Studies in the Horror Film: Stanley Kubrick's The Shining, by Tony Magistrale, John Baxter
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Studies in the Horror Film: Stanley Kubrick's The Shining, by Tony Magistrale, John Baxter
Best Ebook Online Studies in the Horror Film: Stanley Kubrick's The Shining, by Tony Magistrale, John Baxter
Edited by Danel Olson (The Exorcist: Studies in the Horror Film), with seventeen new interviews by Justin Bozung and recent Paris/London conversations with co-screenwriter Diane Johnson and the legendary Shining Twins by Catriona McAvoy, this study is the first featuring recent reminiscences with cast & crew of The Shining and original interdisciplinary essays by top critics. This landmark edition also includes rare and unpublished photographs, archival material, seminal reprints, and galleries of artwork & posters inspired by the Kubrick film, all on heavy acid-free paper in two full-color, brilliantly-designed Smyth-sewn paperback.
Studies in the Horror Film: Stanley Kubrick's The Shining, by Tony Magistrale, John Baxter- Amazon Sales Rank: #286374 in Books
- Brand: Olson, Danel (EDT)
- Published on: 2015-07-28
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 1.60" w x 6.00" l, .0 pounds
- Binding: Paperback
- 752 pages
Review I've just read your masterful book from cover-to-cover and have to tell you how thorough, creative, complete and helpful the work is - it will definitely become a document from which film students will learn for decades to come. -Veteran filmmaker/IMAX camera developer and Shining cinematographer, Greg MacGillivrayFor this excellent and exhaustive compendium of Shining lore, editor Danel Olson has collected deep-dish essays, unseen pics and exhaustive interviews (with cast and crew), beginning with an introduction by Pixar's Lee Unkrich (a noted Shining zealot). A satisfying study in filmmaking, not kooky Room 237 theorising, it feels like nothing has been overlooked. -Ian Nathan, Empire, 07/2015 (print) Book of the Month... Enthusiasts will drool over the immaculate detail put into this 10-years-in-the-making tome. -C. Jackson, Fangoria 07/2015 (print)Cover[ing] everything fans of the film ever wanted to know, the hefty tome is packed with academic essays, as well as new and classic interviews with the movie's cast and crew, including the elusive Kubrick... It illuminates interesting facts that have only come to light through this publication, including that Jane Fonda was originally considered for the role of Wendy Torrance and co-screenwriter Diane Johnson wanted to bring a feminist bent to the character... The book [also] boasts incredible alternative poster artwork. -Andrea Subissati, Rue Morgue, 07/2015 (print)The essays, as Director Lee Unkrich's introduction explains, were provided by 'a range of commentators,' including 'documentarians, philosophers, scientists, literature critics, film scholars and fiction writers' explor[ing] completely different aspect[s] of The Shining... Olson's maximalist efforts pay off here, though: it's the exhaustive, detailed, and complete nature of the The Shining: Studies in the Horror Film that gives it a chance of becoming the definitive scholarly source on a film widely recognized as one of the greatest of all time. -Craig Manning, IndependentPublisher.com, 7/2015Having just been to the Shining reunion and bonded with the surviving crew (and the sadly depleted studio environs), reading your great compendium has been even more fun. It evoked a marvelous time in the business and an especially wonderful shoot. -Steadicam/SkyCam/DiveCam inventor and Shining cinematographer, Garrett BrownThe SHINING book looks splendid!! -Guillermo del Toro"'Here's…Johnny!' While some scary movies usefully encourage a new sweetie to hug you tight in the cinematic darkness, others just leave you, your date and the entire theater audience traumatized. Anyone fascinated by how films are put together, let alone fans of 'The Shining' itself, will immediately recognize the sheer value-for-money of this latest installment in Centipede Press's Studies in the Horror Film. In 750 amazing pages, editor Danel Olson has assembled stills from the movie and casual photos from the set, a dozen essays on director Stanley Kubrick's artistry, an equal number of interviews with the major cast members—Jack Nicholson, Shelley Duvall, Joe Turkel, Scatman Crothers and even Lia Beldam, who plays the nude woman in the tub from Room 237—and, perhaps best of all, reminiscences galore by members of the crew of what it was like to work on the production. A major contribution to film history and scholarship."—Michael Dirda in The Washington Post
From the Back Cover "Jack, just make yourself at home..." For almost four decades, viewers have crept with the Torrances through Overlook corridors and run through its maze. Now in the largest collection of new and reprint interviews, essays, and reminiscences on Stanley Kubrick's The Shining to date (along with unseen photographs), we can discover who or what else moved beside us. Crafting the ultimate slow-burn movie out of 1.3 million feet of film (and tempting Shinologists to scry its hidden messages), Kubrick and team abandoned a traditional arc and classical three-act structure for something altogether different, affecting, and lasting. Editor Danel Olson invites cast, crew, and film scholars to explain how. An illuminating introduction from acclaimed Oscar-winning writer/director/producer Lee Unkrich ushers the discussion, asking why the snowbound story still means so much for pop culture, filmmakers, and us.
About the Author Danel Olson is the Shirley Jackson Award and World Fantasy Award-winning editor of a six volume original fiction print series, Exotic Gothic. His other edited works in print include 21st Century Gothic: Great Gothic Fiction Since 2000 and The Exorcist: Studies in the Horror Film. His forthcoming publication is The Devil's Backbone and Pan's Labyrinth: Studies in the Horror Film featuring pre-production art supplied from Director Guillermo del Toro never published before.
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7 of 7 people found the following review helpful. DON'T OVERLOOK THIS BOOK!!!!!!! By Richard Masloski Why is Stanley Kubrick's film THE SHINING the voguish vortex that it has become over the decades, since its first appearance on the silver scream-screen in 1980? Why is it so loved and embraced by so many? What is the reason for the mystic chord that binds and pulls myriad movie mavens to this horror film? It speaks to them in symbols and secrets which they then decode and deliver unto us, the supposedly uninitiated, the baffled and perplexed - even though many of their readings of the film are more off-the-wall than anything in the actual Overlook Hotel itself! (One reading has THE SHINING as Kubrick's secret confession for having faked the moon landing.) And because Stanley Kubrick has a overly inflated reputation for being a perfectionist in his films, his movie mistakes are mistakenly interpreted by his acolytes as having much more meaning than Kubrick ever intended. (Perhaps, though, he would have ultimately preferred his mistakes to be re-imagined as artistic intentions.) But mistakes were made in his movies! He was NOT perfect. One only need watch the first shot inside Claire Quilty's mansion in the opening of LOLITA to see the major mistake of someone - perhaps Kubrick himself! - quickly leaving the scene before the entrance of James Mason. Unless, of course, Kubrick's over-arching plan all along was for his films to be viewed as a canon, as chapters in a book rather than simply individual films. In this interpretation, coming events cast their shadows before. Perhaps the ghostly figure in the beginning of LOLITA is NOT a mistake at all, but rather a precognitive, subconsciously generated image of the ghost of a guest from the Overlook Hotel, the lost soul of a perpetual party-goer popping up at the Overlook's 1921 Fourth of July party and then haunting Quilty's gothic mansion decades later. Wait! Hold the phone and freeze the frame! Is that possibly Jack Torrance himself hurrying out of the scene, leaving an evil whiff of his influence for Humbert Humbert to inhale and thus follow in the murderous footsteps of Grady and Torrance and all killers whose dark destiny in Life is to celebrate Death?There are mistakes in THE SHINING as well. Continuity errors and even questionable approaches to the direction. Why have ominous music playing before Danny on his bike turns a corner and sees the Grady ghosts? The same with the scene wherein he first sees them: why the tip-off music and the phony zoom shot onto his face as he sees them before we do? Why the Spirit Store skeletons in the lobby that Wendy sees that look like something out of any Halloween haunted house attraction? In Vivian Kubrick's "Making of..." documentary, Stanley is seen adamantly insisting to a brow-beaten Shelley Duvall that what she is doing with her character in a certain scene looks fake. Well, someone should have had the courage to tell him that the corpse dummies in the lobby looked fake! And didn't add, but rather detracted from the ghostly ambiance he labored so to create. And why are ALL the lights ALWAYS on in the Overlook? Didn't the Torrances consider - before they all went batty - Ullman's electric bill once he returned to reopen the place come spring? Why would 70 year old Dick Hallorann cross the country in plane, car, snowcat and on foot and go to the Overlook in a blizzard knowing well enough of the probable dangers in store and NOT take any help with him? Larry Durkin probably would have accompanied him if asked! He looked like a powerful backup to take along! And simply as a horror movie, I never found any of it frightening, despite Kubrick's avowed intent to make the scariest horror film ever. No, it was always too much The Jack Show for it to ever be taken seriously. Jack Nicholson and Jack Torrance were way all over the place, and to me that both made the film - and also diminished it. Anyway...Despite it all, I love the movie! Even though that love is a bit like Jack T's purported love of 'the little s.o.b.' that is his son. And having this love/hate relationship to the movie is actually a mirror to the movie and its many messages itself - and the movie is replete with mirror images, reflections, doublings, contrasts. The movie is about love and hate, life and death, warmth and cold, all of the contrasts that make life the conundrum that it will always be - and even, most likely, will continue to be once we ourselves pass over. Contrasts, yes. So we have Hallorann's first appearance as he walks from the same direction that Grady's ghost will later come from and collide with Jack. But the cook is all about life and health and being happy by staying regular with prunes. This is why he talks to the mother and child in the kitchen, in the food storage, amongst the very staffs of life - whereas Grady talks to Jack in the toilet after having spilled and soiled the man carrying the soul he and the Overlook aim to steal. Life and Death, the Kitchen and the Crapper. "Great party, isn't it?" even though the ghost who says this has a split, bloodied head!This book is magisterial! It is beautifully designed and published, handsome and hefty to hold. It is overflowing with insights, interviews, photographs and then some. I only wish that Danny Lloyd had taken part in this epic production. A map of the Overlook would have been wonderful as well. But with Halloween fast approaching and then after that the cold and snow of a winter at the Overlook, I can think of no better book to curl up with and devour - even as it will undoubtedly be devouring you!
7 of 9 people found the following review helpful. You'll be happy you did By Austin A must-have for those of us who are willingly (or unwillingly) still trapped in the clutches of the Overlook Hotel. This massive tome of a book is filled with interviews, lengthy essays, and gorgeous photo spreads. Don't think - just purchase the thing already. You'll be happy you did.
4 of 5 people found the following review helpful. "The Shining" Never Gets Old By M. Hickey One of a recent spate of useful books about Stanley Kubrick and his work, this collection of critical essays and interviews, many of them new, contains fascinating theories and analysis, personal stories and production information that I, an avid Kubrick fan since 1968, had not read before. If you've ever wanted to talk to somebody who worked on a Kubrick film, here they are, recounting their experiences on "The Shining" in detail. Actors (Jack, Shelly, Joe Terkel, the Grady twins, the bellhop, the girl who says "Good-bye, Mr. Ullman," the girl in the bathtub, etc.), technicians, designers, assistants, camera and sound crew, longtime Kubrick collaborators and others who swore never to work for him again are all here, and they recall their experiences openly and with humor. Some of the story-tellers' memories conflict -- due, no doubt, to the years that have passed -- and a few of their memories are contradicted by the film itself, but you will find plenty of first-hand information about Kubrick's highly collaborative working methods and mercurial personality that will probably surprise you, since so much of it contradicts the Kubrick legend. After reading this, I watched "The Shining" again (I'm up to around 20 times over 35 years), and this book helped to refresh my enthusiasm for of the film. I found myself fascinated again by its mysteries and methods, felt by the end as if I had spent a whole winter inside that hotel, and discovered much in this endlessly complex work that is still new and surprising. If the film itself weren't so enthralling, this book would be a curiosity; because it is Kubrick's "The Shining" they're talking about, it's an indispensable gem.
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