Nyt on pakko katsoa Kubrickin Shining takaperin

There are several reasons why backwards is a viable viewing order. The front credits are end credits, blue-turquoise filled helveticas rise as if the film is coming to an end (and Kubrick does not use rising end credits, ever). Like many other subtle combinations of camera movement and storytelling/activities in the film, seen backwards, the first shot of the film can become the end of the film: the final image the horizontal/horizon, mountain and reflection, a state of hybrid native American nirvana. Another example: Wendy reads Jack’s typed book ‘backwards’ in the film’s forward, ie: she reads the page in the typewriter then the top page and continues down. The film itself is a reflection, each scene each possesses a mirror scene of the other (ie: Danny and Wendy’s campfire/roadrunner meal is doubled beginning and end.) Kubrick stages certain interactions with characters that walk confrontationally, ie backing up. Seen reversed, a baseball bat wielding Wendy appears to be coaxing Jack ‘back’ into himself, similarly Danny backs up to fool his father in the snowy maze. Shock cuts: the film is actually scarier backwards since Kubrick has reversed the order of storytelling horror conventions in the forward.