Shining Deutsch "shining" Deutsch Übersetzung
Übersetzung für 'shining' im kostenlosen Englisch-Deutsch Wörterbuch von LANGENSCHEIDT – mit Beispielen, Synonymen und Aussprache. Shining (häufig auch The Shining) ist ein britisch-US-amerikanischer Horrorfilm des Diese Szene wurde von Kubrick für die Kinofassungen mehrsprachig gedreht, nämlich zusätzlich auf Deutsch, „Was du heute kannst besorgen, das. Viele übersetzte Beispielsätze mit "shining" – Deutsch-Englisch Wörterbuch und Suchmaschine für Millionen von Deutsch-Übersetzungen. Übersetzung im Kontext von „the Shining“ in Englisch-Deutsch von Reverso Context: the sun is shining. Übersetzung im Kontext von „Shining“ in Englisch-Deutsch von Reverso Context: shining example, the sun is shining, knight in shining, shining through, shining.
Englisch-Deutsch-Übersetzungen für The Shining im Online-Wörterbuch wearenotqueen.nl (Deutschwörterbuch). Übersetzung für 'shining' im kostenlosen Englisch-Deutsch Wörterbuch von LANGENSCHEIDT – mit Beispielen, Synonymen und Aussprache. Lernen Sie die Übersetzung für 'shining' in LEOs Englisch ⇔ Deutsch Wörterbuch. Mit Flexionstabellen der verschiedenen Fälle und Zeiten ✓ Aussprache und.
Shining Deutsch - Beispielsätze für "shining"Stattdessen habe er eine häusliche Tragödie mit nur vagen übernatürlichen Andeutungen gedreht. Mehr anzeigen. Alle Rechte vorbehalten. Dieser bestreitet jedoch, seine Familie und sich selbst umgebracht zu haben. Senden Sie uns gern einen neuen Eintrag. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Shining , vigorous blossoms juxtaposed with dark, withered leaves symbolize the cycle of life.
Shining Deutsch VideoDOCTOR SLEEP Trailer German Deutsch (2019) Sprachausgabe: Hier kostenlos testen! The novel " Shining Clouds" was the Beste Spielothek in Volkmannsreuth finden year written. Wendungen: [ come ] Heiko MiraГџ or shine. Beispiele für die Übersetzung schien ansehen Beispiele mit Übereinstimmungen. Friedrich W. The Shining. Quelle: Europarl. Beispiele für die Übersetzung schien ansehen Beispiele mit Lotto Am Samstag Jackpot. Die konventionelle Fabel ist der Anlass für eine suggestive Symphonie des Schreckens, die den Zuschauer in seinen Genreerwartungen bestätigt und seinen Blick jedoch Paypal Will Bankkonto HinzufГјgen Obwohl Vorhanden in die Irre Darmstadt 98 Leverkusen. Danny erzählt ihm daraufhin von Tony und erwähnt von sich aus das Zimmer Nummer Unterdessen hat Danny verstörende Visionen aus dem Overlook, die er aber nicht zuordnen kann. Darüber hinaus werden weitere Werke im Film verwendet: . EN DE. Shining eyes and teeth make this Halloween decoration very believable and give the impression of a freshly taken horror clown. SeaWorld Orlando No Lo Se Mai Niederländisch Wörterbücher. The defiant Shining Blade challenges the supremacy of the White Mantle. Namensräume Artikel Diskussion. Englisch Wörterbücher.
Publisher: SEGA. Share Embed. Add to Cart. Bundle info. Add to Account. About This Game The land of Rune, in the kingdom of Guardiana, has been at peace for centuries, until the hordes of Runefaust attack.
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Show graph. Tell us about this example sentence:. The word in the example sentence does not match the entry word.
The sentence contains offensive content. Cancel Submit. Your feedback will be reviewed. People described seeing a bright , shining light. She looked at him with shining eyes.
The house overlooked a shining lake. Inside was a softly shining lamp. She was a tall , slim woman in a long coat and shining leather shoes.
He told me with shining eyes what this experience had meant to him. She looked out at a crowd of beaming , shining faces. The qualities of light.
You can also find related words, phrases, and synonyms in the topics: Feeling pleasure and happiness. Want to learn more? These pictures are shining examples of great photography.
She has a shining career ahead of her. Every now and again, a novelist makes a career out of just one novel - Harper Lee's To Kill a Mockingbird is the shining example.
He built a shining career on discretion and trust. The scene when Jack writes obsessively on the typewriter "All work and no play makes Jack a dull boy" was re-shot a number of times, but changing the language of the typed copy to Italian, French, Spanish, and German, in order to match the respective dubbed languages.
In the Italian version, Nicholson was dubbed by voice actor Giancarlo Giannini. Two alternative takes were used in a British television commercial.
Various theatrical posters were used during the original — international release cycle,      but in the U.
The correspondence between the two men during the design process survives, including Kubrick's handwritten critiques on Bass's different proposed designs.
Bass originally intended the poster to be black on a red background, but Kubrick, to Bass's dismay, chose to make the background yellow.
In response, Bass commissioned a small, silkscreened print run of his original version, which also lacks the "masterpiece of modern horror" slogan, and has the credits in a compact white block at the bottom.
In April , a 4K resolution remastered version from a new scan of the original 35mm camera negative of the film was selected to be shown in the Cannes Classics section at the Cannes Film Festival.
The length is listed as minutes  and minutes. The U. The placard also said that the film was edited for television and warned about the content.
The European including U. In accordance with stipulations contained in Kubrick's will, DVD releases show the film in open matte i.
DVDs in both regions contain a candid fly-on-the-wall minute documentary made by Kubrick's daughter Vivian who was 17 when she filmed it entitled Making The Shining , originally shown on British television in She also provided an audio commentary track about her documentary for its DVD release.
It has some candid interviews and very private moments caught on set, such as arguments with cast and director, moments of a no-nonsense Kubrick directing his actors, Scatman Crothers being overwhelmed with emotion during his interview, Shelley Duvall collapsing from exhaustion on the set, and Jack Nicholson enjoying playing up to the behind-the-scenes camera.
The release includes a 4K remaster using a 4K scan of the original 35mm negative. This is the same cut and 4K restoration that was screened at the Cannes Film Festival.
According to the official press release, the official full-length run-time is minutes. It opened at first to mixed reviews.
Even the film's most startling horrific images seem overbearing and perhaps even irrelevant. Kubrick has teamed with jumpy Jack Nicholson to destroy all that was so terrifying about Stephen King's bestseller.
The biggest surprise is that it contains virtually no thrills. Given Kubrick's world-class reputation, one's immediate reaction is that maybe he was after something other than thrills in the film.
If so, it's hard to figure out what. Both those expecting significance from Kubrick and those merely looking for a good scare may be equally disappointed.
I can't recall a more elaborately ineffective scare movie. Vincent Misiano's review in Ares Magazine concluded with, " The Shining lays open to view all the devices of horror and suspense — endless eerie music, odd camera angles, a soundtrack of interminably pounding heart, hatchets and hunts.
The result is shallow, self-conscious and dull. Read the book. Tim Cahill of Rolling Stone noted in an interview with Kubrick that by there was already a "critical reevaluation of [ The Shining ] in process".
In , the film was ranked 29th on AFI's Years Director Martin Scorsese placed it on his list of the 11 scariest horror films of all time.
In , Roger Ebert , who was initially critical of the work, inducted the film into his Great Movies series, saying, "Stanley Kubrick's cold and frightening The Shining challenges us to decide: Who is the reliable observer?
Whose idea of events can we trust? It is this elusive open-endedness that makes Kubrick's film so strangely disturbing.
The sites critical consensus reads: "Though it deviates from Stephen King's novel, Stanley Kubrick's The Shining is a chilling, often baroque journey into madness -- exemplified by an unforgettable turn from Jack Nicholson.
Just as the ghostly apparitions of the film's fictional Overlook Hotel would play tricks on the mind of poor Jack Torrance, so too has the passage of time changed the perception of The Shining itself.
Many of the same reviewers who lambasted the film for "not being scary" enough back in now rank it among the most effective horror films ever made, while audiences who hated the film back then now vividly recall being "terrified" by the experience.
The Shining has somehow risen from the ashes of its own bad press to redefine itself not only as a seminal work of the genre, but perhaps the most stately, artful horror ever made.
In , Jonathan Romney discussed Kubrick's perfectionism and dispelled others' initial arguments that the film lacked complexity: "The final scene alone demonstrates what a rich source of perplexity The Shining offers [ Romney further explains:.
It's a real, complex space that we don't just see but come to virtually inhabit. The confinement is palpable: horror cinema is an art of claustrophobia , making us loath to stay in the cinema but unable to leave.
Yet it's combined with a sort of agoraphobia — we are as frightened of the hotel's cavernous vastness as of its corridors' enclosure.
The film sets up a complex dynamic between simple domesticity and magnificent grandeur, between the supernatural and the mundane in which the viewer is disoriented by the combination of spaciousness and confinement, and an uncertainty as to just what is real or not.
The novel, written while King was suffering from alcoholism, contains an autobiographical element.
King expressed disappointment that some themes, such as the disintegration of family and the dangers of alcoholism, are less present in the film.
King also viewed the casting of Nicholson as a mistake, arguing it would result in a rapid realization among audiences that Jack would go insane, due to Nicholson's famous role as of Randle McMurphy in One Flew Over the Cuckoo's Nest King had suggested that a more "everyman" actor such as Jon Voight , Christopher Reeve , or Michael Moriarty play the role, so that Jack's descent into madness would be more unnerving.
In an interview with the BBC , King also criticized Duvall's performance, stating, "[S]he's basically just there to scream and be stupid, and that's not the woman that I wrote about.
King once suggested that he disliked the film's downplaying of the supernatural; King had envisioned Jack as a victim of the genuinely external forces haunting the hotel, whereas King felt Kubrick had viewed the haunting and its resulting malignancy as coming from within Jack himself.
King is, essentially, a novelist of morality. But in Kubrick's The Shining , the characters are largely in the grip of forces beyond their control.
It's a film in which domestic violence occurs, while King's novel is about domestic violence as a choice certain men make when they refuse to abandon a delusional, defensive entitlement.
As King sees it, Kubrick treats his characters like "insects" because the director doesn't really consider them capable of shaping their own fates.
Everything they do is subordinate to an overweening, irresistible force, which is Kubrick's highly developed aesthetic; they are its slaves.
In King's The Shining , the monster is Jack. In Kubrick's, the monster is Kubrick. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat.
Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn't grasp the sheer inhuman evil of The Overlook Hotel.
So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: because he couldn't believe, he couldn't make the film believable to others.
What's basically wrong with Kubrick's version of The Shining is that it's a film by a man who thinks too much and feels too little; and that's why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should.
Mark Browning, a critic of King's work, observed that King's novels frequently contain a narrative closure that completes the story, which Kubrick's film lacks.
King, he believes, "feels too much and thinks too little". King was also disappointed by Kubrick's decision not to film at The Stanley Hotel in Estes Park, Colorado , which inspired the story a decision Kubrick made since the hotel lacked sufficient snow and electricity.
However, King finally supervised the television adaptation also titled The Shining , filmed at The Stanley Hotel. The animosity of King toward Kubrick's adaptation has dulled over time.
During an interview segment on the Bravo channel, King stated that the first time he watched Kubrick's adaptation, he found it to be "dreadfully unsettling".
Nonetheless, writing in the afterword of Doctor Sleep , King professed continued dissatisfaction with the Kubrick film. He said of it " If you have seen the movie but not read the novel, you should note that Doctor Sleep follows the latter which is, in my opinion, the True History of the Torrance Family.
Following the production of the film adaptation of Doctor Sleep , in which director Mike Flanagan reconciled the differences between novel and film versions of The Shining , King was so satisfied with the result that he said, "Everything that I ever disliked about the Kubrick version of The Shining is redeemed for me here.
Film critic Jonathan Romney writes that the film has been interpreted in many ways, including addressing the topics of the crisis in masculinity, sexism, corporate America, and racism.
Faustian sense. But maybe he means it more literally — by the end What he has entered into is a conventional business deal that places commercial obligation Stuart Ullman tells Wendy that when building the hotel, a few Indian attacks had to be fended off since it was constructed on an Indian burial ground.
Blakemore's general argument is that the film is a metaphor for the genocide of Native Americans. He notes that when Jack kills Hallorann, the dead body is seen lying on a rug with an Indian motif.
The blood in the elevator shafts is, for Blakemore, the blood of the Indians in the burial ground on which the hotel was built. The date of the final photograph, July 4, is meant to be ironic.
Blakemore writes:  . As with some of his other movies, Kubrick ends The Shining with a powerful visual puzzle that forces the audience to leave the theater asking, "What was that all about?
At the head of the party is none other than the Jack we've just seen in Film writer John Capo sees the film as an allegory of American imperialism.
This is exemplified by many clues, such as the closing photo of Jack in the past at a 4th of July party, or Jack's earlier reference to the Rudyard Kipling poem " The White Man's Burden ", which was written to advocate the American colonial seizure of the Philippine islands, justifying imperial conquest as a mission-of-civilization.
Film historian Geoffrey Cocks has extended Blakemore's idea that the film has a subtext about Native Americans by arguing that the film indirectly reflects Stanley Kubrick's concerns about the Holocaust Both Cocks' book and Michael Herr 's memoir of Kubrick discuss how he wanted his entire life to make a film dealing directly with the Holocaust but could never quite make up his mind.
Cocks is a cultural historian best known for describing the impact of the Holocaust on Western culture. Cocks, writing in his book The Wolf at the Door: Stanley Kubrick, History and the Holocaust , proposed a controversial theory that all of Kubrick's work is informed by the Holocaust; there is, he says, a strong though hidden holocaust subtext in The Shining.
This, Cocks believes, is why Kubrick's screenplay goes to emotional extremes, omitting much of the novel's supernaturalism and making the character of Wendy much more hysteria-prone.
Cocks claims that Kubrick has elaborately coded many of his historical concerns into the film with manipulations of numbers and colors and his choice of musical numbers, many of which are post-war compositions influenced by the horrors of World War II.
Of particular note is Kubrick's use of Penderecki 's The Awakening of Jacob to accompany Jack Torrance's dream of killing his family and Danny's vision of past carnage in the hotel, a piece of music originally associated with the horrors of the Holocaust.
Cocks's work has been anthologized and discussed in other works on Stanley Kubrick films, though sometimes with skepticism. Julian Rice, writing in the opening chapter of his book Kubrick's Hope , believes Cocks's views are excessively speculative and contain too many strained "critical leaps" of faith.
Rice holds that what went on in Kubrick's mind cannot be replicated or corroborated beyond a broad vision of the nature of good and evil which included concern about the Holocaust but Kubrick's art is not governed by this one obsession.
Geoffrey Cocks notes that the film contains many allusions to fairy tales, both Hansel and Gretel and the Three Little Pigs ,  with Jack Torrance identified as the Big Bad Wolf , which Bruno Bettelheim interprets as standing for "all the asocial unconscious devouring powers" that must be overcome by a child's ego.
Roger Ebert notes that the film does not really have a "reliable observer", with the possible exception of Dick Hallorann. Ebert believes various events call into question the reliability of Jack, Wendy and Danny.
Kubrick is telling a story with ghosts the two girls, the former caretaker and a bartender , but it isn't a "ghost story", because the ghosts may not be present in any sense at all except as visions experienced by Jack or Danny.
Ebert concludes that "The movie is not about ghosts but about madness and the energies". The film critic James Berardinelli , who is generally much less impressed with the film than Ebert, notes that "King would have us believe that the hotel is haunted.
Kubrick is less definitive in the interpretations he offers. In some sequences, there is a question of whether or not there are ghosts present.
In the scenes where Jack sees ghosts, he is always facing a mirror or, in the case of his storeroom conversation with Grady, a reflective, highly polished door.
Film reviewer James Berardinelli notes "It has been pointed out that there's a mirror in every scene in which Jack sees a ghost, causing us to wonder whether the spirits are reflections of a tortured psyche.
Kubrick's reliance on mirrors as visual aids for underscoring the thematic meaning of this film portrays visually the internal transformations and oppositions that are occurring to Jack Torrance psychologically.
Furthermore the fact that Jack looks into a mirror whenever he "speaks" to the hotel means, to some extent, that Kubrick implicates him directly into the hotel's "consciousness", because Jack is, in effect, talking to himself.
Ghosts are the implied explanation for Jack's seemingly physically impossible escape from the locked storeroom. In an interview of Kubrick by scholar Michel Ciment , the director made comments about the scene in the book that may imply he similarly thought of the scene in the film as a key reveal in this dichotomy:.
It seemed to strike an extraordinary balance between the psychological and the supernatural in such a way as to lead you to think that the supernatural would eventually be explained by the psychological: 'Jack must be imagining these things because he's crazy.
It's not until Grady, the ghost of the former caretaker who axed to death his family, slides open the bolt of the larder door, allowing Jack to escape, that you are left with no other explanation but the supernatural.
Early in the film, Stuart Ullman tells Jack of a previous caretaker, Charles Grady, who, in , succumbed to cabin fever, murdered his family and then killed himself.
Later, Jack meets a ghostly butler named Grady. Jack says that he knows about the murders, claiming to recognize Grady from pictures, but the butler introduces himself as Delbert Grady.
It is to say he is two people: the man with choice in a perilous situation and the man who has 'always' been at the Overlook.
It's a mistake to see the final photo as evidence that the events of the film are predetermined: Jack has any number of moments where he can act other than the way he does and that his poor choices are fueled by weakness and fear perhaps merely speaks all the more to the questions about the personal and the political that The Shining brings up.
In the same way Charles had a chance — once more, perhaps — to not take on Delbert's legacy, so Jack may have had a chance to escape his role as 'caretaker' to the interests of the powerful.
It's the tragic course of this story that he chooses not to. Jack in the photo has 'always' been at the Overlook; Jack the caretaker chooses to become part of the hotel.
The film's assistant editor Gordon Stainforth has commented on this issue, attempting to steer a course between the continuity-error explanation on one side and the hidden-meaning explanation on the other; "I don't think we'll ever quite unravel this.
Was his full name Charles Delbert Grady? Perhaps Charles was a sort of nickname? Perhaps Ullman got the name wrong?
But I also think that Stanley did NOT want the whole story to fit together too neatly, so [it is] absolutely correct, I think, to say that 'the sum of what we learn refuses to add up neatly'.
At the end of the film, the camera moves slowly towards a wall in the Overlook and a photograph, revealed to include Jack seen at the middle of a party.
In an interview with Michel Ciment, Kubrick said that the photograph suggests that Jack was a reincarnation of an earlier official at the hotel.
Film critic Jonathan Romney, while acknowledging the absorption theory, wrote:. As the ghostly butler Grady Philip Stone tells him during their chilling confrontation in the men's toilet, 'You're the caretaker, sir.
You've always been the caretaker. But if his picture has been there all along, why has no one noticed it? After all, it's right at the center of the central picture on the wall, and the Torrances have had a painfully drawn-out winter of mind-numbing leisure in which to inspect every corner of the place.
Is it just that, like Poe's purloined letter , the thing in plain sight is the last thing you see? When you do see it, the effect is so unsettling because you realise the unthinkable was there under your nose — overlooked — the whole time.
Artist Juli Kearns first identified and created maps of spatial discrepancies in the layout of the Overlook Hotel, the interiors of which were constructed in studios in England.
These spatial discrepancies included windows appearing in impossible places, such as in Stuart Ullman's office, which is surrounded by interior hallways and apartment doorways positioned in places where they cannot possibly lead to apartments.
The audience is deliberately made not to know where they're going. People say The Shining doesn't make sense. Well spotted!
It's a ghost movie. It's not supposed to make sense. It's clear instantly there's something foul going on. At the little hotel, everything is like Disney, all kitsch wood on the outside — but the interiors don't make sense.
Those huge corridors and ballrooms couldn't fit inside. In fact, nothing makes sense. The film differs from the novel significantly with regard to characterization and motivation of action.
The most obvious differences are those regarding the personality of Jack Torrance the source of much of author Stephen King's dissatisfaction with the film.
The room number has been changed to Timberline Lodge , located on Mt. Hood in Oregon , was used for the exterior shots of the fictional Overlook Hotel.
The Lodge requested that Kubrick not depict Room featured in the book in The Shining , because future guests at the Lodge might be afraid to stay there, and a nonexistent room, , was substituted in the film.
Contrary to the hotel's expectations, Room is requested more often than any other room at Timberline. There are fringe analyses relating this number change to rumors that Kubrick faked the first moon landing , as there are approximately , miles between the Earth and the Moon average is , miles  , and claiming that the film is a subtle confession of his involvement.
The novel initially presents Jack as likeable and well-intentioned, yet haunted by the demons of alcohol and authority issues. Nonetheless, he becomes gradually overwhelmed by what he sees as the evil forces in the hotel.
At the novel's conclusion, it is suggested that the evil hotel forces have possessed Jack's body and proceeded to destroy all that is left of his mind during a final showdown with Danny.
He leaves a monstrous entity that Danny is able to divert while he, Wendy and Dick Hallorann escape.
Jack kills Dick Hallorann in the film, but only wounds him in the novel. King attempted to talk Stanley Kubrick out of casting Jack Nicholson even before filming began, on the grounds that he seemed vaguely sinister from the very beginning of the film, and had suggested Jon Voight among others for the role.
Only in the novel does Jack hear the haunting, heavy-handed voice of his father, with whom he had a troubled relationship. However, the novel gives much more detail about Jack's problems with drinking and alcohol.
The film prolongs Jack's struggle with writer's block. Kubrick's co-screenwriter Diane Johnson believes that in King's novel, Jack's discovery of the scrapbook of clippings in the boiler room of the hotel, which gives him new ideas for a novel, catalyzes his possession by the ghosts of the hotel, while at the same time unblocking his writing.
Jack is no longer a blocked writer, but now filled with energy. In her contribution to the screenplay, Johnson wrote an adaptation of this scene, which to her regret Kubrick later excised, as she felt this left the father's change less motivated.
Stephen King stated on the DVD commentary of the miniseries of The Shining that the character of Jack Torrance was partially autobiographical, as he was struggling with both alcoholism and unprovoked rage toward his family at the time of writing.
Kubrick's version of Torrance is much closer to the tyrannical Hal from Kubrick's A Space Odyssey and Alex from Kubrick's A Clockwork Orange than he is to King's more conflicted, more sympathetically human characterization.
From Thomas Allen Nelson's Kubrick: Inside a Film Artist's Maze : "When Jack moves through the reception area on his way to a 'shining' over the model maze, he throws a yellow tennis ball past a stuffed bear and Danny's Big Wheel, which rests on the very spot a Navajo circle design where Hallorann will be murdered.
Below, on a winding mountain road, Jack's diminutive yellow Volkswagen journeys through a tree-lined maze, resembling one of Danny's toy cars or the yellow tennis ball seen later outside of Room Danny Torrance is considerably more open about his supernatural abilities in the novel, discussing them with strangers such as his doctor.
The same is true of Dick Hallorann, who in his journey back to the Overlook in the book, talks with others with the "shining" ability, while in the film he lies about his reason for returning to the Overlook.
Danny in the novel is generally portrayed as unusually intelligent across the board. Although Danny has supernatural powers in both versions, the novel makes it clear that his apparent imaginary friend "Tony" really is a projection of hidden parts of his own psyche, though heavily amplified by Danny's psychic "shining" abilities.
At the end it is revealed that Danny Torrance's middle name is "Anthony". Wendy Torrance in the film is relatively meek, submissive, passive, gentle, and mousy; this is shown by the way she defends Jack even in his absence to the doctor examining Danny.
It is implied that she has perhaps been abused by Jack as well. In the novel, she is a far more self-reliant and independent personality, who is tied to Jack in part by her poor relationship with her parents.
De Mornay restores much of the steely resilience found in the protagonist of King's novel and this is particularly noteworthy when compared to Shelley Duvall's exaggerated portrayal of Wendy as Olive Oyl revisited: A simpering fatality of forces beyond her capacity to understand, much less surmount.
Co-screenwriter Diane Johnson stated that in her contributions to the script, Wendy had more dialogue, and that Kubrick cut many of her lines, possibly due to his dissatisfaction with actress Shelley Duvall's delivery.
Johnson believes that the earlier draft of the script portrayed Wendy as a more-rounded character. In the novel, Jack's interviewer, Ullman, is highly authoritarian, a kind of snobbish martinet.
The film's Ullman is far more humane and concerned about Jack's well-being, as well as smooth and self-assured. Only in the novel does Ullman state that he disapproves of hiring Jack but higher authorities have asked that Jack be hired.
In Stanley Kubrick and the Art of Adaptation , author Greg Jenkins writes "A toadish figure in the book, Ullman has been utterly reinvented for the film; he now radiates charm, grace and gentility.
Stephen King provides the reader with a great deal of information about the stress in the Torrance family early in the story,  including revelations of Jack's physical abuse of Danny and Wendy's fear of Danny's mysterious spells.
Kubrick tones down the early family tension and reveals family disharmony much more gradually than does King. In the film, Danny has a stronger emotional bond with Wendy than with Jack, which fuels Jack's rather paranoid notion that the two are conspiring against him.
In the novel Jack recovers his sanity and goodwill through the intervention of Danny while this does not occur in the film. Writing in Cinefantastique magazine, Frederick Clarke suggests, "Instead of playing a normal man who becomes insane, Nicholson portrays a crazy man attempting to remain sane.
More broadly, the defective boiler is a major element of the novel's plot, entirely missing from the film version. Because of the limitations of special effects at the time, the living topiary animals of the novel were omitted and a hedge maze was added,   acting as a final trap for Jack Torrance as well as a refuge for Danny.
In the film, the hotel possibly derives its malevolent energy from being built on an Indian burial ground. In the novel, the reason for the hotel's manifestation of evil is possibly explained by a theme present in King's previous novel Salem's Lot as well as Shirley Jackson 's The Haunting of Hill House : a physical place may absorb the evils that transpire there and manifest them as a vaguely sentient malevolence.
In the novel, Jack does a great deal of investigation of the hotel's past through a scrapbook,  a subplot almost omitted from the film aside from two touches: a brief appearance of the scrapbook beside the typewriter, and Jack's statement to the ghost of Grady that he knows his face from an old newspaper article describing the latter's horrific acts.
Kubrick in fact shot a scene where Jack discovers the scrapbook but removed it during post-production, a decision which co-screenwriter Diane Johnson lamented.
Some of the film's most iconic scenes, such as the ghost girls in the hallway and the torrent of blood from the elevators, are unique to the film.
The most notable of these would be the typewritten pages Wendy discovers on Jack's desk. Although Stephen King fans were critical of the novel's adaptation on the grounds that Kubrick altered and reduced the novel's themes, a defense of Kubrick's approach was made in Steve Biodrowski's review of the film.
His review of the film is one of the few to go into detailed comparison with the novel. He writes, "The result Both parodies and homages to The Shining are prominent in U.
Director Tim Burton who credits Kubrick as an influence modeled the characters of Tweedledum and Tweedledee in his version of Alice in Wonderland on the Grady girls like so many viewers of the film, Burton identifies the girls as twins in spite of Ullman's dialogue to the contrary.
Similarities include Sherri and Terri , the twins in Bart's 4th grade class looking visually similar to the Grady girls, Homer writing "No Beer No TV Make Homer Go Crazy" and Homer breaking into a room with an axe and uttering 'here's Johnny', only to discover that he had entered the wrong room and using the introduction for 60 Minutes instead.
American heavy metal band Slipknot pay homage to the film in their first music video for their song " Spit It Out ", directed by Thomas Mignone.
The video was banned from MTV for overtly graphic and violent depictions, including Corey Taylor's smashing through a door with an axe and the scene wherein James Root viciously assaults Corey Taylor with a baseball bat.
Mignone and the band eventually re-edited a less violent version, which was subsequently aired on MTV. It was banned from being screened on a children's TV network.
The song also features Stanley Kubrick's grandson Sam Kubrick as guest vocalist. The TV series Psych has an episode titled " Heeeeere's Lassie " in which the plot and characters are based on film.
Showrunner Vince Gilligan , being a fan of Kubrick and his "non-submersible moments", has included references to Kubrick movies in many of his works.
The descent of the main character, school teacher Walt, into the dark killer has some similarities to Jack's arc. Reflections are used in both to show the characters change.
Gilligan has also likened his early writing situation, getting snowed in and not writing, to feeling like Jack while going insane. Steven Spielberg , a close friend of Kubrick, included a sequence dedicated to the film in Ready Player One when they could not get rights to use Blade Runner for a similar sequence.
The Overlook Hotel is recreated, including the Grady sisters, the elevator, room , the lady in the bath tub, the ballroom, and the photo, in addition to using the score.
Spielberg considered this inclusion a tribute to Kubrick. In his novel The Institute , Stephen King references the film, writing, "The little girls, Gerda and Greta, were standing and watching with wide, frightened eyes.
They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.
In , Warner Bros. In June , Doctor Sleep writer and director Mike Flanagan , confirmed that the film would be a sequel to the film.
From Wikipedia, the free encyclopedia. UK theatrical release poster. Stanley Kubrick Diane Johnson. Wendy Carlos Rachel Elkind.
United States  United Kingdom .