Category Archives: COLLAGES

January 2, 2014 · 10:46 pm

strange? 04

This is the first frame of Chapter 4.

A yellow rubber duck is seen clearly behind the shower curtain Danny stands in front of at the sink. The curtain is drawn slightly away from the side wall at the bottom to emphasize the object, seemingly. Note also that Dopey the Dwarf is the last sticker character seen on the door as we track into the bathroom during the shot. This will become important in a moment.

We move to Chapter 5 now and Shot 61 again covered in “strange? 01, 02 and 03”, with screen captures of additional oddities or curiosities. The first is a spark illuminating the spot where the duck *was* in Chapter 4, the last time we saw this bathroom. The shower curtain hangs slightly *toward* the side wall at its bottom this time in contrast to before. We might presume the duck is obscured then, if it wasn’t clearly present in the *window* of Danny’s room. Did Danny move the duck? Or is this more magical Shining displacement, with no possible, terrestrial explanation?

Another reason this shower glint might be important is that it occurs in the first few frames of the shot, near its very beginning (12:10).

At 12:25, we have an oval patch appearing just to the left of the bear pillow on the bed. Notice that shapes seem to be formed in the pillow, perhaps most prominently what looks like a 4 toed foot across the top side, to the left of the 2 ears in the below capture. I’m recalling that Halloran would have his feet symmetrically propped up on pillows later on in the movie, when he’s watching TV in Florida and just before a shining moment where he appears to be in psychic contact with Danny.

Two more black dots form at 12:26 and 12:27 between Wendy and the bathroom, at about the same height above the top of the picture with the 3 animals. During this time, the doctor is approaching Danny to begin asking questions about the fainting incident he experienced earlier that day.

Then in what appears to be the last frame of shot 61, we have the *duck* highlighted by a small, dark discoloration. Recall that the place the duck *had* been, in the shower, is spotlighted at the very beginning of the same shot with a white sparkle thingie. Quite a bit of framing symmetry here, then, and another Alpha-Omega relationship. Planned? Dunno.

But there’s more (!) In the very next frame past shot 61, the first of 62, we have a mysterious white streak appearing above Danny’s head and the bear pillow, reminding us of the earlier white streak coming above the doctor’s head in shot 61. The white light only appears in this one frame, and doesn’t reappear in any other shot of Danny on the bear pillow in this movie chapter as far as I can tell.

In shot 63, we’re back looking at the dr. and Wendy. A brown spot occurs above the doctor’s head at 12:49…

… a redder spot near the center of Danny’s window at 12:53…

… and then, in shot 65, *another* vertical white streak above the psychiatrist at 13:07. Quite remarkable. It comes precisely as she’s saying the word “just” of the sentence, “Now Danny, can you remember what you were doing, *just* before you were brushing your teeth?” “Just” is the highest pitched word of her question.

When Wendy closes her eyes at 13:25, we again get the impression that her right eye is somehow larger than the left one, a popeye effect if I may be allowed again.

Wendy sneaks a quick glance at her doppleganger doll Goofy before leaving the room. I would assume Kubrick instructed her to do so. Something odd about her arms movements throughout these shots as well.

As other Shining researchers have pointed out, Dopey is gone from the door now as Wendy shuts it to end Chapter 5 of the movie. Compare with the first photo of this blog post. This disappearing act is mentioned in the “Room 237” documentary as well.

(continued in)

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Tagged as DOTS, Paul Duck^*+

January 2, 2014 · 4:25 pm

Omega Point, A/V Synching?

Rereading KDK12’s post about his “The Shining: Forwards and Backwards” synchronicity, perhaps the most important audiovisual synching find since “Dark Side of the Rainbow” and its less known sidekick “2001-Echoes” from the 1990s.

http://kdk12.tumblr.com/post/4879566957/the-shining-forwards-and-backwards

It seems a new development, a “Dark Side of the Rainbow” for the 21st Century as I’ve seen it called in one source.

Here’s a 15 minute excerpt of its middle part again:

http://vimeo.com/53766925

I was going to select a handful of KDK12’s screen captures of the synch for further comments, but, heck, the whole thing looks fantastic. Next step: make my own god damn copy!

To add to this, KDK12 and others have been inspired by the incredible depth of The Shining to make more movie-movie overlaps, mini-synchs in and of themselves all, if shorter and giving more the appearance of “collage studies” than full blown works of art like “The Shining: Forwards and Backwards” (and the earlier “Dark Side of the Rainbow”).

I’ve seen versions of this one on several sites (overlap of end of The Shining with end of 2001: A Space Odyssey):

KDK12 himself has a number of others posted here:

http://vimeo.com/kdk12/videos

Ice dance.

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January 1, 2014 · 3:54 pm

11

http://en.wikipedia.org/wiki/Somerton,_Suffolk

There was once quite the rivalry between Hartest and Somerton, and a giant stone found in Somerton was stolen by Hartest and rolled down the valley where it still sits on their village green.

[INSERT ROCK/CLOCK OF LEMON OF TROY]

http://en.wikipedia.org/wiki/Last_Exit_to_Springfield

The Smipsons appear in a good number of carrcasses now, starting famously with Carrcass+2 and then extending into Carrcass-2 (mirror), Carrcass-5, Carrcass-8 and Carrcass-9. Lisa the Vegetarian is within +2, -2, -5, -8, -9 — all of them. To quote The Residents: “And there will be more.”

Must make a decision by Jan. 6 about VWX Town, and whether to abandon almost half the town (VWX Indulgence) and keep the rest (VWX Town Essence) for a number of months, sell the land in toto and rent elsewhere, or keep the whole town and sell in Feb. or even March.

—–

2:56am:

Third option for VWX Town: sell 3072 sq meters of my land to my old landlord [delete name], and then rent it back to her. Abandon all the rest of the land besides the 8704 sq. meters of VWX Town, Essence. This will bring me just down to the next tier level. I can keep most of the town, and delete only stuff that’s mostly empty anyway, with the exception of the Toxic Art Gallery (Big Boy Tower, Marble Tower, Tower of A. Mann, SoSo Gallery, Bodega Market).

But after eliminating these, I’m tempted just to keep the entire town and sell all the land around the first of March, when spring hiking season arrives full blown. Am I still getting enough out of it?

I could start working on a model of the forest in The Table House.

—–

Hucka D.:

I can’t make a decision for you. I can point out the advantages and disadvantages of each move. To discard the Rubi property might weaken the blog. Period. To keep all might weaken the blog, and your pocketbook more. The Rubi Forest will remain, whatever. You’ll have that little bit to the south that’s kind of yours anyway. You’ll have the 2048 in Philudoria still. Make the model of the forest there. It’s 8x5x1024 square meters. Make the sides 16 instead of 32 and you’ve reduced to a 4×2.5. Make the sides 8 instead of 32 and you have a 2×1.25. That’ll do it.

bb:

Not quite Hucka D. It would have to be a 2×1 instead of 2×1.25. So a 2048 won’t do.

Hucka D.:

Shoot. I suppose if you kept the present town you could make a 4×2.5 model, even.

bb:

Yep.

—–

bb:

A return trip to Mythopolis won’t come about tomorrow I don’t think. I’ll have to wait until not this weekend but the next. Friday afternoon, most likely. I’ll have to get out early tomorrow and go to Sharieland. That’s my decision[ for tomorrow].

Hucka D.:

You might as well sell Rubi. You have Philudoria. You’ll make your map of the forest later. Rent a 4096. Anywhere.

Mythopolis! 02

Redlands.

We turn to blog spirit Hucka Doobie for help in this confounding new development.

Hucka D.:

Happy New Years Day baker b.!

bb:

Thanks! Same to you my old friend.

[they sing Auld Lang Syne for several minutes]

bb:

Phew!

Hucka D.:

Wowwy Zowwy!

bb: (wiping brow):

So we’re ready to get down to business?

Hucka D. (still catching breath):

In a moment.

—–

5 minutes later:

Hucka D.:

Okay I’m ready! (another breath) So… you know about Michael Tree now. Let’s see (checks script in his hand). We’re up to page 78 already. “Enter the Redlands”.

bb:

It’s a stunning return of Mytholopolis to mythological significance.

Hucka D.:

Mythopological.

bb:

So surely Michael Tree is not the same as Michael Too of Frank and Herman Parks?

Hucka D.:

No, not really. A different Michael. A Tree. You have clues in The Shining, no?

bb:

You mean the film mistake on the floor in front of Wendy, right on the red band where Halloran would later be axed.

Hucka D.:

This is the stacked rock village you discovered today… yesterday.

bb:

Not possible.

Hucka D.:

Never say that. Your find was coordinated… I mean, the 2 finds were coordinated across space-time. The finding of the rock village was predicted in The Shining oval flaw.

bb:

Michael Tree then lives in the middle of this squared circle. Because that’s what it is.

Hucka D.:

Yes. The circle (Hucka D. points to interior circle Wendy is exiting) and the square (Hucka D. points to the square, red band it’s centered within) at once.

Squared circle.

bb:

Same position on the square, huh.

—–

bb:

I’m trying to follow this further. So Halloran’s blood mirrors the red paint of the square band. Right when he steps on this band, Jack comes out from behind the column with his axe.

Hucka D.:

Michael Tree has been axed[ as well]. Think about that.

Hucka D.:

Michael Tree is the top [rust red] rock of his temple, a variation of Michael Too’s Norris Temple. That’s him… axed.

bb;

Yet they’re not the same.

Hucka D.:

No.

bb:

Axed means fired?

Hucka D.:

Kind of. Axed through the heart. Heart Line.

—–

Hucka D.:

Let’s go back the the missing scene of The Shining. Killings and disappearances have been going on for 70 years within that Fowl Mouthed Hotel. That’s not elucidated in the movie.

bb:

It’s in the scrapbook.

Hucka D.:

Redlands is an engineered landscape. Carefully planned out in space-time. Michael Tree may be Michael Treed.

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January 1, 2014 · 3:12 am

December 31, 2013 · 12:20 am

strange? 03

(continued from)

http://idyllopuspress.com/idyllopus/film/shining_saturday.htm

Coincidentally, as Wendy crosses over the circle where Dick is to die, an oval flaw appears in the film stock on the wall to the left, white enclosing a tan field. I saw this because I paused the film to get a shot that showed the television was on but we’re unable to see what is playing, and for the brief period of time it is shown whatever is on the screen appears static and isn’t moving.

Juli Kearns is speaking of the 2nd still below, but in the frame before this we have a larger oval flaw appearing on the floor below and to the right of the strolling Wendy. Thought I’d include this here. I don’t have anything else to add to Kearns’ observations at this time except to reiterate that these flaws come just before the scene with the last “sha” sound of the movie (Wendy contacting the forest service via radio) and also, as Kearns noticed, right at the spot where Jack heard the *first* sha sound near the beginning of the movie, and also where he axed Halloran to death toward the end. I’m reminded of Halloran’s own words when talking to Danny about the shining gift:

Well, you know, Doc, when something happens, it can leave a trace of itself behind. Say like, if someone burns toast. Well, maybe things that happen leave other kinds of traces behind. Not things that anyone can notice, but things that people who “shine” can see. Just like they can see things that haven’t happened yet. Well, sometimes they can see things that happened a long time ago. I think a lot of things happened right here in this particular hotel over the years … and not all of ’em was good.

“Things that haven’t happened yet” — certainly prophetic words coming from Halloran here in combo with the burnt toast analogy. Actually I do have something to add about the larger and earlier of the 2 oval flaws in question. It seems to quite suspiciously align with a red and black band of the floor design, specifically 2 right angle triangles on either side. I think there’s a strong possibility that mad genius Kubrick purposely constructed this as one of those “burnt toast” spirits.

I looked through the whole movie for similar anomalies. Here are 2 of the more interesting ones, from the shot where Wendy first discovers that Jack has only been typing the sentence “All work and no play makes Jack a dull boy” over and over and over again instead of actually writing something coherent for his book. I’ve already called into question whether these are actual pages or instead symbolic stand-ins for what is perhaps turning out to be a cheesy (and thus similarly worthless) horror story. What I like about the first anomaly, then, is that the white speck or flaw appears above a red triangle element of the ceiling design (to the left and above Wendy’s head), reminding me of the all illuminating Eye of Providence within or atop a triangle/pyramid, such as appears on the back of our dollar bill.

Certainly Wendy is being illuminated here as well, with the realization that her husband is truly, stark raving mad (!) In the same shot we have a more conspicuous *red* colored flaw on the bannisters to her right in the picture, about 6 seconds after the one described above flashing atop a *red* triangle.

*Interesting*. I’ve just learned through this wikipedia article on the subject that the Eye of Providence also appears on the Seal of Colorado. Kubrick obviously used the Colorado state flag as a leaping off point for some of his symbols, like Danny’s yellow ball mirroring the flag’s central yellow (solar) circle. Could he be doing similar things with the state’s seal here?

Note that the seal depicts a bound *axe* and wooden rods just below the all seeing eye, woven together with a red, white and blue ribbon in a design known as the Roman farces.

(continued in)

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December 30, 2013 · 12:51 pm

New Tree

(continued from)

In The Shining film, we have none of this discussed, although the scrapbook is seen open beside Jack several times while he’s writing. We have so much of the backstory explained in this deleted scene. And it’s probably for that very reason Kubrick decided to leave it out of the movie, to blur fact and fiction further and to heighten the mystery and intrigue. Jack the story writer and Jack the character in the story (and Jack the actor!) all get mashed together into a composite figure. And the only thing this composite character in the movie writes is that one sentence again and again. “All work and no play makes Jack a dull boy.” Is Kubrick, for instance, saying that Jack’s story will turn out to be as worthless as this insane drivel? I believe we have to think about Stephen King’s source novel for the movie as well. Several researchers have laid out convincing arguments that Kubrick reversed much of King’s plot, or turned it on its head (much to the chagrin of King, they add). Let’s return to the horse’s mouth and see what Kubrick has to say about the source novel:

With “The Shining,” the problem was to extract the essential plot and to re-invent the sections of the story that were weak. The characters needed to be developed a bit differently than they were in the novel. It is in the pruning down phase that the undoing of great novels usually occurs because so much of what is good about them has to do with the fineness of the writing, the insight of the author and often the density of the story. But The Shining was a different matter. Its virtues lay almost entirely in the plot, and it didn’t prove to be very much of a problem to adapt it into the screenplay form.

So Kubrick’s opinion of the source novel is that it contains a solid plot but is not great fiction per se. And this plot provided the basis for the director’s re-invention, turning its weaknesses into strengths within the movie. Or that was the idea. So colors were re-invented and inverted, for example. In the movie we have Jack driving a yellow Volkswagen Beetle and playing with a yellow ball in the Colorado Lounge while attempting to think of ideas for his story. In King’s novel, both of these were red. Inversely, the novel’s yellow snowmobile (or sno-cat) becomes red in the film. As Danny and Wendy arrive at the Overlook in the yellow VW near the film’s beginning, they drive away from it at the end in this red snowmobile. Red and yellow have switched places as Alpha and Omega.

Jack waving goodbye.

And what of the crushed *red* Volkswagen in the film, seen by Halloran as he returns to the snow bound Overlook Hotel from hot, sunny Florida? Here’s what blogger Jonny53 has to say:

http://jonnys53.blogspot.com/2008/06/crushed-red-vw.html

Turned on its head indeed!

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December 29, 2013 · 8:39 pm

New Too

Jack Torrance: I like you, Lloyd. I always liked you. You were always the best of them. Best goddamned bartender from Timbuktu to Portland, Maine. Or Portland, Oregon, for that matter.

Been looking through this…

http://www.collativelearning.com/mybb_1401/Upload/showthread.php?tid=566

… and came across this.

http://www.theoverlookhotel.com/post/40960004135/a-deleted-scene-from-the-screenplay-for-the

Repetition.

If you know The Shining movie, you certainly remember when Wendy found what Jack had been merrily typing for days. Just one line over and over and over: “All work and no play makes Jack a dull boy.” Turns out by that time the scrapbook hadn’t inspired Jack to writing significant fiction but might have instead driven him over the edge. But is this what it seems in the movie? There’s significant evidence that parts of the movie are actually externalized versions of the novel he is writing based on this scrapbook. A prime example is mentioned in Kearns’ page on the Tuesday section of the movie.

http://idyllopuspress.com/idyllopus/film/shining_tuesday.htm

What clued me in personally about a story within a story going on here is that Wendy, when approaching Jack finally hard at work on his story, typing madly away in the cavernous Colorado Lounge of the hotel, says hello to him *twice.* Here’s the dialog, culled from Kearns’ site (thanks once again Juli!):

WENDY: Hi, hon. How’s it going?

Jack rips his page out of the now gray typewriter.

JACK: Fine.

She leans in and gives him a kiss.

WENDY: Get a lot written today?

195 MCU Jack from Wendy’s side. (43:56)

JACK (stiffly): Yes.

196 CU Wendy. (44:00)

Now we view Wendy.

WENDY (stiffly): Hey. The weather forecast said it’s going to snow tonight.

After the second greeting, Jack’s demeanor changes. He becomes more sullen, and asks her not to disturb him again while he’s working. What’s more, a *chair* has obviously disappeared from the wall behind him, seen clearly in the shot of Jack just prior to this. Again, as with Danny’s tiger poster discussed in “strange? 02” (LINK) and many, many more examples throughout The Shining, this disappearance is *not* a continuity error, but purposely inserted into the film by Kubrick at this particular juncture for a specific purpose. There appears to be 2 Jacks here (and 2 Wendys), the real Jack typing the story in the Colorado Lounge, and the Jack *within the story*, also typing, and also more irritated by Wendy’s intrusion. I would venture that the Jack who typed “All work and no play makes Jack a dull boy” over and over is the fictional one within the story. The real Jack is merely typing the story itself. But since the real Jack is also in a *fictional* movie… well, we’ve returned to the idea of nested dolls, and which reality is real.

And overlayed on top of this is the bizarre twist that actors named Jack (Nicholson) and Danny (Lloyd) play the Jack and Danny characters in the movie, with these fictional names originating in Stephen King’s source book and otherwise unconnected to the real names. Kubrick himself mentioned this coincidence (synchronicity, really) in an interview with Michel Ciment when speaking about the music of the film:

… most of the music in the film came from the Polish composer Krystof Penderecki. One work titled Jakob’s Dream was used in the scene when Jack wakes up from his nightmare, a strange coincidence. Actually there were a number of other coincidences, particularly with names. The character that Jack Nicholson plays is called Jack in the novel. His son is called Danny in the novel and is played by Danny Lloyd. The ghost bartender in the book is called Lloyd.

Here we return Lloyd the bartender, then.

“What will it be?”

I’ve seen several Shining researchers mention the additional coincidence that this bartender is serving Jack a *Jack Daniels* drink, comparing it to the union of father (Jack) and son (Danny, or Daniel). Here we might also be talking about an incestuous relationship between the two; there’s actually a considerable body of evidence for this, although the basic theory is rejected by Kearns at least. But there’s also such evidence as Jack talking about his relationship with Danny while drinking Jack Daniels in front of Lloyd, saying things like…

I never laid a hand on him, goddamn it. I didn’t. I wouldn’t touch one hair on his little goddamn little head. I love the little son of a bitch. I’d do anything for him, any fucking thing for him.

Back to the scrapbooks and The Shining’s deleted scene….

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December 29, 2013 · 8:12 pm

Ideas

Sharieland’s Sunklands and its Gaping Mouth Rock, etc. is now directly attached to The Shining. How could this be? Palmistry, The Devil tarot card, and the picture at the end of The Shining are all linked through Jack’s band aid, which becomes my band aid. It heals a poisoning, like lead poisoning, like poison ivy poisoning, but a wound of the heart (or head?) [line]. The pencil warned me (jabbing) what was just around the corner (co-worker split). I was so happy, having created my Sharieland photos. Then: shock.

Result was getting a student (wonderful!), and co-worker moving to a different location, in essence. Also probably me retaining my office. So what’s to complain about?? Only the great unknown.

Healing.

Alignments are being made in this game of Omega Point considerations. Alpha (Oz) is seen to be corrupted by Omega (Shining). The whole thing must be lifted up and purified.

The Omega Wall.

We continue…

strange? 02

(continued from strange? 01)

In “strange? 01”, we examined a good number of film effects in Shot 61 of “The Shining”, some of which clearly seem to be beyond the norm. Here is a composite picture of the anomalies I created at the time.

In studying the shot further, I saw additional lighting effects, but I think we may have hit the major ones in “strange? 01”. I believe the light shooting out of the psychiatrist’s head as the background tiger’s eyes realign with the top of her coat is obviously the first major effect of the shot, about 6 seconds in. The 2 spots around the dr.’s head near the end of the shot, appearing right at its last spoken word (“strange”) would be the final major effect. These form the frame to understand all else within.

Still don’t believe I’m on to something here, and these are mere film discolorations? Shots 61, 63 and 65 all have the same camera angle, and involve the psychiatrist asking Danny various questions about the vision of blood pouring out the Overlook Hotel’s elevators he experienced while brushing his teeth that day. Shots 62 and 64 switch to the same closeup of Danny, as he fields her various questions. In shot 65, which is continuous with 61-64 before it, the psychiatrist asks Danny what happened just before he started brushing his teeth. In shot 66, Danny replies that he was talking to Tony. Here’s what we see when we return to the psychiatrist, in a close up in shot 67. The blackboard in the background has moved, and now covers both tiger’s eyes!

In shots 63 and 65 the tiger appears as it does in the first photo of this post from shot 61, with the blackboard askew and only covering part of the tiger’s right eye. So it’s obvious that Danny’s spirit accomplice Tony and this poster tiger are suppose to be equated with each other here, with the link being well-known cereal character Tony the Tiger. The psychiatrist then asks who Tony is, and Danny’s mother Wendy rather nervously explains that it is Danny’s imaginary friend. We only see the blackboard cover both tiger’s eyes during the several closeups of the psychiatrist during this sequence, and at the end of the movie chapter taking place within this room, when we return to the same camera angle as shot 61, the blackboard likewise returns to a state of askewness.

Why did Kubrick set all this up? In looking at the whole scene in Danny’s room further, Wendy’s eyes also don’t appear right at times, like one has been “artificially” enlarged, almost a popeye effect.

I’m reminded here — and perhaps you the reader are as well when reading this observation of mine — that Shelly Duval played Olive Oyl in the movie Popeye, which was being conceived at the same time as the filming of The Shining.

S W E E T H A V E N
S I D E W I N D E R

Hmmm…

(continue to strange? 03)

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Tagged as TIGERS

December 27, 2013 · 11:39 pm

strange? 01

http://idyllopuspress.com/idyllopus/film/shining_interview.htm

… the scene goes black. (12:07)

After a moment, we hear a voice.

SHOT 61

(12:10: scene begins)

(12:10: brown spot at top of screen above dr.; 2 tiger eyes effect above coat, then lost)

THE DOCTOR: That’s good, now…

(12:16: light shoots up from dr.’s head as she switches eyes right as 2 tiger eyes illusion reappears above her coat)

(12:16: then black spot above dr.’s head)

THE DOCTOR: … the other one. (The doctor switches to examining Danny’s left eye.) Good boy.

We hear a horn honk outside.

(12:17: black dot on curtain between Snoopy and Goofy noses (see below))

(12:18: black spot between dr. and Wendy as she finishes examining 2nd eye)

(12:21: darker black dot on upper edge of screen, above dr.)

(12:23: ring effect above dr. as Wendy looks down)

(12:23: larger ring effect on Peanuts curtain drape as dr. closes case; Snoopy’s nose highlighted)

(12:24: light to Wendy’s right as she closes eyes; dr. makes eye contact w/ Danny)

The doctor sits down next to Danny.

(12:27: brighter light directly above Danny’s and dr.’s aligned hands)

THE DOCTOR: Now, Danny, when you were brushing your teeth, do you remember if you smelled anything funny or saw any bright flashing lights or anything at all strange?

(12:38: 2 black specks on left side of dr.’s head as she says word “strange”)

—–

Hucka D.:

Best guess. The doctor becomes the bear at the end of that question. The askew bugs (which are Joe and Zoe!) in relation to the doctor’s hair twin the askew ears on the bear[ pillow Danny is laying on]. The hair colors (doctor and bear) are very similar; almost identical.

bb:

Wendy is similarly a twin of Goofy to the right… same colors, again (red and blue). Wendy *is* goofy. Goofy appears to be attached to a string like a puppet. She *is* a puppet.

Hucka D.:

We take turns. Tiger next to Goofy is partially hidden by a small blackboard, one eye exposed and the other covered. Tiger equals Danny’s spirit bug [sic?] Tony, like Tony the Tiger. Need proof? Tony the Tiger is seen later on a box of cereal in the stor[age] room.

bb:

Study… sorry.

Hucka D.:

Study blackboards. Dartboard, blackboards.

(12:40: light to left of Wendy as she moves head)