20 Key Frames

The first shot is reminiscent of Kubricks style in a medium shot with the subject
framed in the middle. The theme of the recurring colour green is introduced with the
use of a green bin and grass/shrub symmetrical next to the characters. The camera
would be a medium shot of the mother and child walking into the building. The foley would
consist of birds chirping and footsteps walking down the path.

This shot has the same symmetrical style. It introduces the recurring colour of
green in the toy car. In terms of the set design, the white hallways with the contrasting red
carpet is similar to the hallways in ''The Shining''. The use of the same symmetrical shot
shows Kubrick's attention to detail and also the reoccurrence of the medium shot. The use
of the foley consists of hearing the sound the toy car makes as it touches the carpet
showing empty the hallway is.

This shot is an example of a one point perspective shot which was used
all the time in Kubrick's films. In this shot, it is made to emphasise the
symmetrical set and make it noticeable. The window above the balloon shows
daytime, which subverts classic horror genre tropes like night time and darkness.
The Shining does this as well. In terms of music and foley, we would the toy cars wheels
rolling over the carpet before he stops and sees the balloon roll into frame.
The ominous music from The Shining starts to play (Krzysztof Penderecki- De Natura Sonoris No2)

This reverse shot builds suspense as the boy slowly walks towards the balloon
combined with the music is a trope of psychological horror. The background
of the shot has changed so that the door has swapped sides. This is an example
of deliberate spatial awareness problems in the set design of ''The Shining'' which
I have used deliberately here. Doors change sides in the background, hallways lead
to nowhere and chairs and tables disappear and reappear on purpose between
shots. We can also link this shot to Metz's theory about the mirror stage. The boy
is looking directly at the spectator, like the cinema screen is a mirror and the
spectator is looking at themselves to create alignment with the child character.
Taking into consideration the set design of the shot, the audience are looking
into this mirror image with a distorted background which is comparable
to a distorted mirror view which adds to the psychological horror aspect of the film on
a sub conscious level. The camera is a tracking shot so we see the boy walking forward but not at what
is in front of him. Penderecki's music plays and builds in intensity with lots of harsh
and noisy instruments.

This shot is a POV shot from the child's perspective. This links to my study
of Stanley Kubrick because he uses a lot of POV shots in his films, like 2001 and The Shining.
There is the recurrence of green as a colour again with the exit sign and the balloon by
his feet. The music builds now to an extremely loud shrill.

This shot or montage of shots is an example of a crash zoom which is
used in The Shining frequently. The crash zoom is always accompanied by a
loud crashing and shocking noise designed to scare the viewer. In order to demonstrate
the crash zoom, I added a motion blur effect on Photoshop to illustrate this around
the sides of the photos which looks similar due to the fast moving nature of
the camera during these crash zooms.

In this shot, which is another POV shot from the boy's perspective. The reason
I have used three different key frames to show this signifies my director study
of Stanley Kubrick and his usage and preference of long takes with slow action.
The music here is still Penderecki, with the usage of short stabbing violin sounds
and the foley of a POP!

In this shot, the ghost has gone and an example of a continuity break
has happened. The spectator is left confused about what the scene meant which links to
Baudry's theory of spectatorship. The film's narrative practices like Mis-En-Scene
and sound have all been used to construct a film like reality on the screen, so that
the spectator thinks what they are seeing could actually happen. However the man disappearing
in mid-air is where this reality construct is broken between the spectator and the spectator
is aware they are watching a construct. The off screen mother figure grabs the boy, which would
be a jump scare, a trope of the horror genre. The music changes from short stabbing violins into one long note
ending the scene.

This montage of photos show an example of an editing technique with the
use of a dissolve. This is an example of Kubrick's style and his usage of
dissolve when he changes the scene. The shot of the balloon slowly fades out whilst
the establishing shot of the boy's house fades in at the same time. The Foley
in this key frame is the same as the first key frame with birdsong and ambient city noises. 

In this keyframe, the child returns home to his bedroom and finds a tie on
his bed. In terms of set design, the room doesn't really resemble a child's
bedroom with its grey wallpaper and lack of colour. This is an example
of the spectator using extra-textual references of their own to understand
it doesn't resemble a child's bedroom. The music in the background would
start playing another ominous song from The Shining (Gyorgy Ligeti- Lontano)

This frame is another homage to The Shining. The child is studying the tie
sitting on his bed and his bedroom door has shut. This is an example of
an intentional continuity error which  there are plenty of in The Shining.
The deliberate continuity errors are used in The Shining are used to sub-consciously
un nerve the viewer and create a nightmarish like state.

This frame is the child playing with toys whilst a ghost menacingly watches him
in a medium shot. The use of the painting also contributes to the spectator's
extra-textual reference that the set design doesn't look like a childs bedroom
which reinforces the nightmare like quality of the film similar to 'The Shining'.
The composition, Lontano, will still be playing in the background with screeching violins
getting louder and louder.

In this frame, the menacing ghost has moved closer with the lighting of
the scene illuminating his head. Simiarly, the blue lighting behind the
child is quite sinister. In terms of camera movement, since this frame is similar
to the previous frame, I would use a pan shot to slowly show the ghost walking
towards the child as he backs away. This is another nod to the visual style of Kubrick
as it is another long take. Lontano will still be playing in the background.

The music builds to an extremely loud screeching intense noise as
the menacing ghost walks into the boy's closet. The boy covers his eyes
just like Danny does when he sees the ghostly twins in The Shining. We
can't see out of the window reinforcing the child's feelings that he is trapped.

In this frame, the ghost has disappeared into the boy's closet. This links to Baudry's theory again
with the example of a continuity break. The disappearance of the ghost confuses the spectator
and makes the question why the ghost has disappeared. They start to read the film on a symbolic
level in order to make sense of it. The colour green is visible again, suggesting it is linked to ghostly
presence. The loud screeching noise of Lontano would be fading away as the boy opens his closet.

This frame shows the boy disposing of the tie by flushing it
down the toilet. It uses one of Kubrick's motifs which is bathrooms as seen
in all of his films. Important scenes often happen in bathrooms. In terms of cinematography,
the camera would be slowly zooming into the room past the door as the boy lowers
the tie into the toilet. This slow, lingering, voyueristic like zoom is often used
in Kubrick's films like Barry Lyndon and The Shining. Foley would consist of
the tie touching the toilet water below.

The ghost confronts the child. This is accompanied by the loud noise we hear in
the key frame earlier with the fast crash zoom onto the younger ghosts face. Visually,
this shot is different to the other steady, medium shots in the rest of the key frames as it is wonky
and looks handheld. It looks similar to the wide angle shots and handheld cinematography
in A Clockwork Orange, particularly in the cat lady fight scene. The ghost is giving the child
the Kubrick Stare, which is a stare with the eyes lowered looking up. The Kubrick Stare is used in nearly
all of his films.

The boy puts his hand into the toilet to fish the tie out of it. In terms of cinematography, the camera
is lower down than the previous frame in order to make the old ghost seem more intimidating.
The framing makes the ghost and the door look like the boy is trapped in a small
space. In terms of sound, another composition from The Shining would be heard
(Penderecki's The Awakening of Jacob)

The mother grabs the child's hands, similar to how she did at the care home.
The tie is gone, another example of Baudry and the continuity break.  The overhead shot indicates
that the frame is from the perspective of the boy's mother. The music in the frame would
still be the awakening of Jacob. 

This frame is a literal visual example of Metz's theory and the mirror stage. The boy looks into
the mirror and sees the ghost from earlier in the care home, suggesting that this ghost is
following him. The use of lighting behind the ghost is blue as well, indicating that he is sinister.