Cultural Viscera

American History/Culture:

Having the realization of Jack’s work as nonsense in a space that’s so heavily speaks to America is layers upon layers of a metaphor for American History and American Culture.  

The styling of the room, having this scene take place in The Colorado Lounge (and the information we heard about it) all create the larger connection of ‘the nature of man’ in the conquering of land and cultures. 

Domestic Abuse:

The whole scene is a clear expression of domestic abuse. This scene is a continuation from No.45 and No.50 (and No.47 and No.53 if we dig deeper).  

In No.50,  Jack is calm and kind until he can’t get his way, then he becomes explosive and storms out. 

Here, Jack has already tried “the nice way” (No.50) now armed with the vindication that he’s right (and that it’ his job to keep his wife and son in line - A53) he comes on with full control / predator.

He is combative in his answers, baiting Wendy to attack her. Through snaking around the space, Jack forces her up the stairs—taunting her as he threatens to kill her (and foreshadowing No.72). 

Having empathy for your abuser puts you in direct harm. It’s what an abuser counts on in order to maintain the abusive dynamic. 

The Maze:

Kubrick as Unreliable Narrator:

Including not just Danny seated alone in The West Wing Living Quarters bedroom, but what Danny is seeing as well— ties many semiotic things together. 

The cut from the blood moving towards the camera, pushing the furniture towards the camera— to Jack moving from doors styled exactly like the elevator, along with Jack, wearing the same deep red as the blood, as the doors— Jack becomes the blood. 

The Torrance Normal Family Home:

The Colorado Lounge reflects a normal living room set up. The repetition of that living room set up, no matter where the camera cuts (or to who), is a way to show this is the Torrance life no matter the building. 

Kubrick’s Aesthetic:

Kubrick has Jack moving into frame from the darkness reflects the dark unknown of Jack’s mental state, the opposite of Wendy’s light as awareness. 

Conceptual Bookends:

The scene begins with Jack eclipsing the camera view and ends with Wendy eclipsing part of the screen as Jack lays at the landing. 

Semiotic Splice:

1. “responsibility” at work is more of a priority than the priority of being a good husband and father

The semiotic splice of “responsibilities” is a reminder of (A47) “White man’s burden” and the metaphor of Britain and America’s colonialist behavior. To control the ‘less civilized’ was their job. 

2. The man’s point of view is the only focal point worth having or considering. 

Related:

The Abuse Narrative is obvious: 

A5, Jack lying about his family in order to get what he needs. 

A7, Danny’s injury related to Jack’s work

A24, Jack’s choice of work over his family

A31, Jack’s attacking Wendy over his work

A50, Jack attacking Wendy over his work

A53, Jack’s “true work” as revealed as being in control of his family [the conceptual meaning of  ‘caretaker’]

“All Work and No Play Makes Jack a Dull Boy”

It means that without time off from work, a person becomes both bored and boring. The exact origins of the phrase remain unclear, though it was recorded as early as 1659. 

What “Work” has become”

Especially since that scene with Grady (No.53)— work, duty, and responsibility have all become conflated with harm, murder, and killing. 

What “Play” has become”

“Play” gets conflated with harm as well, simply for being introduced in genuine means (with Wendy chasing Danny in the snow) with nefarious means (with Jack chasing Danny in the snow-covered maze). 

Ghost Story:

The Torrance’s problems are due to ghosts, not Jack. 

Cabin Fever:

Jack’s mental state has been affected to the point where he sees this as a great piece of work. 

No.31

In A31 she won’t see it for what it is, in A64 she still isn’t putting it together when it’s blaring her in the face. 

There is also something to be said about the refusal to see (and take) the exit. 

No.45

Wendy walks into The Colorado Lounge from the same direction. Wendy and Jack fight about Danny’s bruises. 

Here, Jack attacks Wendy for wanting to leave the hotel (because of Danny’s bruises and Jack’s mental state)

No.16

A16:i415, the sequence ends with Wendy not receiving the truth. A64 begins with Wendy seeing the truth. 

Wendy’s characterization:

The living room set up behind Wendy, the bookcase- matches her corduroy house dress

This reflects how she’s dressed A29:i555/No.31, in the corduroy dress and the apron

Equally reflecting A3, A5 and Jack’s dress shirt.

Which Jack will Wendy meet?

The Jack that attacks her, No.31

The Jack that needs her, No.45

Predator & Prey

A29:i555, the news stories Wendy listens to in regard women being in danger around their husbands

A62:i1241, road runner and coyote 

Teasing /Taunting

A9, Jack teasing her

A24, Jack teasing her, 

A31, Jack taunting her, 

A47, taunting her

A64, taunting her, 

A72 Jack taunting her

Play Vs. Harm

A26:i519, Wendy’s play chasing

A81:i1841.5, Jack chasing Danny in the maze

A33:i642,Wendy and Danny snow fight

A84:i1998,i2010, Jack chases Danny in the maze

Both Wendy and Jack call out for Danny- but Jack is calling out to harm him, Wendy calls to save him.

(No.79 is Jack, No.80 is Wendy)

“This place is such an enormous maze I feel like I’ll have to leave a trail of breadcrumbs every time I come in”

While this comment can be reflected in a literal interpretation, it also reflects the emotional games to unfold in this scene.

Which in the context of this scene can look like, “It’s hard but it still ain’t nothing but a marriage”. The issues Wendy is experience with Jack are not Overlook-induced. The things Wendy had to worry about in A4, A6, A7, A10, A13, A16 etc. have been with her the whole time. It’s Wendy’s version of “Is there something bad here?” 

Play as Harm, a warning. 

A38:i674 “Come play with us, Danny / Forever and ever and ever”

A41:724 “I wish we could stay here forever and ever and ever” 

“Five Months of Peace Is Just What I Want”

The duality of Jack’s frustration with his own work (and his choices to isolate himself for that work) is an interesting one. He can’t simultaneously resent himself and his situation for his own choices, but he does. 

What Exactly IS Jack’s Work?

A5, “Did they give you any idea in Denver about what the job entails? / it’s a janitorial position

A5, “I’m working on a new writing project and five months of peace is just what I need”

A45, Wendy is shown doing the job described in A5 wearing the same shirt Jack is wearing. 

A50, “It’s just like you to create a problem like this when I finally have a chance to accomplish something. When I am really into my work “ / his writing

A53, “And when my wife tried to prevent me from doing my duty, I corrected her”

A69, “Mr. Torrance, I see you have hardly taken care of the business we discussed” 

Wendy’s Trail of Awareness

Her denial gets ripped off like a bandaid.

“We’re all going to have a real good time!”

“You’ve had your whole fucking life to think things over, what’s a few minutes more going to do you now?”

No.65

No.66

No.80

No.85

No.87

Wendy’s Denial:

A64’s i1295 and i1296 reflection A31’s i592 and i599. 

In A64, the camera faces Jack as he stands behind his chair, the curtains are open and light blares in the viewer (and Wendy’s) face. The next cut is Wendy in front of the double exit doors that are styled like the elevator. 

In A31, Wendy stands in front of the same curtains, facing the double doors that are styled like the elevator. 

The curtains are closed and it is noticeably dark. The cut next has Jack seated at the desk, in front of the double doors styled like the elevator. 

Wendy is not aware of the nature of the danger- or she refuses to see what is right in front of her- in both cases. In A31 she won’t see it for what it is, in A64 she still isn’t putting it together when it’s blaring her in the face. 

There is also something to be said about the refusal to see (and take) the exit. 

The Elevator Blood:

The elevator blood is a metaphor for Jack’s anger, and the macro metaphor of the rage and destruction done by white men for the sake of greed and success.

The scene begins and ends with the different characters eclipsing part of the screen. 

i1303 has Wendy beginning this argument, she is on the left side of the fireplace, with a book case on her left. She is behind black and white photos, centered within brown. 

i1399 has Wendy in front of black and white photos, she is now to the right of the fireplace. bookcase and chair on her right. 

She has come full circle, and the argument is about to escalate (literally in the context of the argument and Wendy being ‘forced’ up the stairs). Kubrick uses the snaking shots to give a physical motion context to the emotional maze. 

The camera starts moving as Wendy starts backing away and Jack move towards her. The camera sequence reflects A16 as Wendy, Danny, and Halloran walk through the kitchen.

The Colorado Lounge

The West Wing Living Quarters

Wendy

Jack

Danny

Polymorphia— “many forms”. 

This is also layered with Utrenja II Ewangelica  and Kanon Paschy. 

Utrenja II is the ‘sting’ of percussion that hits hard, is done so to accentuate awareness and the reality of the situation, and the immediate danger they are all in.