2. Stanley Kubrick was an American film director, writer, cinematographer, producer, and is widely considered to be
one of the greatest and most influential film directors of all time. He is also known for exploring a vast array of
genres in his films, from the science fiction spectacular of ‘2001: A Space Odyssey’ to the harrowing war-orientated
‘Full Metal Jacket’. However, in relation to the horror genre, I will be focusing on one of his best and most famous
works.
‘The Shining’ was a supernatural/psychological horror film releasedin 1980, starring Jack Nicholson and Shelley
Duvall. It was, critically and commercially, a huge success, with particular praise made to Nicholson’s lead
performance and Kubrick’s use of sound and direction, and is often ranked amongst the best horror films of all
time. As always, this acclaim was largely owed to the director. Kubrick’s distinct visual style – characterised by his
attention to detail, symmetrical shots, and use of previously unseen camera techniques – was very prominent
throughout the entirety of the film, and arguably the biggest contributor to its success. One of these new techniques
was the use of the Steadicam, a stabilizing mount for a motion picture camera that allows for smooth tracking shots
and further ways to pan, tilt, and angle the camera. In fact, the Steadicam is used in one of the most distinctive and
recognisable shots within the horror movie genre, where the camera tracks Danny as he rides his toy bike through
the hotel.
Personally, this is one of my favourite evershots within the horror genre, for numerous reasons. Lasting for just
over 3 minutes, the continuation and fluidity of the movement allow for a build-up of tension, as well as giving the
viewer the impression that Danny is being watched. In conjunction with this, the use of diegetic sound within this
scene – the sudden plosive sounds of the wooden floor, contrasting with the silence of the carpet – create an uneven
feel that is the antithesis of the smooth, evencamera movements. It is this that accentuates the slow-building feeling
of dread and allows the viewer to see that all is not as idyllic as it appears to be.
Continuing on from this, the use of sound within this film is fantastic, and is hugely important in providing some of
the films most iconic scares. Unlike many horror film directors, Kubrick is willing to recognise the absence of sound
as one of the most frightening techniques there is, and therefore places much of the first half of the film in relative
silence. This contributes to the feeling of isolation substantially and seems to suggest that all the sound you expect to
hear is waiting to make itself present – which it eventually does to a masterful degree. During the second half of the
film, stylistically modernist classical orchestration is used to provide thuds of a piano, screeching violins, and
clashing drums. This style, typical of Kubrick, rises in a slow crescendo as the film nears its climax, where Jack
Nicholson’s character attempts to break down the bathroom door with the intention of killing his wife.
3. During this scene, violins screech, cellos are played viciously fast, and two piano notes are played slowly, held for
long periods of time, in order to make them seemominous and prolong the tension. The enormity of all this non-
diegetic sound is drowned out only by the enhanced, repeated thud of the axe against the door, showing how Jack is
getting closer and closer to killing his wife. It is scenes such as this that separate The Shining from many of its
predecessors within the genre. Instead of frightening audiences with the commonly used ‘jumpscares’ and
‘antiscares’ of other films, Kubrick combines diegetic and non-diegetic soudn effects to create stabs and crescendoes
that gradually become more and more prominent as the terror levels increase, contributing positively to the pace
and tempo of the film.
Another aspect of the film that sets it apart from all the others is the evocative use of imagery through colour,
composition, and placement of props. Kubrick’s obsessive attention to detail pays off spectacularly in this regard,
creating some truly horrific and unforgettable scenes that would have simply been bland and forgettable without his
direction. One of the most obsessive aspects of the cinematography of his films is the use of patterns, colour, and
symmetry, all of which are utilised and shown within The Shining. He consistently ensures that certain colours clash
or contrast with each other, in order to evoke meaning, and often makes sure that a substantial amount of his shots
retain the illusion of symmetry. This is summarised in Roger Eberts (the noted film critic) declaration that ‘every
scene is like a painting.’ The doors of blood scene is one such example of this.
http://youtu.be/RigIpVXm2xA
Kubrick does not just influence me with his particular work on The Shining. His entire filmography consists of
many moments that I would consider to be highly influential in the creation of The Basement. One aspect of
Kubrick’s direction that I find is often underappreciated is his ability to integrate sound and image seamlessly to
create something unforgettable, often using contrapuntal music to add a sinister element to a scene. An example of
this is, of course, the scene from a Clockwork Orange where Alex knocks his fellow Droogs into the adjacent pond.
Using such elegant, pure-sounding classical music in this scene manages to warp the viewers’ ideas about purity and
goodness as a whole, forcing them to share in his vision of a distorted and unreachable world while teasing them
with elements that they are familiar with. It is my hope to replicate such a feeling in my own way, and although it
will not be worthy of comparison to such a director, I also hope that sound will be the most important aspect of my
trailer and, consequently, my film. Another example of his ability to create such vivid beauty within a scene comes
from, arguably, the most visually spectacular film ever made; 2001: A Space Odyssey. Each frame of this film
redefined science fiction and what was possible in a film. As the film was almost entirely abstract in its narrative,
Kubrick was able to place particular emphasis on creating a story without any need for the restraints of plot and
narrative, instead opting to attack the senses of the viewer and redefine their expectations of what a film can be.
Even though I cannot follow this same direction, the concept of visuals and sounds forming the narrative has always
appealed to me more than the idea of a basic human-driven narrative. I hope to combine both kinds of narrative in
my film in order to create something comprehensible and relatable, while also creating an unspeakable horror that
will invade the thoughts and dreams of the viewer long after the trailer has finished.
4. http://youtu.be/v90KPJ6n4Ew
Overall, there are numerous ways in which Kubrick’s direction will influence my own work on my horror film
trailer. Although the trailer will be condensed, small glimpses into the film, I intend to use a makeshift version of a
Steadicam in order to achieve similar shots that allow for smooth movement and fluidity. During the montage of fast
clips towards the end of the trailer, vivid, haunting imagery will be used consistently, to evoke fear into the viewer
and ensure that they are unable to forget the film I am promoting. Furthermore, I share Kubrick’s obsessive
attention to detail and belief that every shot should be ‘perfect’, so I will strive to perfect and scrutinise each and
every scene, sound, and image used within my trailer. In addition to this, the isolation that is so prominent within
The Shining will try to be recreated within the establishing, introductory shots within my trailer, to allow viewers to
immerse themselves in the desolation of the characters and feel more scared knowing that they are utterly alone.
The sound itself – in terms of its tempo and pacing – will heavily influence when and how sound is usedin my
trailer, from the slow melodic tunes of the first half to the sheer instrumental chaos as the horror is introduced.
Unlike Kubrick, however, I intend to hopefully compose my own soundtrack, using a variety of instruments and
sound effects.
