A Brief Analysis of Kubrick’s The Shining

A Brief Analysis of Kubrick’s The Shining

In the opening credits of The Shining, Stanley Kubrick utilises a number of the codes and conventions of the thriller genre. Tense non-diegetic music is used throughout the opening credits of the film including sounds that are resemblant of breathing so as to create a deeply menacing atmosphere which in turn will make the audience feel there is someone else there watching them. This is typical of the thriller genre as it instantly makes the audience feel uncomfortable as soon as the film has started. A number of shots that are typically found in thrillers are put to extensive use during the opening of The Shining. As the opening credits focus upon a moving car, the chosen camera shots, alongside the technical construction, are heavily relied upon to confirm to the audience that this is in fact a thriller. Throughout the first two minutes of the film, the camera tracks the car from a distance at a very fast pace, giving the audience the impression that they are following the car. The fast moving pace of scene causes the audience to feel unstable as they have no control over the scene. 

At the beginning of this scene, the camera turns off at a canted angle still maintaing a fast pace so as to keep the tension building, making the audience feel disorientated, as if they are chasing the car. Using this canted angle, Kubrick is able to make the audience feel uneasy with the situation as now, not only are they not following at a comfortable pace, but they are now traveling at an uncomfortable angle which adds a level of awkwardness to the scene, this awkwardness connoting some sort of possible psychological encounter within the following film. Finally an aerial shot is used, with the car found to be located towards the top of the frame. This shot makes the audience feel suspended high above the scene, giving the feeling that they could fall any second. This suspended shot further plays with the suspension of disbelief from the audience’s perspective, as it would appear that Kubrick is signifying to the audience he is aware that they know that what they are witnessing is only a film, a false reality. The shot also suggests that there is trouble below, causing the audience to anticipate a sudden “drop” into the action.