or something along that lines, so he composed it to be open matte.

---

Clockwork Orange was hard-matted to 1.66:1. The mattes (black bars) are in the negative itself. So technically it is presented on DVD in 1.33:1 (since it never received a windowboxed 1.78:1 transfer) but with thin black bars at the top and bottom of the image.

And it wasn't to make them accessible to those with televisions, per se. He just did not approve of films being cropped to fill TV set images (cos at the time the FCC did not allow letterboxing since they ruled that TVs should be completely covered with image - wich is also why we have overscan). So he decided that, since his movies were only to be a relatively short time in theatres and where they would truly be viewed for years to come would be on TV, he composed his shots open matte. Basically, the theatrical releases of films such as Full Metal Jacket and Eyes Wide Shut were cropped at the top and bottom and presented in an aspect ratio the director never intended. In these cases, the 1.33:1 releases are the correct way to view the film.

---

What aspect ratio was The Shining filmed in?

---

The entire negative was exposed, meaning that there was no in-camera hard matting so the film was effectively shot in Academy 1.37 but it wasn't intended to be shown in cinemas that way. The film was shot and conceived for 1:1.85 ratio screening (and the camera viewfinders had the 1.85 framelines marked on them) This is the standard ratio that widescreen films in the US are projected in. The 1:185 crop was achieved when the film was projected onto cinemas screens.

http://www.visual-memory.co.uk/faq/h....html#slot1113

11/ Why are Some Kubrick films only available in the "full frame" aspect ratio (1) on VHS video, DVD and Laserdisc?

"The thing about Stanley, he was a photographer that's how he started. He had a still photographer's eye. So when he composed a picture through the camera, he was setting up for what he saw through the camera - the full picture. That was very important to him. It really was. It was an instinct that never ever left him. [...] He did not like 1.85:1. You lose 27% of the picture, Stanley was a purist. This was one of the ways it was manifested."

http://www.visual-memory.co.uk/faq/index.html#slot11

Kubrick FAQ > http://www.visual-memory.co.uk/faq/fullindex.html

http://forum.dvdtalk.com/archive/t-391313.html
Also this:

http://www.dvdtalk.com/leonvitaliinterview.html

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Old 13-04-2012, 08:54 AM   #184
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I was continuing my search for rainbow themes in The Shining, when I stumbled across a scene which I believe is key for the whole film. At least in the layer of exposing the alchemists and tricksters towards children. As the movie cleverly is titled a scary movie, Kubrick cannot be suspected of subliminal programming directed at children, while the movie contains this technique in some parts. On a side note, I have had built up a longing for sweets in colorful packages. So I bought Skittles which is my first time ever. Thanks, Kubrick!

Now digest these pictures...



In the pic below we see the appearance of the black monolith showing 3 animals of a red/blue dog (mother, god, magnetism?), a lion (the sun, energy?) and elephant (the elephant in the room?) which indicates that this scene is the heart of what Kubrick wanted to reveal.

My initial conclusion is that it's about the chemical compound fluoride and cereals containing corn, wheat and sugar. How it alters the perception of reality or even dna. Something along those lines anyway. The massive suger content in Frosties, that is also seen in some takes (aha, Tony the Tiger!) creates holes in Dannys mouth where Tony lives. To prevent this, say hello to the magic tooth fairy: fluoride! I might upload the scene if anyone wishes to see it.

Look for Tony Tiger, hiding and peeping at Danny responding to what he says. The bear watching from behind for example. In a later scene you see someone in a bear costume sucking off some elite. The crazy dwarf sticker on the door appearing and disappearing between cuts. Effin weirdness all over the place.


I also believe that what SoL has showed here is about putting two layers together. The above and below. The twins that are almost equal. ITS ABOUT APPLYING OUR OWN LIFE WITH HIS MOVIES 2001 & SHINING FOR UNDERSTANDING SYNCHRONICITY! Or be initiated to what the black monolith reveals to us. It's right there infront of us...the screen! The black thin widescreen tv is in our very room, it syncs perfectly with 2001 and the beginning of that technology released to the people, and of course the Interweb, connecting our consciousness to this very thread. It's all there. Everyone of you out there I cannot see. You are just my virtual reality. This has become my only reality. Bowman was alone in the end and soon will I. The trend with no responses shows that at least.

Damn, now I got carried away. This was not my main intention with this post. Anyway... when the puzzle is complete or we find the other side of the maze, it will be beautiful, it must be. Question is what heppens after? Who is the scriptwriter? To be reborn or to freeze to death.

By watching the two endings together provided by SoL, it makes it crystal clear. The illusion breaks like the cracked glass. The physical body dies while the soul is reborn.
Yeah well, I'm new at this

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Old 13-04-2012, 08:56 AM   #185
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Although the idea is fascinating


There are a few details that make this theory and "The Shining: Forwards and Backwards" for that matter difficult!, initially the difference between U.S. and United Kingdom editions. You have the U.S. version 144 min and UK version with 119 min.

Also:After its premiere and a week into the general run (with a running time of 146 minutes), Kubrick cut a scene at the end that took place in a hospital. The scene shows Wendy in a bed talking with Mr. Ullman who explains that Jack's body could not be found; he then gives Danny a yellow tennis ball, presumably the same one that lured Danny into Room 237.

This scene was subsequently physically cut out of prints by projectionists and sent back to the studio by order of Warner Bros., the film's distributor. This cut the film's running time to 142 minutes".

The Hospital Scene




http://homepages.ihug.co.nz/~butting.../hospital.html


http://www.drummerman.net/shining/girls.wav



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Old 13-04-2012, 09:13 AM   #186
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Originally Posted by dr steam View Post
[After its premiere and a week into the general run (with a running time of 146 minutes), Kubrick cut a scene at the end that took place in a hospital. The scene shows Wendy in a bed talking with Mr. Ullman who explains that Jack's body could not be found; he then gives Danny a yellow tennis ball, presumably the same one that lured Danny into Room 237.

This scene was subsequently physically cut out of prints by projectionists and sent back to the studio by order of Warner Bros., the film's distributor. This cut the film's running time to 142 minutes".

The Hospital Scene




http://homepages.ihug.co.nz/~butting.../hospital.html
Interesting fact in bold from your link:

Quote:
Consensus from those who saw the scene is that the film is better off without it. By taking viewers out of the conflict between the Overlook and the Torrence family the final menace of the hotel was weakened, and it unnecessarily pulled Ullman into that conflict (after ignoring him since the first act). The audience reaction was clearly not what Kubrick wanted, and so the scene was removed at the first opportunity. It has never been seen since, and presumably only survives in a vault in the Kubrick family's estate.

Two actors are still listed in the end credits, however: Burnell Tucker (the notably odd Clavius Base photographer in 2001) as a policeman, and Robin Pappas as a nurse.

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Old 13-04-2012, 10:34 AM   #187
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Originally Posted by marisabia View Post
I just had to interject, before continuing reading, that Barry Lyndon is by far, my absolute favorite Stanley Kubrick movie, the soundtrack, and costuming were superb, dialog, it was a cinematic triumph.
Okay, just had to say that.
I've only ever seen it once, but it was a beautiful film from memory. The lighting was exquisite, like a painting come alive.

Just been taking a look at a few clips and couldn't help noticing this:

Stanley Kubrick's Barry Lyndon [Scene 2]
https://www.youtube.com/watch?v=hJah...feature=relmfu


















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Old 13-04-2012, 10:41 AM   #188
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Into Mini-Jack..?

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Old 13-04-2012, 10:50 AM   #189
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Into Mini-Jack..?

Haha
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Old 13-04-2012, 11:01 AM   #190
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Originally Posted by gooeyblob View Post
I was continuing my search for rainbow themes in The Shining, when I stumbled across a scene which I believe is key for the whole film. At least in the layer of exposing the alchemists and tricksters towards children. As the movie cleverly is titled a scary movie, Kubrick cannot be suspected of subliminal programming directed at children, while the movie contains this technique in some parts. On a side note, I have had built up a longing for sweets in colorful packages. So I bought Skittles which is my first time ever. Thanks, Kubrick!

Now digest these pictures...



In the pic below we see the appearance of the black monolith showing 3 animals of a red/blue dog (mother, god, magnetism?), a lion (the sun, energy?) and elephant (the elephant in the room?) Elephant in the room - Wikipedia, the free encyclopedia which indicates that this scene is the heart of what Kubrick wanted to reveal.

My initial conclusion is that it's about the chemical compound fluoride and cereals containing corn, wheat and sugar. How it alters the perception of reality or even dna. Something along those lines anyway. The massive suger content in Frosties, that is also seen in some takes (aha, Tony the Tiger!) creates holes in Dannys mouth where Tony lives. To prevent this, say hello to the magic tooth fairy: fluoride! I might upload the scene if anyone wishes to see it.

Look for Tony Tiger, hiding and peeping at Danny responding to what he says. The bear watching from behind for example. In a later scene you see someone in a bear costume sucking off some elite. The crazy dwarf sticker on the door appearing and disappearing between cuts. Effin weirdness all over the place.


I also believe that what SoL has showed here is about putting two layers together. The above and below. The twins that are almost equal. ITS ABOUT APPLYING OUR OWN LIFE WITH HIS MOVIES 2001 & SHINING FOR UNDERSTANDING SYNCHRONICITY! Or be initiated to what the black monolith reveals to us. It's right there infront of us...the screen! The black thin widescreen tv is in our very room, it syncs perfectly with 2001 and the beginning of that technology released to the people, and of course the Interweb, connecting our consciousness to this very thread. It's all there. Everyone of you out there I cannot see. You are just my virtual reality. This has become my only reality. Bowman was alone in the end and soon will I. The trend with no responses shows that at least.

Damn, now I got carried away. This was not my main intention with this post. Anyway... when the puzzle is complete or we find the other side of the maze, it will be beautiful, it must be. Question is what heppens after? Who is the scriptwriter? To be reborn or to freeze to death.

By watching the two endings together provided by SoL, it makes it crystal clear. The illusion breaks like the cracked glass. The physical body dies while the soul is reborn in.....inside........Baphomet...
Oh...shit...
Very interesting thoughts there.

That monolith keeps popping up everywhere in The Shining and this example you've found is pretty fascinating.

Also note that the colours of the dog are the same as Shelly Duvall's clothing.

(I actually think she's pretty cute )

EDIT: And the colours of the dog and Shelley Duvall are very similar to the colours of the toy dog Goofy on the shelf at the right.

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Old 13-04-2012, 11:50 AM   #191
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Originally Posted by size_of_light View Post
Interesting fact in bold from your link:
Indeed another interesting detail.

2001: A Space Odyssey 'lost' footage unearthed
There are a few who might be tempted to suggest that 2001: A Space Odyssey is already plenty long enough. Those naysayers will however undoubtedly be outnumbered by those who are excited about the news of 'lost' footage from that landmark science fiction movie has recently come to light, thanks to the efforts of writer David Larson and special effects legend Douglas Trumbull, the latter of whom worked on the film. Larson has apparently spent the last nine years researching the behind-the-scenes story of 2001, conducting hundreds of interviews and compiling huge quantities of rare photographs and design artwork.



More recently he had teamed up with Trumbull, the special photographic effects supervisor hired by Kubrick to help create the movie's groundbreaking space sequences, to parlay that wealth of materials into a new documentary, 2001: Beyond the Infinite: The Making of a Masterpiece, a teaser for which surfaced in September.



While the version of 2001: A Space Odyssey which so many know and worship runs at just over two hours and 20 minutes, when the daddy of all philosophical sci-fi flicks premiered in April 1968 it was a full 19 minutes longer. The director duly snipped those extra bits out, supposedly simply for reasons of pacing. Cuts apparently included: bits from 'The Dawn of Man' opening section; scenes from the Clavius lunar base, including one of a schoolroom, with Kubrick's own daughters amongst the pupil extras; footage of Frank Poole (Gary Lockwood) jogging; a scene of Dave Bowman (Keir Dullea) hunting for antenna parts in storage; a scene where Hal cuts links between the Discovery One and the pod of Poole; and some shots of Poole's space walk, before he is killed.
http://www.indiemoviesonline.com/new...earthed-122010



Another smal detail a bit outside topic,regarding Blade Runner and Joe Turkel


Dr Eldon Tyrell Corperation Bladerunner

Lloyd our man...

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Old 13-04-2012, 12:07 PM   #192
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The director duly snipped those extra bits out, supposedly simply for reasons of pacing. Cuts apparently included: bits from 'The Dawn of Man' opening section; scenes from the Clavius lunar base, including one of a schoolroom, with Kubrick's own daughters amongst the pupil extras;
* Sprays coffee into the air *
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Old 13-04-2012, 12:46 PM   #193
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Originally Posted by size_of_light View Post
Very interesting thoughts there.

That monolith keeps popping up everywhere in The Shining and this example you've found is pretty fascinating.

Also note that the colours of the dog are the same as Shelly Duvall's clothing.

(I actually think she's pretty cute )

EDIT: And the colours of the dog and Shelley Duvall are very similar to the colours of the toy dog Goofy on the shelf at the right.
That find in Barry L was pretty neat, that means there is a chance that the monolith exists in every film by Kubrick since after 2001? I took a PRT SCR in every scene in EWS that i'm a about go through.

Wow I didn't notice that with the red/blue on Shelly and Goofy too. Amazing how every detail is thought through. Though the props keeps moving about, which contradicts the fact that he was said to be a perfectionist.

Hehe, she sure looks like a shy pony you just want to stroke, in a way

Here's the link to the scene I uploaded with Danny I mentioned earlier. I'm crap at video editing, so it could be all over the place.


This thread is such a rush, the head keeps spinning in agony and amazement. It's like a drug, in a good way

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Old 13-04-2012, 12:54 PM   #194
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A little about Lolita:

Lolita shares the trend of Kubrick's films holding multiple narratives. It has it's surface narrative then it has one or perhaps two underlying narratives that are only revealed through the symbolism and visual clues.

On the surface Lolita is the story of a ephebophile called Humbert Humbert and his desire to be with a young teenager Lolita. The second half of the film contains a sinister chase with a very strange character called Clare QUilty played by a remarkable petter sellers performance.

As with the shining there are subtle differences between the book and the film. However in this case a few of the changes where not Kubrick's choice but where to comply with the censorship law of the time, this was a very controversial film. Predominantly one difference is that in the film Humbert does not try to drug Lolita or rape her, in fact Lolita initiates sex with Humbert. "Due to the MPAA's restrictions at the time, the film toned down the more provocative aspects of the novel, sometimes leaving much to the audience's imagination. The actress who played Lolita, Sue Lyon, was fourteen at the time of filming. Kubrick later commented that, had he realized how severe the censorship limitations were going to be, he probably never would have made the film."

However it is important to look at the changes Kubrick chose to make. The most predominant of these is Kubrick's adaption of the character Quilty. In the novel (celebrated as one of the greatest ever) Quilty is a shaowy character who we do not learn about until the very end of the book. Kubrick took the final scene, the murder of QUilty by Humbert, and puts it at the very start of the movie. After this scene the rest is in chronological order until this scene is reached again, back to the start. In the novel the first and last word is Lolita. In Kubrick's Lolita, "Quilty!" is both the first and last word spoken. Thus this film is certainly about Quilty, not Lolita, as in the novel.
Kubrick makes Quilty a GENIUS, a PLAYWRIGHT, an ACTOR, and a man who is master of disguise and becomes DIFFERENT identities to trick Humbert thoughout the film. I will go into this aspect of the film later

The symbology of the film applies to the surface narrative and the subliminal storyline. Humbert moves into charlottes house when he sees and falls in love with lolita. charlotte falls in love with humbert which is hilarious to him, but he manipulates her and marries her to get closer to lolita. Charlotte Haze often wears big cat furs and patterns:



in the murder of Quilty, a tiger head is shown beneath the portrait of 'Lolita' which quilty cowers behind as he is shot dead (supposedly):

http://i41.tinypic.com/dndbia.jpg

The portrait is important because like the furniture in the Shining, it moves during the scene. This is how Kubrick draws our attention to it.

http://i39.tinypic.com/mhtukp.jpg

I wonder why the portrait is first shown on it's side? The boxes marked boELens is important to, Quilty's brand of alcohol. The portrait moves from the foot of the stairs, to the top where the chair with the white sheet is seen, when quilty appears he emerges from a chair, beneath a sheet.

Charlotte haze, is the tiger head. Humbert plays chess with Charlotte and mentions he is going to 'take her queen' and laughs when he says 'yes these pieces can jump over other pieces. This is essentially what Humbert does to charlotte, jumps over her to take her queen.

http://i39.tinypic.com/2ikbqcz.jpg

This cat represents charlotte or her piece in the game of chess. It sits outside Humberts bedroom and is between humbert and lolita, a 'blocking piece' in chess.

Now that is all very much on the surface and to do with the primary narrative. But the story of Lolita is actually an allegory. I wonder how many of you are aware of the concept of a trio? much similiar to the christian trinity, it is another archetype and often a signature in the life of an angelic being. A trio is a container, and marks lineage. Adam supposedly had 2 wives Lilith and Eve. Abraham had sons by his wife Sarah and her maid, so that relationship is clear. Jacob or Israel as he is known also had two wives and had to work for 7 years to get the second one he fancied.

I would point out another issue which is the ancient ritual of sacrificing one's son. Or in many biblical cases of preferring the younger son, perhaps as the result of trickery. Abraham disowned his oldest boy etc.. The New Testament gives a different angle and the son is Prodigal and allowed to come back to the fold. But in mythology it is the other way round and the 'sons' overthrow, possibly castrate their fathers. And here on earth we have that situation where the bad 'angels' have overthrown their Lord of Spirits, or have tried to do so, and dread his return. The force contained by the Trio is of course angelic. The angels just have to have to be surrounded by women.

I will make the case now that Quilty is angelic, and Kubrick is either referncing himself (are you quilty? no i'm spartacus - kubrick's previous film), and nodding to Hamlet as Quilty is shown as a changeling. Or Kubrick is referring the angel Edward Kelly, William Shakespeare. However since my friend was first to discover this i'm more inclined to believe that quilty's character was a nod to hamlet, playing an anti-Hamlet if you will.

The trio in the film is between Lolita, Humbert Humbert and Clare Quilty.
Lolita, is another name for Dolores, 'sorrows' the name of Virgin Mary,Mari,Gaia,Earth. Certainly when she is first shown she is adorned with the halo.

http://i39.tinypic.com/wip8k.jpg

This is where the horn and the ram sybology comes into it. Lolita lives in Ramsdale, on the stairs on the house is the ram, and lolita wears horn-rimmed glasses. The trio is between Earth, and her two unsuitable suitors, appropriate would be a boy her own age. Mary had a dual aspect, a day and night etc. this is where she keeps her two 'husbands'.

Bear in mind that in 1962 Nabokov (author of the novel) writes about 'Hurricane Lolita' sweeping up the East coast of the US but there was no hurricane so named. the film and the book became one of the most corrupting influences ever with a host of paedophiles as a direct result as it seemed to give them some justification. paedophiles feel that their affections are natural but seldom do their victims think this. The hurricane was very like what happened with the satanic films too and changed people's perceptions. Lolita was both a classic and Playboy. Sex is the key as this is what fascinates the angels, in fact it is why they came here to a time when they were able to take 'wives' of 12 year old virgins. Paedophilia and satanism go hand in hand.


So Humbert may represent man, certainly he is corrupt and conniving (he is James MASON after all, Kubricks first choice for the part), but seems to act 'possessed' Kubrick portrays him as naughty but nice, very different to the novel. After Charlottes death, Humbert is shown 'baptizing' himself in the bath tub surrounded by fish icons, on the window and shower curtain. As charlotte commits suicide, he takes Lolita on the run and they begin a sexual relationship, or it is hinted. The manipulation is now doubled up, it is quilty who manipulates Humbert so he can resume his relationship with Lolita (which is not revealed until the end). Unlike the novel, Quilty does not work alone in the film, in fact it seems every member of the community everywhere they go he holds significant influence over. when they are followed humbert says to lolita "perhaps they are a type of police that just follow you" as they breakdown and the following car just stops behind them, turns around and leaves.

Now if you look at the 2nd picture i posted you will see a statue wearing a stiletto on it's head. This is in the lair of Quilty, where it is said he takes Lolita after he 'kidnaps' her from Humbert. He takes her to New Mexico, this is where the 'lair' is. "to a dude ranch near Santa Fe. The only problem with it was, he had a bunch of wierd friends there [...] Painters, writers, nudists, weightlifters." she says she would put up with them because he was on his way to Hollywood to become one of the 'Spectaculars' he offered her a film contract but it wasnt what it seemed. he wanted her to 'co-operate with the others' and make an 'art movie'. I think this is suggesting Quilty forced her into pornography, which peter sellers is actually linked with interestingly.

Back to the stiletto. That shoe in a window in London would have meant that a prostitue worked there, a more delicate sign than a 'red light'.

The murky world of sex is hard to make rules about. In my view pornography which is very ancient and prostitution, even more ancient perhaps, both have a place in society. That is to say a woman should be able to hire out her body just like a man who may be a soldier a plumber or anything else. Indeed there is a healing art associated with some forms of prostitution. the problem occurs whn conscription is behind it or exploitation though both apply to many forms of labour and soldiery.

But age is the biggest problem. All over the world children are given to men as brides. And many children are forced intio other forms of sex slavery - of both sexes. Abuse of any kind is intolerable. It does not really matter what age it is or whether it is by tradition or custom or not. No is no and a child who is unable to say no needs a guradian who will. sadly that is not the case for Lolita who's guardian fell under the very same spell as Lolita and falls for both Quilty and Humbert.

Psaedophilia is an extreme form of abuse and is orchestrated. Kubrick makes many many many references to an organized form of pedophillia, in this film fundamentally, but also in Eyes Wide Shut and in The Shining.

The problem with those angels coming here for sex was not that they bought women with their arts and skills. Women were delighted by the jewellery and make up they gave in return and many angels are very good to the women who seem to adore them. It upset the native men which is unfortunate but happens naturally with so called alpha males and the rest of us, hence Humberts extreeme jealousy of Quilty which drives him to murder. But the angels took it to extreme lengths. Harems of hundreds, many forced into them and hidden and isolated like prisoners. Sadistic sex. Elitism in society. And worse dreadful rules for all women as opposed to men.

Nothing that cannot be put right if true equality and human rights are afforded to all. And of course genuine protection of minors.

The murder of Quilty is only implied on the surface narrative. In the shot, the bullets pass through the 'Lolita' portrait as Quilty is hidden from view behind it. Thus quilty is the real sinister force behind Lolita (in possession of her before Humbert even meets her) which commands Humberts desire for her., which leaves her 'marked' (the bulletholes)
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The way we live day to day stays monotonous -like your bland sound
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Not as a disguise to hide behind when adressing your brethrens
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Old 13-04-2012, 01:01 PM   #195
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The final/first scene of Lolita is very cryptic and I'm sure holds most of the films secrets. Kubrick presents it to us before we can make sense of it without knowing the story. One thing that continues to puzzle me is the cryptic words used by drunken quilty. most seems to be nonsense but is strange nonetheless:

"I intend to move to England or Florence forever
You could move in
I've got some nice friends who could come and keep you company
you could use them as furniture
theres this one guy who looks like a book case
I could fix it for you to view executions
Just you nobody else. just watching
Because nobody knows
that the chair is painted yellow
You'd be the only guy in the know
Imagine! Your friends you could tell them"

Kubrick indeed moves to England forever or the rest of his life. The mention of furniture reminds me of the moving furniture somehow.
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The man without a face, I stay anonymous
The way we live day to day stays monotonous -like your bland sound
But with the weight of the world on top of us we still stand ground
and break down your fascination with the fabrication of the truth
Make use of your imagination in the pursuit of expression
Not as a disguise to hide behind when adressing your brethrens
I reckon the question is this: 'To be or not to be?' - a simple lesson in risk

Last edited by feralgoose; 13-04-2012 at 01:02 PM.
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Old 13-04-2012, 01:06 PM   #196
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Originally Posted by gooeyblob View Post
That find in Barry L was pretty neat, that means there is a chance that the monolith exists in every film by Kubrick since after 2001?
What makes me sure the scene in Barry Lyndon is a conscious reference to the monolith is the deft little touch of having the bottom left corner exposed to the sunlight, so that it only appears as a full rectangular mass of darkness for a fleeting moment when the horse's shadow is cast upon the stone as the rider enters the tunnel:



It feels like a sly wink from Kubrick to those paying attention.


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Originally Posted by gooeyblob View Post
I took a PRT SCR in every scene in EWS that i'm a about go through.
Excellent.
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Old 13-04-2012, 01:17 PM   #197
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Here it is folks - a relatively rough, early version of the merged film endings I've created for your consideration.

The quality is not so good, but I wanted to get this uploaded as soon as possible with a view to perfecting it in the future.




I'll let my upload comments explain the rest for now:




There's a hell of a lot going on here, so take your time, think about it some and enjoy:

2001: The Shining - End Sync Version 1 - YouTube

P.S. Might want to download it as soon as possible if you can, in case youtube deletes it soon for copyright violation.
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Originally Posted by size_of_light View Post
Pretty cool, isn't it?



Thanks.

Lots more to come...



Good post. Will come back and comment on it and others further down the track.


---

Interesting that when the endings are aligned as in the below clip, the monolith and the photo wall* form an intersecting cross (1:03)

2001: The Shining - End Sync Version 1 - YouTube

Possibly/probably why Kubrick used an intersecting monolith-type cross for the 'T' in the rare, early promo poster:



* With the correct aspect ratio on The Shining overlay above, that white photo board will be much wider and slightly narrower, with dimensions that likely approximate those of the monolith.
Okay there were those goosebumps you promised. Thank goodness I got it to play this morning!
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Old 13-04-2012, 02:05 PM   #198
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Default 'Monolith' Object on Mars?

http://news.yahoo.com/monolith-objec...214004772.html

"Amateur stargazers have discovered an intriguing object jutting out from the surface of Mars. The seemingly perfectly rectangular, upright structure, found in NASA images of the Red Planet, bears a striking resemblance to the monoliths planted on Earth and the moon by aliens in the classic sci-fi film "2001: A Space Odyssey."

what a trip.
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Old 13-04-2012, 02:11 PM   #199
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Quote:
Originally Posted by feralgoose View Post
The final/first scene of Lolita is very cryptic and I'm sure holds most of the films secrets. Kubrick presents it to us before we can make sense of it without knowing the story. One thing that continues to puzzle me is the cryptic words used by drunken quilty. most seems to be nonsense but is strange nonetheless:

"I intend to move to England or Florence forever
You could move in
I've got some nice friends who could come and keep you company
you could use them as furniture
theres this one guy who looks like a book case
I could fix it for you to view executions
Just you nobody else. just watching
Because nobody knows
that the chair is painted yellow
You'd be the only guy in the know
Imagine! Your friends you could tell them"

Kubrick indeed moves to England forever or the rest of his life. The mention of furniture reminds me of the moving furniture somehow.
Check this out:


Quote:
Look at 18 seconds - there's a random person walking by in the mansion. Can't believe I never noticed this!
Quote:
Supposedly, the person that walks by in the beginning is Stanley Kubrick.

Last edited by size_of_light; 13-04-2012 at 02:14 PM.
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Old 13-04-2012, 02:13 PM   #200
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Originally Posted by pr0f173r View Post
http://news.yahoo.com/monolith-objec...214004772.html

"Amateur stargazers have discovered an intriguing object jutting out from the surface of Mars. The seemingly perfectly rectangular, upright structure, found in NASA images of the Red Planet, bears a striking resemblance to the monoliths planted on Earth and the moon by aliens in the classic sci-fi film "2001: A Space Odyssey."

what a trip.
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