View allAll Photos Tagged theshining
This mural, by street artists Ink76 and Rebel NSA, on the corner of Delevan Street and Van Brunt Street, features SIENIDE's depiction of the Jack Nicholson characters, the Joker from Batman and Jack Torrance from The Shining.
The inspiration for Stephen King's "The Shining". The Ghost Hunters crew are inside signing autographs on this night
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
How Stanley Kubrick's Editing Conveys a Horrifying Supernatural Vision in The Shining
by Adam Polselli
Copyright © 1980 Warner Bros. Entertainment Inc.
for ever
and ever
and ever.
[yes, i've resorted to photoshopping old cell phone photos. work week from hell ate my sanity, sorry]
From a photobooth set up at the Parade of Lost Souls, an outdoor festival in Vancouver, B.C. in the Commercial Dr. neighbourhood.
This is part of this set.
The carpet pattern for the Overlook Hotel (in some areas), from "The Shining".
This is ready for tiling in an image program.
Created in Inkscape, and GIMP.
For added fun, try opening this file in a zip file manager (like 7-zip).
USA Roadtrip 2016
The Stanley Hotel, in Estes Park, Colorado - the inspiration for & the place where, 'The Shining' was written
The movie was filmed elsewhere, but they made a TV adaptation here... & it seems to have left a mark!!
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
Keegan’s doing his Jack Nicholson impersonation.
Movie Title/Quote Series: The Shining
www.youtube.com/watch?v=2TVooUHN7j4
Copyright
©All my photographic images are copyright protected. All rights are reserved. Do not use, copy, manipulate or edit any of my photographs without my written permission.
If you want to use my photo for private/commercial use, please contact me.
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
On my trip up to England this past week, I had one main priority: go to Stanley Kubrick's house.
Like most film lovers, I love Mr. Kubrick. I love all his movies and think he was a genius of his craft. The best that ever lived. Watch a movie every July 26th to celebrate his life and career. So naturally, when talks came up of me visiting my friend Sonia up in England (who shares a birthday with Mr. Kubrick), this trip was a must (it was, in fact, what led us to renting a car and attempting to drive up to Edinburgh. But Hertfordshire would be our first stop).
When we hit a gate (pictured here), we felt it was a major drawback. Sonia let out a giant "aww" as I had traveled all this way to be blocked by a gate. I wasn't about to just open it, respectinig Mr. Kubrick and Christiane's privacy. We could see his house from the gate, but I wanted to get a view unobstructed by trees (like the one pictured here, instead maybe catch a glimpse at the tree he's buried near?) But when a neighbor saw us stranded by the very gate, she advised us that it would be okay to press the button that opens the gate and drive through, "I do it all the time" she reassured us.
So we went through. Couldn't get much further though because we were hit by a second gate, and I didn't feel like crossing over this one. It led probably to the very front of the manor... and I didn't have the guts to invade the Kubrick's privacy any further. So we reversed and headed back to leave, when...
a lady who was walking her dog near the fence saw us and stared. We drove up to her, and she said hello. We greeted her back. I felt the need to add, because of my guilt, "I'm sorry, we're just huge Kubrick fans and wanted to visit his home." She replied, very unenthusiastically, "That's nice, you do know this is private property, don't you?" We took the hint, said our good-byes and left. The guilt only grew.
Now the question is, who was this woman? When I saw her, my first thought was, she's related to Stanley -- not a doubt in my mind. She even had the same features as him... so was she Vivian? The Kubrick's second and only surviving child? (not a child anymore, as she's in her 50s) Perhaps. Maybe Katharina, Stanley's stepdaughter. I didn't have the guts to ask. There's a story about how back in the day when reporters used to come to Stanley's house to ask for interviews, they wouldn't know what he looked like because he always use to guard himself from the public eye so he used to tell them "He's not home," and then shut the door, haha. She probably would've taken a page from his book as well. Sans door. And knowing that story, I feel even worse just having being on the property. Oh well, it was fun -- and Katharina or Christiane, if you're reading this, I'm sorry for crossing the grounds (I was in the silver VW Golf). I'm just a fan, a big big fan who came all the way from Los Angeles to check out Stan-the-man's home :)
We had the 550d on the dash while we drove in, so I'll get that video up later today -- but I didn't record our encounter with Katharina, unfortunately.
I still can't believe I saw Stanley Kubrick's house, the place where he lived the last 20 years of his life, the place where his wife currently lives, and the place where he and his daughter are buried. I'm Muslim and will be going to Mecca in a few months Inshallah, but talk about a pilgrimage! ;)
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blog: modenadude.com
Sorry for the delay everyone - and now, back to the Stanley Hotel Ghost Tour!
By the turn of the century it appeared that the lives of the ingenious F.O. Stanley and his twin brother were truly blessed. They had become millionaires in their 30s by inventing "Dry Plate technology" and being bought out by George Eastman of Kodak. They followed this up with the extremely successful Stanley Steamer company. But the turn of the century saw a change in their luck; F.O.'s brother Freeman would shortly be killed in a car accident, while in 1902 F.O. was diagnosed with tuberculosis.
The doctors worked feverishly, but to no avail. Eventually all they could do was to recommend he move somewhere less humid. After consideration, the extremely ill F.O. and his wife Flora made their way to Denver, Colorado having been assured that its dryness made it the best location to relocate to.
Unfortunately, upon reaching their destination the local doctor they contacted also sadly told them it was the most polluted city in the United States. Ironically, life in Denver promised an even swifter death from tuberculosis for F.O..
Unable to help F.O. and hoping to ease his passage, the Doctor told the dying tycoon that he had a cottage near the Rocky Mountain National Park in a place called Estes Park. He offered it to them as a place to live out the last few months of F.O.'s life where he would be surrounded by the beauty of the Colorado countryside.
F.O. and Flora made their way to Estes Park. But the lingering, painful death they expected never happened. Miraculously, and to the shock of their Denver doctor, the air of Estes Park cured the deathly ill F.O..
To preserve his health, F.O. and Flora made their permanent home in Estes Park. They purchased large lots of land from Lord Dunraven and built a beautiful new home. But Flora, who was used to the busy social circle back home in the east hosting hundreds of dinner guests, grew lonely and bored. Not one to lay idle, she reckoned that if she couldn't go to her friends, why couldn't they come to her and also enjoy the wonders of Colorado. She asked F.O. if they could invite all their friends out west to visit them, which F.O. wisely agreed to. Flora instantly threw herself into the building of a guest house to house all her friends.
That "guest house" is now called the Stanley Hotel.
The delicate lightness of this winter here in Cleveland from December of 2009 and going now and well into Feburary of 2010. It is equally comparable to being hit in the face by a sledge hammer.
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
Original, iconic prop from The Shining. Kubrick exhibition, The Design Museum. My favourite thing in the exhibition.
Desafio de Agosto (August Challenge for the "Cherry On Top" Blythe group)
Theme: Fright Blythe.
:::
Tokyo as Danny, the little boy from "The Shining"
Redrum is the word murder spelled backwards.
It was used in The Shining by Stephen King
It can also mean, "re-drum" which has been interpreted to mean "to play over again" or "to repeat."
Which in the instance of The Shining, past events repeat themselves at the Overlook Hotel.
wikipedia
Photograph taken as their storm clouds rolled in, at 18:34pm on Monday 9th September 2013 off the A85 between Glentarken Wood and Derry Wood on the shoreline of Loch Earn (Loch Eire/Loch Eireann).
Loch Earn (also known as Loch of Ireland), is a freshwater loch situated in the Central Highlands of Scotland in the districts of Perth and Kinross, and Stirling, approximately ten and a half kilometres in length and 1.2km wide, with a depth of around 87 metres.
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Nikon D800 24mm 1/4000s f/2.8 iso200 RAW (14-bit) Mirror up
Nikkor AF-S 14-24mm f/2.8G ED IF. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Manfrotto 055XPROB tripod. Manfrotto quick release plate 200PL-14. Manfrotto 327RC2 Grip action ball head. Sandisc 32GB Ultra Class 10 30MB/s SDHC. Nikon DK-17a magnifying eyepiece. Hoodman HGEC soft eye[iece cup. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.
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LATITUDE: N 56d 23m 31.70s
LONGITUDE: W 4d 11m 12.57s
ALTITUDE: 103.0m
RAW (TIFF) FILE: 103.00MB
PROCESSED FILE: 11.60MB
I went to first-Friday's "Nü" at Chicago stalwart nightclub Neo last night.
It was my first time being at this club since I came here to celebrate my 31st birthday by tearing it up on the dancefloor.
Tonight was a blast. I think I have a new top-3 favorite event night.
Photo is as featured in www.Chicagoist.com "Around Town" for working date 1/07/2013. chicagoist.com/2013/01/07/around_town_1273.php#photo-1
Lincoln Park, Chicago, Illinois.
(Early) Saturday, January 5, 2013.
I been shootin blanks, and i think i need some time away from the city. Mr. Ullman at the Overlook hotel called me in for an interview to be the caretaker over the long winter season. I can use this to focus on my work, maybe get some new ideas along the way.. he made mention of some whacko killing his entire family...but i can deal with it ..I GOT THE JOB!
1. 303/365 - October 30 2010, 2. sigh, another fence friday shot too late, 3. TREATS!, 4. 304/365: This is Halloween! Pumpkins scream in the dead of night!, 5. 306 :: 365, 6. 314/365: float, 7. today I scared alot of people at work!, 8. Mr. Worm Visits Hogwarts, 9. a little black magic~, 10. triplet zebras, 11. 305:365 {& a Halloween BAM}, 12. Happy Halloween!, 13. I Sold My Soul {but I'm getting it back} 2:52, 14. wish these tights were more every day wear..., 15. Untitled, 16. thing1& thing 2, 17. Pearly dew drops drop, 18. .:43/52:., 19. No Ding Dong Dash For Us!!, 20. Untitled, 21. Darth Pumpkin, 22. Theshining, 23. 22:52, 24. Fake TTV Halloween 2010, 25. bam. (22/52)
Created with fd's Flickr Toys
Never let go of yourself, what you want out of life, who you are, or what you believe in, your hopes or your dreams. And never try to become something you're not just to appease someone else. What's the point.
G didn't like this one, he said it reminded him of the shining too much. ;D I like it, it is creepy and I think it's awesome! I've had this idea for a while and finally decided I had to try to get it done and I'm happy with the way it turned out. These push my creativity and my photoshop skills. I just hope my creativity keeps coming!
COVER FEATURE
Psycho Geography
A black comedy about a murderous north-country caravan trip, BEN WHEATLEY’s Sightseers taps into a tradition of urban couples coming horribly unstuck in the English countryside. The director and his two writer-stars talk to Ben Walters.
FEATURES
Bomb culture
Fifty years after the Cuban Missile Crisis, writer-director SALLY POTTER revisits 1962 in Ginger & Rosa. She talks to Sophie Mayer.
Breaking the waves
Best known for intense crime dramas, JACQUES AUDIARD has gone for a more offbeat, lyrical approach with his new film Rust and Bone. He talks to Thomas Dawson.
Seoul survivor
IM KWONTAEK has directed more than 100 films in his career, holding up a mirror to the changes in his country since the Korean War. By Tony Rayns.
The Beat goes on
It’s taken 50 years for Jack Kerouac’s Beat classic On the Road to reach the screen. Demetrios Matheou talks to director WALTER SALLES and his cast on set in Montreal
Things overlooked
The Shining is back in a longer print, its secrets probed in the new documentary Room 237. By Michael Atkinson
PLUS: ‘A Little Touch of Amber’, a Shining-inspired short story by David Thomson.
Editorial: Cinema’s fall
Reader Offers
RUSHES
Nick James talks to CLARE STEWART, new director of the BFI London Film Festival, about this year’s edition.
Hannah McGill explores the significance of the typewriter in film.
Mark Cousins asks what makes a great building for a film museum.
Jonathan Romney examines John Malkovich’s portrayal of the Duke of Wellington.
THE INDUSTRY
Charles Gant investigates why a remake of a Michael Caine film took 15 years to reach the screen.
Charles Gant assesses the performance of Polish films at the UK box office.
David Locke on how film festivals can help give a leg-up to niche titles.
Nick Roddick talks to veteran film-festival programmer Marco Müller.
FESTIVALS
Nick James rounds up the best of Venice and Tom Charity reports from Toronto.
DEEP FOCUS
Mark Duguid explores the darker currents running through the diverse 1940s and 50s output of Ealing Studios, usually best known for its comedies.
PLUS: Josephine Botting on studio head MICHAEL BALCON.
WIDE ANGLE
Michael Brooke explores this year’s LFF Experimenta strand on Peter Kubelka.
Paul Mayersberg charts the links between Lang’s The Woman in the Window and Kubrick’s Eyes Wide Shut.
Brad Stevens takes a fresh look at a pair of 1970s gems starring Tuesday Weld.
Frances Morgan tunes in to a new film that travels Ireland in search of silence.
Bryony Dixon looks at silent-era censors.
Agnieszka Gratza on radical 1960s New York renaissance man Aldo Tambellini.
David Cairns revisits Closed Circuit.
FORUM
Letters The meaning of giallo, S&S poll.
James Bell queries the notion of truth in Bart Layton’s The Imposter.
FILMS OF THE MONTH
Beasts of the Southern Wild
Five Broken Cameras
Frankenweenie
Ginger & Rosa
OTHER FILM REVIEWS
Call Me Kuchu
The Campaign
Elena
For a Good Time, Call...
Hit & Run
Hotel Transylvania
House at the End of the Street
Inbred
Keep the Lights On
Keith Lemon: The Film
Looper
Madagascar 3: Europe’s Most Wanted
On the Road
The Penguin King 3D
Pitch Perfect
The Possession
Private Peaceful
Pusher
Raaz 3: The Third Dimension
Resident Evil: Retribution
Room 237: Being an Inquiry into The Shining in 9 Parts
Ruby Sparks
Rust and Bone
Sinister
Sister
Sparkle
St. George’s Day
Stitches
Taken 2
Tempest
DVD FEATURES
David Jenkins salutes the immediacy and energy of Samuel Fuller’s Park Row.
Graham Fuller unpicks the pre-feminist agenda of a trio of films from Gainsborough Pictures.
Lee Hill revisits one of the lesser-known films of the American New Wave, End of the Road.
DVD REVIEWS
Casa de Lava
Crime Does Not Pay: the Complete Shorts Collection (1935-1947)
Dying Room Only
Hell Is a City, Isn’t Anyone Alive?
Korczak
Lady Snowblood/Lady Snowblood 2: Love Song of Vengeance
Lawrence of Arabia
Oedipus Rex
Pursued
Puzzle of a Downfall Child
Das Testament des Dr Mabuse
Tetsuo: the Iron Man/Tetsuo II: Body Hammer
Wings
A Woman Under the Influence
TELEVISION
Hatfields & McCoys
Prisoners of War
Star Trek: The Next Generation – Season 1
BOOKS
Henry K. Miller enjoys an overview of the films of Olivier Assayas and a memoir by the director himself.
Paul Mayersberg surveys a critically acute exploration of troubled Hollywood director Nicholas Ray.
Nick James takes issue with a political analysis of 21st-century cinema.