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Old 03-04-2012, 07:53 AM   #1
size_of_light
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Default 2001: The Shining / Analyses of Kubrick's Films

Been looking at this for the last few days and I already have a fair bit of material to post that I find pretty amazing...

Anyone who has ever been awed by 2001: A Space Odyssey has wondered at some point what it would be like if Kubrick had made a sequel.

"What would happen next?"

Well the good news is the man was an utter genius and it turns out he did make a direct (but hidden) sequel and it is The Shining.

For me, looking into this isn't just a hollow exercise in artistic appreciation; I agree with Jay Weidner's theory that Kubrick had inside knowledge of the space program and worked on the Apollo moon landing footage, and think Weidner is right in his interpretations of certain scenes in The Shining that seem to allude to this fact.

But I believe there's a much deeper level to the hidden symbolism Kubrick was communicating in The Shining that connects in with this.

This is a work in progress for me and my conclusions are subject to change, but for now I'm of the firm opinion that one of Kubrick's prime intents with the film was to convey to us the secrets of the true nature of the Moon.

If you're interested in this, then before going any further you have to do the following because the journey to understanding is an interactive experience, not a passive one.

Open the following two clips in separate browsers:



...and position them side by side like this:



Mute the sound on the "Midnight, The Stars and You" clip on the right (which is the end scene from The Shining), then press play on it when the "2001 A Space Odyssey - ending" clip on the left reaches the 0:57 second mark.

Much more to add on all this, but for now I'll let people try that out and am looking forward to hearing some feedback on the experience, or thoughts and theories on anything else mentioned above.

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Old 03-04-2012, 09:37 AM   #2
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So the moon baby is the killer psycho in the shining?
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Old 03-04-2012, 11:21 AM   #3
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I couldn't help but also try it the other way round, playing Midnight along with the star-baby scenes, gives an interesting effect, too!

The zooming-in sequences are eerily similar, you are right, but this didn't give me any insights into the nature of the moon.
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Old 03-04-2012, 02:39 PM   #4
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So the moon baby is the killer psycho in the shining?
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The zooming-in sequences are eerily similar, you are right, but this didn't give me any insights into the nature of the moon.
Attempting to understand the true (or most profound) message within a work of esoteric symbolism is a bit like navigating your way through a maze in that there are a lot of interesting places to go but only one path that takes you to the intended destination.



Kubrick seems to be tipping viewers off to this throughout The Shining with his use of the hedge maze, in his editing choices and camera angles, and also in the movements and directions characters adopt at certain pivotal moments (turning this way or that down corridors, into doorways etc.)



The map of the maze or the layout of the maze itself (they're not the same) might actually be underpinning these choices and indicate the difference between symbolic red herrings and genuine clues that point toward the real meaning of the film.

It would take a long time to break the whole thing down and get a sense if that were true, though it might be necessary to do so in the long run, to ensure we don't always end up here:



That being said, I think a shortcut has been provided by Kubrick, a blueprint, or a cypher, which doesn't explain the film, but is the key to doing so.

This is it:

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Old 03-04-2012, 02:54 PM   #5
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What I don't get is, if you have all this insider knowledge and are also an expert in media communication, why all this beating around the bush with this hidden symbolism malarkey? Why not just do a comprehensive and compelling documentary and use all your connections and wiles to make sure it is seen by a maximum audience?
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Old 03-04-2012, 03:38 PM   #6
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I was referring to Kubrick.
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Old 03-04-2012, 03:59 PM   #7
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I was referring to Kubrick.
If he was working for an occult agenda by making these films then I suppose it would be the usual case of communicating to the public what's happening in a way that transfers the burden of responsibility from the occultist to the viewer, i.e. if you're too stupid to make the effort to understand what's clearly being communicated, then it's your fault, not mine.

If he was working against an occult agenda, then the inside knowledge he was made privy to would surely have come under the proviso that he not reveal it directly to the public under the penalty of death.

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Old 03-04-2012, 04:20 PM   #8
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There's an awful lot of arrogance implied by either scenario. Must come with the territory if you are in the game of purporting to have hidden powers and knowledge. Which do you think is more the more likely of the two? Was Kubrick with or against this group of occult believers?

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Old 03-04-2012, 04:39 PM   #9
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There's an awful lot of arrogance implied by either scenario. Must come with the territory if you are in the game of purporting to have hidden powers and knowledge. Which do you think is more the more likely of the two? Was Kubrick with or against this group of occult believers?
His war movies (Paths of Glory, Dr Strangelove and Full Metal Jacket) are so compellingly anti-war that I doubt he was one of them. In fact, all of his films are actively striving to expose evil in my view, not promote it.

The other thing that makes me strongly suspect he was a good guy is that he was far too brilliant to be one of these assholes.

I can think of some examples of 'great' movies that I consider to be very subtly-crafted propaganda for evil, and even the most powerful of those don't hold a candle to the level of artistry that Kubrick expressed in his films.

If he was somehow compromised or co-opted by deception to fake the moon landing, then once he was 'in' I'd imagine it would be down to a very stark choice between fulfilling your obligations or being destroyed in one way or another.

In that scenario, I don't see it as arrogance for him to then go on to try to reveal the truth to the public in a covert way in his subsequent films; on the contrary it would be a great act of humanity and heroism.

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Old 03-04-2012, 07:21 PM   #10
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I know I've haven,t slept cause I worked last night, and it doesn't help that. I can't get the videos to play, and also the distractingpointless posts don't help' but I'm not quite grasping this material,and I would really like it if you would continue because I for one am very interested on your take on this.
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Old 03-04-2012, 08:14 PM   #11
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Originally Posted by marisabia View Post
I know I've haven,t slept cause I worked last night, and it doesn't help that. I can't get the videos to play, and also the distractingpointless posts don't help' but I'm not quite grasping this material,and I would really like it if you would continue because I for one am very interested on your take on this.
Hi, thanks for the interest.

Don't worry if the clips don't work - I'll do a breakdown of those parallel shots because it's important to emphasise the connections between them to make it as clear as possible that Kubrick was intentionally referencing 2001 in the final scene of The Shining.

It's the key to everything and full of very rich and profound, previously-untapped symbolism.

Do you remember the scene near the end of The Shining when Danny outwits Jack Nicholson in the maze, by walking backwards in the snow to fool him into thinking he'd gone the other way?



Ostensibly this was the key act that resolved the movie and was the way Danny escaped mortal danger and the maze.

But on a deeper level it was also the key clue left by Kubrick on how to decode the film itself: start at the end and work backwards.

The culmination of the end scene parallel between 2001 and The Shining is where he wanted us to begin:


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Old 04-04-2012, 03:00 AM   #12
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Am I dumb?
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Old 04-04-2012, 04:44 AM   #13
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Interesting.... I do believe there is a connection here

2001 is my favorite film. I'm aware of it's gnostic symbolism. It's been years since I've seen The Shining though. I know it is a lot different than the book to the point where Stephen King hated it.

Since it's been a while I'll have to go from memory. The people in the photos are the ghosts from earlier. Jack has now joined them. Jack goes crazy, the ghost of the bartender helps him go crazy. Jack gets lost in the maze and freezes to death. Now he is in the photo meaning he is likely a ghost in the hotel.

The monolith perhaps represents infinite knowledge which causes an evolutionary stage with each of the three encounters by man.

When the monolith is 'entered' at the end, the shot cuts to a shot of the moon. With the two clips aligned, this coincides with entering the room full of the pictures at the hotel. As the one photo is zoomed, Jack comes into view the same as the star child.

I don't think my brain or my human self is capable of wrapping my head around the mysteries. It's probably not within my blood or my soul. If I had to take a stab at it, I would say we are caught up in a maze or a spider web. Trapped and confused by dead people that look as if they are living, who trick and deceive us. The moon probably fits in there somewhere. Lunacy.

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Old 04-04-2012, 08:08 AM   #14
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wasn´t there a guy named jay weidner doing research on that subject matter?
did a movie about it too.
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Old 04-04-2012, 09:34 AM   #15
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Quote:
Originally Posted by jconnar View Post
Am I dumb?
You mean because you think you're missing something you should be seeing?

If so, not at all.

I haven't explained what I'm talking about in enough detail yet.

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When the monolith is 'entered' at the end, the shot cuts to a shot of the moon. With the two clips aligned, this coincides with entering the room full of the pictures at the hotel. As the one photo is zoomed, Jack comes into view the same as the star child.
Good analysis and I think the above section is the absolute key to learning what's really being communicated.

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Well the good news is the man was an utter genius and it turns out he did make a direct (but hidden) sequel and it is The Shining.
Should clarify this: The Shining itself isn't the sequel to 2001: A Space Odyssey.

Sequel isn't the right word. 'Child' seems more appropriate. Because there's a hidden film buried within both 2001 and The Shining that only manifests when both films are combined in a certain way, and nobody has seen that film yet.

The easiest way I can think of to start trying to explain it is with the image of the twin girls that reappears in the film several times.



There are a number of different ways the use of this symbol can be interpreted, and a lot of them are valid and convey meaning on different levels, but as with the maze analogy, where there are many interesting avenues to explore but only one true path that leads through the puzzle, I'd suggest that most interpretations are basically unimportant.

I think the essential meaning of this symbolism is twofold* yet intertwined, with one level of understanding leading to the next.

Very simply, on the first level, these girls represent Kubrick himself.



Note the physical resemblance, particularly with the girl on the right.



Why did he choose two seeming twins that aren't the same height?

Is the shorter of the two girls representative of Kubrick when he was younger, and the taller girl, Kubrick when he's older?

I think so, and the resemblance to Kubrick and the height differences of the girls is communicating to the audience that this film (The Shining) is a twin, or is related to, connected with, intertwined and indivisibly inseperable from an earlier Kubrick film.

So then he must have also given us clues which enable us to know what that other film is, right?

Yep, he did and the trail starts here:


In 2001, after the apes finally summon up the courage to touch and stroke the monolith when it first appears, the film cuts to a brief insert shot of the sun and moon in the sky above.



Later, one of the foraging apes suddenly has a moment of introspection and the sun and moon insert shot is silently repeated:




Now compare that sequence with the sequence in The Shining when Danny approaches the mysterious Room 237 (which is the reappearance of the monolith, but more on that later):




Kubrick uses the identical-editing technique of inserting a silent shot that symbolises the character's experience of a flash of mysterious introspection or insight.

To watch the 2001 scene and The Shining scene a few times side by side is to come to the realisation that they're unmistakably connected; when it occurs in The Shining, Kubrick is directly drawing the viewer's attention back to 2001 and linking both films.


* The second of the twofold essential meanings to the twin girl symbolism leads on from the first, once the viewer understands that The Shining is inextricably interrelated with 2001. It leads to the very heart of Kubrick's esoteric message. (You'll kick yourself when the second meaning of the twin girls is pointed out because it's both very simple and very obvious, but more on that later. )

Time now to do a parallel shot breakdown of the endings to both films, which is the first step in beginning to reveal Stanley Kubrick's never-before-seen, truly 3-dimensional, esoteric masterpiece....

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Old 04-04-2012, 12:43 PM   #16
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Jay weidner´s film is called "Kubrick´s Odyssey", I found it well done and very brain- teasing.

I could only find the vimeo- link.

Check out the song in the beginning "Under The Masonic Moon"- pretty funny

P.S.: TPTB tried to ridicule the idea that k. faked the moon- landing in a mockumentary called dark side of the moon.
They went that far that they even got kubricks widow to tell the "conspiracy- theory" as if fact..
A lot of people didn´t understand that it´s a mock, which made it even easier to ridicule that idea.
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Old 04-04-2012, 01:07 PM   #17
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Time now to do a parallel shot breakdown of the endings to both films, which is the first step in beginning to reveal Stanley Kubrick's never-before-seen, truly 3-dimensional, esoteric masterpiece....




















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Old 04-04-2012, 01:08 PM   #18
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Old 04-04-2012, 05:40 PM   #19
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Okay, starting to see, don't get the key part, but have gotten the part that these films are most definitely connected in the way the twins are the same but different.
Really good, your definitely on to something Mind bogglin stuff here.
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Old 04-04-2012, 08:05 PM   #20
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The twin girls are non-twin sisters in the original novel. Just an observation

Also, that 2001 cut to the monolith with crescent 'bull' moon and opposite a similar 'twin' in the sun. As I said earlier, I don't think my 'soul' or my mind has the ability to unlock the message, but you are on to something. This is not a coincidence. The whole moon/sun duality thing is a common theme in illuminist ideology. I can only explain it on a left brain right brain basis. And I'm not entirely sure that's the point here. I'll keep pondering it

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