“If it can be written, or thought, it can be filmed.”
~Stanley Kubrick
Before you get started on this particular analysis, I just want to note that, at this point, there’s now hundreds of other points being made on the site that involve the mirrorform which will not be covered in the following. For instance, I’ve done individual mirrorform analysis for almost all of the artworks seen in the film, which can be found by going through them one by one. Also, while the entire Redrum Road and Golden Shining analyses are entirely dependant on the mirrorform, this will avoid making cross-references with those as much as possible. My analysis of the mirrorform nature of King’s novel also sits entirely separate.
This analysis was last edited close to a year ago, and while I’ve tried to come back and add what needs adding (when I discovered an artwork’s identity, or noticed a significant pattern), I don’t think there’s much point in having two versions of every thought somewhere on the site. That said, I do tend to think of this as the analysis through which all my other analyses are understood; a ‘part one’ to everything else’s ‘part two’. If this occasionally gives you, dear reader, a mild case of déjà vu, I apologize. That is the nature of labyrinths.
Table of contents
- Part 1: Going-to-the-Sun Road
- Part 2: The Interview
- Part 3: Closing Day
- Part 4: A Month Later
- Part 5: Tuesday
- Part 6: Thursday
- Part 7: Saturday
- Part 8: Monday
- Part 9: Wednesday
MAIN PAGE ⎔ SITE MAP ⎔ GLOSSARY
OTHER MAIN PAGES FOR SHINING ANALYSIS
THE MIRRORFORM ⎔ THE BEATLES ⎔ THE RUM AND THE RED
BACKGROUND ART ⎔ OVERLOOK PHOTOGRAPHS ⎔ GOLDEN SPIRALS
PHI GRIDS ⎔ PATTERNS ⎔ VIOLENCE AND INDIGENA ⎔ ABSURDITIES
THE STORY ROOM ⎔ ANIMAL SYMBOLS ⎔ THE ANNOTATED SHINING
EYE SCREAM 