Film Study: the Shining

Film is an important discontinue of culture, beca procedure it combines aspects such(prenominal) as song, story-telling, art and expression. The scenes of a hire come in concert to create harmony and to express an idea. The Shining is a aim that explicit Stephen Kings novel in a cinematic way. In every scene from this film on that point ar indications of formalist techniques, when viewed all together as a photographic film, the idea of this movie being formalist is ensured.The gesture of the camera when we follow Danny down the hallways, the creepy soundtrack and the bring downing when Danny makes the two girls every unmatchable of these make up a formalist film. Formalism in film is describe as manipulating techniques and making the manipulations evident to its audience. In formalist films, the audience can star the strawman of the artist they can detect the style and character of the director. In the scene where Danny rides his tricycle by the corridors of the h otel, the cameras presence is make evident.It isnt a subtle movement that can be effectuate in a pure film. For example, in Hollywoods b are-ass Premium Rush where Joseph Gordon-Levitts character and Dania Ramirezs character are talking on Bluetooth while riding their bikes, the camera is simply gradient scrolling or facing the character head on. In the shining, the camera as a human feel to its movement, this creates a spine tingling purport for the audience. The technical use of the steadicam creates a feeling of a talismanic presence in the room.It gives the camera more(prenominal) than purpose than just to show the film, it makes the camera fall in of the film it is an extra character. On set, the steadicam is following Danny, but in the movie, the taken up(p) essence follows Danny, and this mood is created by using a formalistic camera technique. When this technique is employ throughout the film, we know that something supernatural is rough to be discovered. With t his in mind, we anticipate the next scene of the film, we anticipate the moments where the haunted essences will visit Jack and his family.Film isnt only about what we decide on screen, it is also about what we light upon. The sounds from the film can be diegetic, centre the source of the sound is from the environment of the film, or non-diegetic, meaning the sound is climax from the cinematic experience or the outside world of the story. In The Shining, the non-diegetic sounds get very important in identifying the film as formalist. I am talking about the screeching noises that appear whenever something bad or supernatural is about to occur.Usually, we are exposed to more classical musical instruments such as pianos, guitars, flutes, etc. Though, in this film, they utilize a more rummy sound this music could substantiate been created by a waterphone. The piercing sounds last irritating to its audience, and it is evident that the characters in the film do not hear the sound, because they would be covering their ears if they did. In classical films, the director would take on more subtle music to accommodate the scenes, but since this is a formalist film, the director used this annoyingly piercing music.These sounds are ascribe into the film for the audiences experience, they arent part of the on screen story, but they are part of the film, like an additional decoration. This technique makes the audience question what could happen next, so the audience anticipates horror when they hear this music. This is something we dont usually take in classical productions. In The Shining, the music ties into the haunted essence it tells a story. Anticipation will be felt simply by hearing the music, and this is a strong cinematic technique.In Stand By Me, when Gordie asks his mother where his canteen is and his father answers it is in his deceased brothers room, Gordie goes into the room and on that point is a great feeling of sadness in this scene. This film used more classical instruments, and you can notice the difference between the classical film and the formalist one. Though, if the director heady not to play music during this scene, we powerfulness not have felt the same amount of sadness, and this would have been more formalist.Music affects us incredibly, and the absence of music does too, so it is vital for the director to choose the films music according to what feeling they are difficult to achieve. In The Shining, it is always the feeling of suspense, and the bone chilling sounds of what might be a waterphone creates this feeling in an eerie formalist way. As you can see by the previous paragraph, the movie is not done once the record is done in that location are many things to be added such as the music. Another essential part of making the film a winner is its editing.In The Shining, Danny finds two girls in the hallway and he sees what massacre they have been through and this scene is heavily edited with unalike sh ots. During this two minute scene, there are 19 shots. Classical films dont cut to different shots this often, because it is sometimes irritating to the audience. Although, Formalist directors do what they think will work shell for the film, and not the audience. If they dont understand the cinematic techniques, the director wint change their ideas to please the audience a certain way. They put their emotions and creativity into their films.The way Stanley Kubrick edited this together created harmony. It told its audience this is what Danny is seeing, even if the flashes of the writ of execution image are irritating, gruesome and unexpected. This image is whats being put in Dannys brain, this bloody implementation scene of the two girls. This technique makes the audience feel uneasy. When the dead girls appear, its a scene so gruesome that the audience doesnt want to see it again, but it appears as a flash again, and again, and again. This makes the scene even more repulsing an d creepy. Also, by skid so quickly from shot to shot, this scene shocks the audience.Editing shots like this is a in force(p) technique if you want your audience to experience a lot of emotion at once it also puts the audience in Dannys head. The flashbacks to the murder scene are happening in Dannys head and on the screen for its audience. These editing techniques make The Shining a different experience, and unquestionably a formalistic film. The reason why The Shining is such a strong horror movie is because of its film techniques (and not to mention story). The use of the steadicam, the music incorporated and the editing create a complex film. These tercet techniques work to create harmony.These three elements are formalist, and when they come together, they create a formalist film. The harmony of this movie really comes from the feel of the steadicam cooperating with the music and editing. The steadicam created a creepy haunted feeling, and the music added emphasis to the cr eepiness and the editing made everything more pass judgment and anxious. When these elements are combined, you get a horror film. Nothing in this film clashes with the directors idea of it being a horror. All the techniques are used for horror and aspects surrounding horror such as anxiety, creepiness, suspense, eeriness, etc.The movement of the camera created a supernatural feeling, the music made the movie creepy and suspenseful and the editing made the images much more potent and horrifying. If the movie only contained one of these three cinematic techniques, it might not have been considered formalist. Though, this film contained three major formalist techniques (and many minor ones) and that dominance pulled the film towards formalism instead of classicism. Stanley Kubrick makes mostly formalist films, and they are definitely different there is no arguing that.He has a style to his films that cant void being formalist, hes just a formalist kind of person, he doesnt follow the mainstream. This may be why he decided to incorporate the steadicam in The Shining. It may also be why he chose screeching instruments for his diegetic music, and it may also be why he chose to edit his scenes the way he did. Altogether this created a formalist horror film that experienced much success. I wonder if he were lock alive, would todays Hollywood classicism change his style? Or would he still be the same formalist director he was for The Shining?