MB: The Shining (Kubrick, 1980) Technical Analysis

 

Camera	Duration	Mise-En-Scene	Effects
Warner Bros. Picture Logo	0:00 to 0:12	The shot is only meant to display the distributor, like many films	N/A
XLS: An aerial shot of an island tracking in. As it goes past the island, the camera tilts to the right	0:13 to 0:30	The somewhat “demonic” soundtrack creates a sense of foreboding. The audience has not yet seen anything scary, but the music suggests they will	Main soundtrack enters at the beginning of the shot. The shot fades into the next one
XLS: Bird’s eye view of pine forest with a road running through the centre.	0:30 to 0:50	A lone car is driving on the road. The distance of the shot somewhat distances the audience from reality, making the shot feel very empty, but still important	The scene fades in from the previous shot. The music continues to play
XLS: Aerial tracking shot over hills following the same car.	0:50 to 1:08	This shot remains distant, much like the previous shot. This is only extenuated by the fact that there are no longer any trees	The scene is cut straight in rather than a fade. The music enters a second section at around 0:53, a slower sound using   different instruments
XLS track in to MS: Aerial tracking shot that   tracks in closer to the car. Tilts left as camera goes past the car	1:09 to 1:39	The shot reveals more details about the scene. The car is a Yellow VW Beetle, perhaps suggesting a more happy side to this horror story? Or perhaps a rather twisted view of happy. Credits begin the appear in this shot also,   merely rising from, the bottom of shot, a pale blue colour. Perhaps this simple effect is used so as not to distract the audience.	The scene is cut in. The music continues as previously, but acting credits as well as the name of the film begin to appear
XLS: Bird’s eye view shot of the car driving through coastline area	1:39 to 2:09	This shot is very similar to the beginning of the last shot, perhaps   suggesting illusion? Or disorientation in the film? The car goes through a tunnel in the side of the cliff, which is aimed to make the audience predict what will happen, however, the car is fine on the other side and the audience are made to feel stupid for trying to guess	The scene is cut in. The music grows louder, perhaps suggesting the scene is near “fever-pitch”. Credits continue to  appear
XLS track into LS: The camera continues to follow the car at a distance	2:10 to 2:33	The shot appears open once again, creating a very isolated feel (until a second car goes past, but that’s not important) The cliff face could also connote a certain danger to this journey, or perhaps a sign on things to come	The scene cuts in. The music continues as credits appear
XLS: Continued track on the car	2:33 to 2:44	The introduction of snow to the mountainside gives the audience an idea of setting. It also, seemingly obviously, creates a sense of cold, or chill	The scene cuts in. The music continues as the final credits appear
XLS: Track alongside the mountain, first shot of the Hotel	2:44 to 3:00	This final shot reveals the destination of the car and its driver, a small hotel. This also reveals to the audience the setting for the film. This isolated area seems much too desolate for a hotel. Perhaps the setting is aimed to unnerve the audience from the very beginning	The scene cuts in and the music reaches its climax, signifying to the audience that this is the final shot.

Content

• The feeling of isolation created by the Extra Long Shots is useful in making the audience aware of any “oncoming danger”

• The reveal of the hotel connotes a sense of mystery even before anything has happened to it

What could the group take from this?

• The use of long tracking shots could be good in setting the scene for our opening sequence, particularly in the car as the protagonist returns home