Textual Analysis of a clip from The Shining

The scene in which Danny is chased by his Father

The beginning until 1.25 http://www.youtube.com/watch?v=WgxAkocAPmg

In this clip from The Shining, all four aspects of film are used to create an introductory atmosphere to the film.

The scene opens with a tracking shot of a car. The shot follows the car along windy roads into the mountains. The track shot represents voyeurism and a central theme in the film is being watched; it also defines the power in the relationship between the audience and the characters, at the moment we feel as if we are in control due to the high angle looking down. This creates tension because the audience are confused as to what role the man in the car plays in the film.

The high angle track shot also creates fear and anticipation because it seems as if we are being led to something but we have no idea what. Occasional close ups of the car lead the audience to become familiar with the driver and his character. There are hardly any other cars in the shots, but the cars that are shown are going in the opposite direction. This produces a feeling of vulnerability for the subject because he is alienated form everyone else. This also reinforces the idea of him not being in control and therefore increases his inferiority and the audience’s superiority.

The MES of the vast landscape alienates the subject even further because he appears to be driving into a wilderness of some sort. Long shadows are created by the natural low-key lighting, and the reflection in the water represents a dual reality. The audience begin to wonder what is real and what is not.  The windy road is a metaphor for the cycle of death and rebirth leading the audience to become wary because we can not see what is lying further ahead.

There are many binary oppositions represented through the MES, nature versus culture leads to the idea of real and imaginary being questioned. The audience can not tell the difference between the known and the unknown; however they retain a sense of superiority over the subject’s inferiority due to the high angle camera shots.

The pace of editing is very slow, and fades are used which could relate to a non-chronological passing of time. This again refers back to the binary oppositions of real vs. unreal and the known vs. unknown. The slow pace of editing also links to non-action and lulls the audience into a false sense of security. The audience are pushed deeper into a false sense of security by the music. A non-diegetic soundtrack consisting of eerie music plays but the tone is soft and so the audience do not think that any danger is coming.

However, the music slowly increases in tempo and begins to take on a siren-like voice. This noise has a slow tempo but is alluring and could represent the subject being called to. He has come too far to be able to pull out; he is being pursued by a supernatural entity from which he can not escape. This music is also luring the audience into the film so that they can not escape. The POV shots that approach the car reinforce a sense of voyeurism and become metaphors for the supernatural knowing that the subject has arrived; it is too late for him to turn back now.