Listening to Stanley Kubrick (38 page)

6. Ferrara,
Steadicam
, 31.

7. Brown, “The Steadicam and
The Shining
,” 826.

8. Interview with Herb Lightman with director of photography of
The Shining
John Alcott, “Photographing Stanley Kubrick’s
The Shining,
”
American Cinematographer
61, no. 8 (August 1980): 781.

9. Ferrara,
Steadicam
, 80.

10. Quoted in Vincent LoBrutto,
Stanley Kubrick: A Biography
(New York: Da Capo Press, 1997), 453.

11. David A. Cook, “American Horror:
The Shining,
”
Film Literature Quarterly
12, no.1 (1984): 2.

12. Blakemore gave these details about his article: “My 1987 article on Kubrick‘s
The Shining
was written for, and edited by,
The Washington Post.
It was published on the front page of the
Post
’s Sunday entertainment section on July 12, 1987, under the headline, ‘Kubrick‘s
Shining
Secret: Film’s Hidden Horror Is the Murder of the Indian.’”
http://williamblakemore.com/Blakemore-%20Kubrick%20Shining.pdf
.

13. Kubrick biographer Vincent LoBrutto suspects that Kubrick may have been inspired to use twins instead of just sisters because of two images: photographer Diane Arbus’s iconic image of twins from 1967—an idea put forth by Arbus’ biographer Patricia Bosworth—and another image that Kubrick himself took when he worked for
Look
magazine in which two sisters stand side by side in front of the men who saved them from carbon monoxide poisoning. LoBrutto,
Stanley Kubrick
, 444–445.

14. Geoffrey Cocks,
The Wolf at the Door: Stanley Kubrick, History, and the Holocaust
(New York: Peter Lang, 2004), 2.

15. Cocks,
The Wolf at the Door
, 246.

16. In James Howard’s
Stanley Kubrick Companion
, Howard claims that Kubrick changed the number of the room “as a favour” to the Timberline Lodge in Oregon, on which the Overlook Hotel is based. The Timberline had a room 217, but its association with the disturbing events in
The Shining
might have caused some problems. The Timberline did not have a room 237, so there was no problem there. James Howard,
Stanley Kubrick Companion
(London: B.T. Batsford, 1999), 151.

17. Ciment,
Kubrick: The Definitive Edition
, 196. He went on to say, “I wonder how many people have ever had their views changed by a work of art?”

18. LoBrutto,
Stanley Kubrick
, 411.

19. LoBrutto,
Stanley Kubrick
, 417.

20. LoBrutto,
Stanley Kubrick
, 418.

21. Letter, “From the office of Rudi Fehr 12/23/77,” in the Stanley Kubrick Archive, University of the Arts London.

22. Although this cue was not used in the film, it did appear at the end of Vivian Kubrick’s documentary
The Making of The Shining
, which is included on the DVD release of the film
.

23.
Stanley Kubrick: A Life in Pictures
, directed by Jan Harlan (2007, Warner Home Video), 1:41.

24. See full track listings of these albums in appendix C.

25. The Polymoog was probably best known as the synthesizer used in Gary Numan’s song “Cars.” The instrument was manufactured from 1975 to 1980 by the Moog Music company.

26. K. J. Donnelly,
The Spectre of Sound: Music in Film and Television
(London: BFI Publishing, 2005), 53, note 15.

27. LoBrutto,
Stanley Kubrick
, 448–449.

28.
wendycarlos.com/discs.html#BR
.

29. Luis M. Garcia Mainar,
Narrative and Stylistic Patterns in the Films of Stanley Kubrick
(Rochester, NY: Camden House, 1999), 56.

30. James Naremore,
On Kubrick
(London: BFI, 2007), 193.

31. Donnelly mentions Christopher Hoile’s 1984 article “The Uncanny and the Fairy Tale in Kubrick’s
The Shining
,” in
Literature Film Quarterly
12, no. 1 (1984): 5–12. In it, Hoile discusses the influence on
The Shining
of Freud’s essay “The Uncanny” and Bruno Bettelheim’s
The Uses of Enchantment
from 1976. Donnelly,
The Spectre of Sound
, 52.

32. Donnelly,
The Spectre of Sound
, 50.

33. Leonard Lionnet, “Mysteries of the Overlook,”
Film Score Monthly
9, no.1 (January 2004): 46–47.

34. Donnelly,
The Spectre of Sound
, 46.

35. A reprint of Stainforth’s summary music chart for
The Shining
can be found in Barham, “Incorporating Monsters,” 62–64.

36. Barham, “Incorporating Monsters,” 145.

37. Barham, “Incorporating Monsters,” 145.

38. Howard,
Stanley Kubrick Companion
, 153.

39. Howard,
Stanley Kubrick Companion
, 153.
http://www.gordonstainforth.co.uk/
.

40. Please see the plot synopsis of
The Shining
in appendix B.

41. LoBrutto,
Stanley Kubrick
, 448–449.

42. The poem also shares similarities with texts from other traditions like
Une thae tokef
, a Hebrew chant for Yom Kippur, and a seventh-century Advent hymn. From Robert Chase,
Dies Irae: A Guide to Requiem Music
(Lanham, MD: Scarecrow Press, 2003), 509.

43. Richard L. Crocker, John Caldwell, and Alejandro E. Planchart, “Sequence,” in
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie (London: Macmillan, 2001), 91.

44. John Caldwell and Malcolm Boyd, “Dies Irae,” in
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie (London: Macmillan, 2001), 332.

45. Caldwell and Boyd, “Dies Irae,” 332.

46. Incidentally, Penderecki wrote a
Dies Irae
in 1967 to commemorate the men and women who lost their lives in Auschwitz, but it features neither the text nor the chant; it instead mixes textual source material from various sources. Caldwell and Boyd, “Dies Irae,” 333.

47. William Rosar, “The
Dies Irae
in
Citizen Kane
: Musical Hermeneutics Applied to Film Music,” in
Film Music: Critical Approaches
, ed. K. J. Donnelly (New York: Continuum, 2001), 103–116.

48. Donnelly,
The Spectre of Sound
, 42.

49. A full rendering of the text in both Latin and English can be found at
http://www.franciscan-archive.org/de_celano/opera/diesirae.html
.

50. Michael D. Searby,
Ligeti’s Stylistic Crisis: Transformation in His Musical Style 1974–1985
(Lanham, MD: Scarecrow Press, 2010), 8.

51. Searby,
Ligeti’s Stylistic Crisis
, 37.

52. Richard Steinitz,
György Ligeti: Music of the Imagination
(Boston: Northeastern University Press, 2003), 153.

53. Ligeti,
Lontano
(Mainz: B. Schott’s Söhne, 1967).

54. Searby,
Ligeti’s Stylistic Crisis
, 145.

55. Nicky Losseff, “The Piano Concerto and Sonata for Two Pianos and Percussion,” in
The Cambridge Companion to Bartók
, ed. Amanda Bayley (Cambridge: Cambridge University Press, 2001), 125.

56. Adrian Thomas, “Penderecki,” in
The New Grove Dictionary of Music and Musicians
, ed. Stanley Sadie (London: Macmillan, 2001), 305.

57. Thomas, “Penderecki,” 306.

58. Thomas, “Penderecki,” 307.

59. Geoffrey Cocks, “Death by Typewriter: Stanley Kubrick, the Holocaust, and
The Shining,
” in
Depth of Field: Stanley Kubrick, Film, and the Uses of History,
ed. Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: University of Wisconsin Press, 2006), 211.

60. Leonard Lionnet attempted to make a similar chart in the article “Mysteries of the Overlook: Unraveling Stanley Kubrick’s Soundtrack to
The Shining,
”
Film Score Monthly
9, no.1 (January 2004): 44–47, although he does not make note of the overlapping cues, and in the hedge maze sequence he leaves the credits as simply “Various.”

61.
http://www.schott-music.com/shop/persons/featured/krzysztof-penderecki/index.html
.

62. Thomas, “Penderecki,” 307.

63. As an interesting side note, it is worth mentioning that Kubrick again used music on set to create mood. In a documentary on
The Shining
filmed by Kubrick’s daughter Vivian (included on the DVD release), she captures the filming of the hedge maze chase, and in the excerpt Kubrick is playing a tape of Igor Stravinsky’s ballet
The Rite of Spring
and directing Danny in his escape. There is no evidence to suggest he ever considered using the music for Stravinsky’s ballet for the film, and there is no footage of him using Penderecki’s musical selections to create mood, although they can be quite unnerving in the right context.

64.
http://www.jackhylton.com/
.

65. Stephen King,
The Shining
(New York: Pocket Books, 1977), 28.

66. Ciment,
Kubrick: The Definitive Edition
, 194.

67.
http://www.visual-memory.co.uk/faq/html/shining/shining.html
.

Table 6.1. Soundtrack of
The Shining