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NOTES ET BIBLIOGRAPHIE

AUGMENTEES

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NOTES AUGMENTEES (CITATIONS ORIGINALES ET LIENS HYPERTEXTES)

INTRODUCTION

1. « The mainstream critical response reflects splits in the film itself between text and subtext, genre and auteur, ‘commercial goods’ and thematic and stylistic cues to be found in the œuvre of auteur. The reviews which were angry and negative tended to be bothered by the portentiousness (sic) of the film’s style applied to formulaic horror material, and by Kubrick’s tendency to drop plot and character details out of the novels he adapts. » «The Displaced Auteur : A Reception History of The Shining» [1996], in Danel Olson [dir.], The Shining. Studies in the Horror Film, Lakewood, Centipede Press, 2015, p. 128.)

2. Richard Schickel, «Red Herrings and Refusals», Time Magazine, 2 juin 1980, p. 69. « This is a movie of false clues and red herrings. It is a measure of Kubrick’s artistry that he states his only supernatural theme, that of reincarnation, so lightly that it could be missed entirely. One has to connect the enigmatic scene involving a nude woman in Room 237 with the film’s last image of a photograph taken in 1921, in order to apprehend it. That, too, could be a false clue, since everything Nicholson does can be attributed to psychosis, to a weakened mind placed under intolerable pressure by isolation. »

4. In Aljean Harmetz, «Kubrick Films The Shining in Secrecy in English Studio», The New York Times, 6 novembre 1978. « be plausible, use no cheap tricks, have no holes in the plot and no failures of motivation. It must be a scary horror film without insulting the intelligence of the audience. »

12. Richard Schickel, « Red Herrings and Refusals », art. cit., p. 69. « It may be that this is a canonical work, something that only those who find Stanley Kubrick to be one of the world’s great living film artists will respond to. By taking a book by an author who is at the center of the craze for the supernatural, and turning it into a refusal of and subtle comment on that loopy cultural phenomenon, Kubrick has made a movie that will have to be reckoned with on the highest level. »

13. Janet Maslin, «The Shining», New York Times, 23 mai 1980. « The Overlook is something far more fearsome than a haunted home. Its a home. »

14. In Aljean Harmetz, «Kubrick Films The Shining in Secrecy in English Studio», op. cit. « Stephen King isn't Kafka, but the material of this movie is the rage and fear within families. »

15. «Ullman tells Jack that the hotel, begun in 1907 and finished in 1909, was not welcomed by the local Indians, whose attacks were ‘repelled’ during the hotel’s construction. Ullman also remarks that the hotel was a playground for the jet-set long before it was called that and that it has been visited by several US presidents. Kubrick builds his world carefully and it soon becomes clear that the Overlook is much more than it seems. At one very important level it is a symbol of America, haunted by a murderous past that made what it is : a showy display of affluence and excess (‘You can be in this hotel for a whole year and never have to eat the same thing twice,’ declares Hallorann), built at the expense of innocent victims.» (Flo Leibovitz & Lynn Jeffress, «The Shining», Film Quarterly [University of California Press], vol. 34, n° 3, hiver 1981, p. 45.) «There is, then, unquestionably a horror film somewhere inside of The Shining, just as there is a science fiction film inside of 2001 and an historical costume drama inside of Barry Lyndon. But, as in those earlier films, the conventional genre film exists within the larger work only to provide a comment on the true subject of the genre itself as Kubrick understands it. (…) From this perspective, The Shining is less about ghosts and demonic possession than it is about the murderous system of economic exploitation which as sustained this country since, like the Overlook Hotel, it was built upon an Indian burial ground that stretched quite litteraly ‘From sea to shining sea’.» (David A. Cook, «American Horror : The Shining», Literature Film Quarterly, vol. 12, n° 1, mars 1984, p. 2.) La phrase citée par David Cook – «from sea to shining sea» – est tirée du premier couplet d’une chanson patriotique de Katharine Lee Bates, composée en 1893, réécrite en 1904, intitulée « America the beautiful » : « O beautiful for spacious skies, / For amber waves of grain, / For purple mountain majesties / Above the fruited plain! / America! America! /God shed His grace on thee, / And crown thy good with brotherhood / From sea to shining sea!»

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17. C’est le cas partout en Europe si l’on en juge par les propos de Giorgio Cremonini dans son petit livre sur Shining paru en Italie en 1999 ou par le choix éditorial qui conduira Hans-Peter Reichmann et Maja Keppler, pour le catalogue d’une exposition majeure consacrée à l’œuvre du cinéaste, à retenir en ce qui concerne Shining deux textes dont l’un est dédié à l’étude du «développement» du film et l’autre s’intitule «Monster in the Maze». Cremonini écrit : . « In ogni caso il labirinto è la vera chiave di lettura del film, l’indizio che ne permette non la decifrazione, ma l’inserimento in un circuito di senso al tempo stesso obbligato e senza uscita. » (In Stanley Kubrick Shining, Turin, Éditions Lindau, coll. «Universale Film», 1999, p. 55.) Cf. aussi Juhani Pallasmaa, «Monster in the Maze. The Architecture of The Shining», in Maja Keppler & Hans-Peter Reichmann, Stanley Kubrick, Kinematograph n° 20 (SK Exhibition Catalogue), Francfort, Éditions Deutsches Filmuseum, 2004, pp. 185-197

25. J’utilise le terme au sens de François Rastier. Il est défini ainsi dans le glossaire de sémiotique de Pascal Vaillant : «Actualisation, par le contexte, d’un sème qui n’est pas présent “par définition” dans une unité sémiotique (sémème) donnée. [...] L’afférence, n’étant pas contenue obligatoirement dans le sémème lui-même, est déclenchée par des interprétants contextuels. Elle est donc la compétence entrant en jeu lors de l’interpré- tation des textes, et qui permet au lecteur de recevoir dans ceux-ci un sens autre que le “sens commun” implicitement contenu dans l’organisation même des taxèmes de la langue. » (Cf. « Afférence » in Pascal Vaillant, Sémiotique des langages d’icônes, republié en ligne, Vaillant.nom.fr http://www.vaillant.nom.fr/pascal/glossaire.html [dernière visite le 18 juillet 2016].)

27. Cf. par exemple, celle d’un dénommé MSTRMD qui voit dans les motifs du tapis de la salle de bal un symbole maya (MSTRMD, «Physical Cosmologies : The Shining», sur son site Mstrmd.com http://www.mstrmnd.com/log/802 [dernière visite le 4 novembre 2016].)

33. « The myth of the public consensus has been decisive in gaining wide acceptance for the doctrine that the author’s intention is irrelevant to what the text says. […] Is there one group of us that constitutes the true public, while the rest are heretics and outsiders ? […] The idea of a public meaning sponsored not by the author’s intention but by a public consensus is based upon a fundamental error of observation and logic. It is an empirical fact that the consensus does not exist, and it is a logical error to erect a stable normative concept (i. e. the public meaning) out of an unstable descriptive one. » (Emil D. Hirsch, Validity in Interpretation, op. cit., p. 13.)

34. « An essential task in the process of verification is, therefore, a deliberate reconstruction of the author’s subjective stance to the extent that this stance is relevant to the text at hand. » (Ibid., p. 238.)

42. David Bordwell, Making Meaning. Inference and Rhetoric in the Interpretation of Cinema, Cambridge, Londres, Harvard University Press, 1989, p. 9 pour cette citation et celle qui suit. « The spectator may seek to construct implicit meanings when she cannot find a way to reconcile an anomalous element with a referential or explicit aspect of the work ; or the ‘symbolic impulse’ may be brought in to warrant the hypothesis that any element, anomalous or not, may serve as the basis of implicit meanings. Furthermore, the critic may take implicit meanings to be consistent, at some level, with the referential and explicit meanings assigned to the work. » & « In constructing meanings of type 1-3 [sens référentiel, explicite et implicite], the viewers assumes that the film « knows » more or less what it is doing. But the perceiver may also construct repressed or symptomatic meanings that the work divulges ‘involuntarily.’ Moreover, such meanings are assumed to be at odds with referential, explicit, or implicit ones. If explicit meaning is like a transparent garment, and implicit meaning is like a semiopaque veil, symptomatic meaning is like a disguise. »

45. C’est la manière dont Jean-Pierre Esquenazi traite de la question de l’interprétation du film lorsqu’il propose un « modèle de l’interprétation » selon lequel des « communautés d’interprétation» disposeraient de stratégies prédéterminées et variables qui les conduiraient à «catégoriser» le film, à lui attribuer une (nouvelle) «identité générique», garante d’une «méthode de lecture». (Cf. «L’interprétation du film», Cinéma : revue d’études cinématographiques, vol. 23, n° 1, 2012, pp. 35-54 – en ligne sur Erudit.org, https://www.erudit.org/fr/revues/cine/2012-v23-n1-cine0388/1013367ar/ [dernière visite le 4 décembre 2016].)

49. Les Archives Stanley Kubrick de l’université des Arts de Londres (The Stanley Kubrick Archives, University of the Arts London), qui se trouvent dans les murs de la London College of Communication dans le quartier Elephant and Castle, comportent une section dédiée à Shining. On y trouve rassemblés, sous la cote SK/15 « The Shining», un ensemble fourni de documents de production et d’accessoires. Le catalogue de cette section est accessible en ligne sur le site Archives.arts.ac.uk, http://archives.arts.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=SK%2f15 [dernière visite le

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19/11/2016]. Pour un aperçu des recherches génétiques élaborées sur l’œuvre de Kubrick à partir de ce fonds, cf. Tatjana Ljujic, Peter Krämer & Richard Daniels (dir.), Stanley Kubrick New Perspectives, Londres, Black Dog Publishing, 2015.

50. On trouve la reproduction d’un certain nombre de documents génétiques, pour la plupart issus du fonds des Archives Stanley Kubrick, sur le blog modéré par Lee Unkrich (coréalisateur de Toy Story 2 et réalisateur de Toy Story 3) : «The Overlook Hotel», Theoverlookhotel.com (www.theoverlookhotel.com). On trouve aussi en ligne un «traitement» (treatment) non «sourcé» et désigné abusivement comme le «traitement original du Shining de Stanley Kubrick» dans la mesure où il n’en constitue pas la toute première version. On peut le dater de la fin octobre ou du début novembre 1977 car il est très proche d’une version conservée aux archives sous la cote SK/15/1/20 « Revised Scene Outline», datée elle du 24 octobre et comportant des corrections du 1er novembre. Je l’érigerai néanmoins en document de référence pour la restitution du programme scénarique car il présente l’avantage d’une accessibilité facilitée et de la complétude, contrairement aux autres versions conservées aux archives. Je m’y réfèrerai sous la forme suivante : Stanley Kubrick & Diane Johnson, The Shining (treatment), octobre/novembre 1977. On peut y accéder via le site Cinephilia & Beyond, dans un lien créé au sein d’un article intitulé «Stanley Kubrick’s original treatment for ‘The Shining’ » (Cinephiliabeyond.org, http://www.cinephiliabeyond.org/stanley-kubricks-treatment-of-the-shining [dernière visite le 5 décembre 2016]).

LA FABRIQUE KUBRICKIENNE

3. Diane Johnson, «Writing The Shining», in Geoffrey Cocks, James Diedrick, Glenn Perusek (dir.), Depth of Field. Stanley Kubrick, Film, and the Uses of History, Wisconsin, The University of Wisconsin Press, coll. « Wisconsin Film Studies », 2006, p. 59. « We each began by deconstructing King’s novel separately, reducing it to essential scenes, comparing our lists of scenes, and winnowing then down to a hundred or so. I tore bits of exposition and dialogue out of a paperback copy of the novel and put them in little envelopes on which were written ‘# 1 The Arrival’, and so on. »

8. « Kubrick’s approach can perhaps best be understood as similar to exploratory research methods ; he wanted to try every possibility, as there is always potential for something new to ermerge. He would spend a lot of time planning, but as Jan Harlan explains : ‘The key part in shooting a film is not to necessarily execute what you had in mind, but [to] stay loose in case you have a better idea’. » (Catriona McAvoy, «Creating The Shining. Looking Beyond the Myths», in Tatjana Ljujic, Peter Krämer & Richard Daniels [dir.], Stanley Kubrick. New Perspectives, op. cit., p. 294.)

10. Reproduit dans un document accessible sur le site Rougeprofond.com, intitulé «Calendrier de la genèse de Shining» : http://www.rougeprofond.com/LIVRES/RACCORDS/shining/index.html

11. Diane Johnson, «Writing The Shining», art. cit., p. 57. « Kubrick and I would work in the morning, face to face across a table in a big workroom. In the afternoon he turned to the other ongoing matters of the set, casting (which was mostly done), costume, the music, and so forth, and I was invited to comment and participate as part of the process, as were members of the family, who wandered in and out, with views of their own : « Oh, Daddy, no one dresses like that. » I remember objecting to some detail of the set−the way tile in the bathroom went all the way up to the ceiling « like a gas-chamber. Bathroom tiles mostly stop at the height of the shower door. » Kubrick had the tiles torn out. He would try out different tapes and records on the family, and everyone commented on the music. I believe this evolving and organic way of attending to all the aspects of the film at the same time is an improvement on the more common practice, by many directors, of seeing how the script will come out before beginning to plan the production ; the commitment built into the former situation explains the consistency and deeply meditated effect of Kubrick’s films. »

15. Alexander Walker, «The Shining» in Alexander Walker (dir.), Stanley Kubrick, Director. A Visual Analysis, Londres, Weidenfeld & Nicolson, 1999, p. 278. « For all it’s author’s concern with ‘control,’ a Kubrick shooting script is no cut-and-dried affair. With each successive film, it seems increasingly to resemble a talisman rather than a set of imperatives ; a prompt copy, so to speak, for a collaborative effort between himself and his stars. It is used to incite Kubrick and his actors to respond to spontaneity of the creative moment, to the inspiration,

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discoveries, and inventions that their creative partnership is able to generate, rehearse and catch on film. This is apparently what occured during The Shining. And what emerged surprised everyone-perhaps even its maker. »

18. Walker Alexander, «The Shining», art. cit., p. 288. « The Overlook’s ghosts are really very few in number, and with two exceptions, the barman and the waiter, not particularly interesting. A zoom shot of a couple of ghostly revenants, one of them dressed as a bear and apparently fellating the other, that Wendy glimpses at the climax is more perplexing than scary. It could have been excised, or exorcised, too, without loss. The flood of blood from the elevators has no reference to anything, looking, one critic said, like something put in for the trailer. What all this suggests, in short, is a director ‘finding’ his film as he makes it, veering away from the original concepts and pushing his preoccupations into far more personnally satisfying areas than the haunting Furies of Stephen King’s novel. »

CHRONOGENESE D’UNE ŒUVRE

1. In Christopher Lehmann-Haupt & Nathaniel Rich, Stephen King, The Art of Fiction n° 189 (entretien), The Paris Review, automne 2006, site Theparisreview.org, http://www.theparisreview.org/interviews/5653/stephen-king-the-art-of-fiction-no-189-stephen-king [dernière visite le 4 décembre 2016]. « It’s certainly beautiful to look at: gorgeous sets, all those Steadicam shots. I used to call it a Cadillac with no engine in it. You can’t do anything with it except admire it as sculpture. You’ve taken away its primary purpose, which is to tell a story. The basic difference that tells you all you need to know is the ending. Near the end of the novel, Jack Torrance tells his son that he loves him, and then he blows up with the hotel. It’s a very passionate climax. In Kubrick’s movie, he freezes to death »

3. Cf. la première page du scénario de Stephen King publiée sur le site Theoverlookhotel.com, post du 2 juin 2013, http://www.theoverlookhotel.com/post/51964481319/the-first-page-of-stephen-kings-original [dernière visite le 4 décembre 2016].

4. « The character of the black chef Hallorann, who shares Danny’s gift of the ‘shining’ and even put a name to it, goes through significant changes from one version to another. At first, Kubrick and Johnson distance themselves strongly from King’s concept of the character by imbuing him demonic and destructive powers. In this way, they build a climax into the third act that has no model in the novel. Grady greets the chef respectfully at the elevator and a dialogue full of irony starts to unwind : « ‘Did you have a pleasant trip ?’, ‘Very pleasant thank you.’ ‘Well. Than I won’t keep you, you have business (…)’, Yes.’ Grady gestures to the elevator. ‘Third floor, chief ?’ ‘Thank you’ ». » (Ursula Von Keitz, « The Shining – Frozen Material. Stanley Kubrick’s Adaptation of Stephen King’s Novel», in Maja Keppler & Hans-Peter Reichmann [dir.], Stanley Kubrick, op.cit., p. 194.)

LABYRINTHE CONTRE TOPIAIRES : KUBRICK VS KING

5. Cf. Theoverlookhotel.com, post du 1er mars 2015, http://www.theoverlookhotel.com/post/112486606176/scale-model-of-the-overlook-hotel-and-maze-from [dernière visite le 4 décembre 2016].

6. Stephen King avait rédigé des textes évoquant l’histoire de l’hôtel depuis sa fondation. Il les a rassemblés sous le titre Before the Play pour une publication en 1982 dans une revue confidentielle dédiée au genre de l’horreur, le Whispers Magazine. L’ensemble a été republié dans un magazine de télévision à l’occasion de la diffusion du téléfilm en 1997. (Cf. «Scene I : The Third Floor of a Resort Hotel Fallen Upon Hard Times» & The Shining, «The Grand Tour», in Stephen King, Before the Play, Whispers Magazine, vol. 5, n° 1-2, 1982 ; puis in TV Guide, « collector’s edition », 26 avril-2 mai 1997, téléchargeable sur le site Withnailrules.tumblr.com, , http://withnailrules.tumblr.com/post/12169447131/before-the-play-by-stephen-king [dernière visite le 31/01/2016]).

8. Diane Johnson en témoigne : « Thus he wanted a ‘rational’ explanation for the haunting of the hotel ; he was drawn to the idea that the place rested on the site of Indian massacres or that building it had desecrated some

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Native American tombs, with all the ghosts and hauntings summoned thereby. » (Diane Johnson, « Writing The Shining », art. cit., p. 59.)

9. « "[…] All I can remember when I wake up is REDRUM" / "Red drum or red rum ? " / "Rum. " / "What’s that, Danny ? " / "I don’t know. " » (Chap. 17. « The Doctor’s Office » in Stephen King, The Shining [1977], New York, Anchor Books, 2012, p. 205.)

10. Ibid., p. 221. (Dr Edmond) : « Does the word "redrum" mean anything to either of you ? » Wendy shook her head but Jack said, "He mentioned that word last night, just before he went to sleep. Red drum. " / "No, rum, " Edmonds corrected. "He was quite emphatic about that. Rum. As in the drink. The alcoholic drink. " / "Oh" Jack said "It fits in, doesn’t it ? "

D’UN ALBUM DISPARU : EFFACEMENT OU DEPLACEMENT ?

6. « The war had made him rich and he was still rich. Living in Chicago, seldom seen except for Derwent Enterprises Board meetings (which he ran with an iron hand), it was rumored that he owned United Air Lines, Las Vegas (…), Los Angeles, and the U.S.A. itself. » (Stephen King, The Shining, op. cit., p. 231.)

7. À propos de cette idée selon laquelle Derwent serait toujours parmi les propriétaires dans le roman de King, on trouve cette annotation manuscrite de Kubrick dans son exemplaire de travail : « Is Derwent still involved with the Overlook ? Somehow ? This seems a gigantic red-herring. » (SK/15/1/3, « Annotated text from the Stephen King’s novel The Shining», p. 209.)

9. «Scène 48 CAVE – JOUR : « Scene 48 BASEMENT – DAY : « (…) We will film a visual impression of Jack spending hours sitting on the floor of the basement, pouring through pages of the scrapbook. We will also show close-up of the storie’s he’s looking at. The cinematic approach, supported by music, will be to suggest a sens of evil enchantment. » (SK/15/1/24 «Annotated Bound Script», p. 56.)

10. SK/15/1/24 « Annotated Bound Script», pp. 58-59. Les pages décrivant cette scène ont été publiées dans un post du blog «The Overlook Hotel» (Cf. Theoverlookhotel.com, post du 1er février 2014, http://www.theoverlookhotel.com/post/75288907980/a-deleted-scene-from-an-early-screenplay-for-the [dernière visite le 5 décembre 2016].) Les soulignements sont dans le texte. Jack : « For the past how many goddam years have I been talking about writing a novel, and what I have got to show for it ? Fuck all. And all that time, this has been sitting here, in this basement, on that stack of boxes, just waiting for me. I mean, is that fate, karma, destiny, or just plain fan-fucking-tastic ? » / Wendy : « Wow – that is fantastic. » / Jack : Its a fucking miraculous recipe for our fortune, babe. The ingredients are all here. It’s so incredibly simple – take one part wealth, add two parts power, and season with criminality of every conceivable kind, and you have the fucking incredible story of the Overlook Hotel, as kept by its unknown historian, in whose debt I shall forever be. » / Wendy : « Wow – that sounds terrific ! (…)

12. Cf. Theoverlookhotel.com, post du 19 janvier 2013, http://www.theoverlookhotel.com/post/40960004135/a-deleted-scene-from-the-screenplay-for-the [dernière visite le 5 décembre 2016].

13. Cf. SK/15/3/17 « Callsheets». Elles sont également téléchargeables sur le blog «The Overlook Hotel». (Cf. Theoverlookhotel.com, post du 4 juin 2014, http://www.theoverlookhotel.com/post/87862095416/call-sheet-from-the-production-of-the-shining [dernière visite le 5 décembre 2016].)

15. D’après la «feuille de service» du 27 juillet, Jack découvrait même que Grady se serait tué dans l’appartement des gardiens. (Cf. Theoverlookhotel.com, post du 19 janvier 2013, http://www.theoverlookhotel.com/post/40960004135/a-deleted-scene-from-the-screenplay-for-the, doc. cit.) Wendy : « The Grady’s must have lived in our apartment. » / Jack : « Yeah. I suppose they would have – it is the winter caretaker’s apartment. » / Wendy : « God, that really gives me the creeps. » / Jack : « It’s a pretty good title « Tales of the Winter Caretaker » by Jack Torrance. « A Winter Caretaker » whooo…. » / Wendy : « Don’t. Come on Jack… you’ll get me all scared.

23. Dans le roman, cette même phrase est écrite au stylo bille à côté de l’article relatant le meurtre lui intitulé « GANGLAND-STYLE SHOOTING AT COLORADO HOTEL » : «Sous l’article découpé, d’un trait lourd de stylo à bille, quelqu’un a écrit : Ils ont emporté ses couilles. Jack fixa l’article pendant un long moment, refroidi.

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Mais à qui donc appar- tenait ce livre?» (Stephen King, The Shining, op. cit., pp. 240-241.) « Below the clipping, in heavy strokes of a ball-point pen, someone had written: They took his balls along with them. Jack stared at that for a long time, feeling cold. Whose book was this ? »

24. On trouve la photographie de la page téléchargeable sur le blog « The Overlook Hotel» (cf. Theoverlookhotel.com, post du 27 novembre 2012, http://www.theoverlookhotel.com/post/36722970040/prop-scrapbook-from-the-shining-the-scrapbook-is [dernière visite le 5 décembre 2016]). La description qui est faite du contenu de l’album dans ce «post» est erronée et indique, à tort, que cet album contiendrait les articles réalisés par Alexander Walker.

26. Mark Steensland, « The Shining Adaptated. An interview with author Diane Johnson», Kamera, n° 2, republié par le blog : The Terror Trap, mai 2011. (Terrortrap.com, http://www.terrortrap.com/interviews/dianejohnson/ [dernière visite le 5 décembre 2016].) « He took out a scene that I considered more important. If you read the novel, it’s the scene where Jack finds the scrapbook in the boiler room. And I thought that was very important because you had to know the moment in which he came under the control of the hotel. It’s like the moment in a fairy story when the hero takes the poison apple. The main character makes a mistake that brings them into the grip of evil. That was when Jack made his mistake. Before that, it could have gone either away. It’s his vanity and his hope to be a great writer that leads him to take this scrapbook as a gold mine of subjects. That was written and shot. I was sorry to see that Kubrick cut that out. I would have to argue to take out something else. »

27. « For me the important scene, taken from Stephen King’s book, is where Jack discovers a scrapbook of clippings in the boiler room of the hotel, and finds in it plots and details he needs for his writing. In King’s book, this scrapbook is the poison gift of fairy tales, which, when he accepts it, entangles the hero in consequences he will regret. In accepting material to help him earn literary glory, Jack barters his soul, becomes the creature of the hotel. This motivation scene existed in the script and I understand was filmed ; it was simply taken out at the last minute for reasons of time. It would be interesting to see it restored, to know what it would add. Without the scene, which explains Jack’s transition from depressed and blocked writer to suddenly filled with (demonic) energy, writing at great speed and piling high the pages of manuscript, his change seems abrupt and unmotivated. » (Diane Johnson, «Writing The Shining», art. cit., p. 58.)

FANTASTIQUE CONTRE GOTHIQUE : KUBRICK VS JOHNSON

2. Paul Mayersberg, « The Overlook Hotel », Sight and Sound, vol. 50, hiver 1980, p. 57. « Underlying many sequences in The Shining is a critique of the whole genre of horror movies. »

6. Jarrel D. Wright, «Reconsidering Fidelity and Considering Genre in (and with) The Shining», in G. D. Rhodes (dir.), Stanley Kubrick. Essays on his Films and Legacy, 2008, p. 146. Wright cite Glen Cavaliero, The Supernatural and English Fiction (1995) puis Tzve- tan Todorov et son fameux ouvrage : Introduction à la littérature fantastique (1970). « By modulating King’s narrative and positioning evil in the rational world, Kubrick situates his adaptation of The Shining within a continuity generic dialogue that has defined the Gothic tradition since it emerged in the eighteenth century. The dichotomy between rational and nonrational discourses−« the tension between the desire to arouse belief and the need for verification »−is a constant feature of supernatural fiction. Most famously, Tzvetan Todorov has identified these two tendencies within « the literary Gothic » as « the supernatural explained (the ‘uncanny’) and the supernatural accepted (the ‘marvelous’). » Todorov’s « fantastic », of course, « occupies the duration of (the) uncertainty between two extremes. »

7. « The Gothic novel was transformed in the nineteenth century, when fiction ‘increasingly began to suggest that the chaos and disruption previously located mainly in such external forces as vampire or monster… was actually produced within the mind of a human subject’. A similar phenomenon was part of the evolution of the horror film genre in the late twentieth century, when Alfred Hitchcock’s Psycho (1960) « put the horror in the here and now. » As a result, Kubrick has not merely adapted a novel ; he has contributed to the adaptation of a genre » (Ibid., p. 148. Wright cite David Putter & Glennis Byron, The Gothic, 2004.)

8. Une scène devait le montrer consultant à la suite de cette rencontre l’album dans lequel il trouvait un ou des articles relatifs à son suicide : « SCENE 94 LOUNGE – NIGHT / Jack enters, walks shakily to his writing –table, and sits down. / A thought occurs to him. He picks up the scrapbook, turns the pages searching for something,

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and he finds it. A newspaper clipping : the headline reads : « Bathtub Suicide After Hotel Lovers’ Spat ». He stares at a headshot of a woman who as become the creature we just saw. » (SK/15/1/24 « Annotated Bound Script», p. 94.)

12. Cf. SK/15/1/3 « Annoted text from Stephen King’s novel The Shining », p. 349 et feuillet inséré : « VISION Do we need Tony for each vision » ; « The vision has to be organized and re-worked ».

14. Ibid., part 1, scene 5. « When Danny persists, he falls into a trance in which he sees Jack talking to Ullman at the Overlook ; fragmentary glimpses of a murder ; and other horryfiing visions set in the Overlook hotel, shown in such a way that the people involved cannot be recognised »

15. In SK/15/1/24 « Annotated Bound Script», p. 12. « A montage of shots, which will include Jack talking to Ullman at the hotel, and the POV shot of the car driving up the hotel. The images are stylized in some special way. We will also see terrifying but unintelligible fragments of sinister violence at the hotel. We will not recognize the people involved, nor will be sure what’s happening. »

16. Stanley Kubrick & Diane Johnson, The Shining (treatment), doc. cit., part 2, scene 10. « The scene opens on a close-up of a grotesque Indian mask that we have previously seen in Danny’s vision. The camera pulls back to show the Torrance family, in the lobby of the Overlook hotel, which has an American-Indian design motif, talking to the manager, Ullman, the chef, Hallorann and Watson, in charge of maintenance. »

18. « More fragments of murder and mayhem, which this time show Jack doing something awful in the kitchen. » (Ibid., part 9, scene 48).

19. Ibid., part 10, scene 67. « At this instant, Wendy will rush howling out in a doorway, stabbing in a frenzy, with her long boning knife, so that the old lady in « Psycho » will look like a pushover in comparison. »

24. Et peut-être, même si c’est peu vraisemblable, par cette caractéristique de l’hôtel Ahwahnee : l’isolation manifestement y est insuffisante pour empêcher le bruit des cas- cades de Yosemite Fall situées à proximité de l’emplir de sa rumeur : « Admitting defeat in an interview with the Stockholm Record, the hotel’s architect, Gilbert Stanley Wood, observed, "even though we might attempt to eliminate the song of the falls, it is doubtfull wether such could be arranged, even with the excellent standards of acoustical construction to be found in The Ahwahnee." » (Keith S. Walklet, The Ahwahnee. Yosemite’s Grand Hotel, Yosemite, DNC Parks & Resorts at Yosemite Inc., 2004, p. 20.)

27. «Diane Johnson (interview by Catriona McAvoy) », in Danel Olson (dir.), The Shining. Studies in the Horror Film, op. cit., p. 544. « Bluebeard wasn’t really the prototype, but there is a kind of fairy tale basis or nexus. I think that’s maybe why it’s so enduring qualities of a fairy tale. » Patrick Webster cherchera à retrouver les rôles et les fonctions du conte, d’une façon plaquée et d’autant moins convaincante qu’en toute rigueur, la scène de «damnation» de Jack via l’objet maléfique manque dans le film achevé ou plutôt s’est «transvaluée» dans la scène d’observation de la maquette du labyrinthe : « What was of interest, in the case of The Shining, was the exact way in which Kubrick’s film appeared to follow both Propp’s designated sphere of action and his narrative sequences. Propp’s spheres of action, or character types, consisted of : a villain, a donor, a helper, a princess, a dispatcher, a hero and a false hero. In terms of Kubrick’s film we can perceive of these as follows : VILLAIN : The Overlook Hotel / DONOR : Tony / HELPER : Mr. Hallorann / PRINCESS(ES) : The Grady Girls / DISPATCHER : Wendy / HERO : Danny / FALSE HERO : Jack. » (In Love and Death in Kubrick. A Critical Study of the Films from Lolita through Eyes Wide Shut, Jefferson, Londres, Mcfarland, 2011, p. 95.) ;

28. À cet égard, Jack récite plus une sorte de « flux » télévisuel que le conte traditionnel en lui-même. En quelques secondes, il cite aussi bien le dessin animé de Walt Disney, Three Little Pigs (1933), qu’une formule célèbre issue d’un non moins célèbre show télévisuel américain : « Here’s Johnny ! » est la phrase de lancement (catchphrase) qu’Ed McMahon lança systématiquement en ouverture du Tonight Show de Johnny Carson pendant près de trente ans, entre 1962 et 1992. Cf. «The Tonight Show Starring Johnny Carson», in En.wikipedia.org, https://en.wikipedia.org/wiki/The_Tonight_Show_Starring_Johnny_Carson [dernière visite le 28 novembre 2016] ; Thomas Allen Nelson, Kubrick. Inside a Film’s Artist’s Maze, Bloomington, Indianapolis, Indiana University Press, 2000, p. 214.

D’UNE VERSION A L’AUTRE : L’ACHEVEMENT D’UN PROJET ?

  9

1. La fiche technique IMDb du film (http://www.imdb.com/title/tt0081505/technical?ref_=tt_dt_spec) mentionne ces trois versions : la version originale (original), d’une durée de 146 minutes et comportant donc cette scène finale de deux minutes, qui aura été diffusée dans une dizaine de cinémas de New York et de Los Angeles le week-end du 23 mai 1980; la version coupée (cut), d’une durée de 144 minutes, qui sera distribuée à compter du 13 juin 1980 et, lors de cette première diffusion dans près de 750 cinémas sur les territoires américain et canadien; enfin, la version européenne (cut; European), distribuée à l’international à compter du 26 septembre 1980, d’une durée de 119 minutes, soit vingt-cinq minutes de moins que la version «coupée». Cette dernière version «européenne» a été distribuée dans un format moins large (1.66 contre 1.85 aux États-Unis et au Canada). Cf. John Hofsess, « Kubrick ; Critics Be Damned », The Soho News, 28 mai 1980, p. 41.

3. Cf. Theoverlookhotel.com, post du 25 janvier 2013, http://www.theoverlookhotel.com/post/41503679479/i-deleted-a-brief-epilogue-scene-between-shelley [dernière visite le 5 décembre 2016]. « I deleted a brief epilogue scene between Shelley Duvall and Barry Nelson which took place in a hospital after the main action of the film had been concluded. After several screenings in London the day before the film opened in New York and Los Angeles, when I was able to see for the first time the fantastic pitch of excitement which the audience reached during the climax of the film, I decided the scene was unnecessary. It had not been possible to change all of the New York and Los Angeles prints before opening. »

4. SKA/15/1/24 « Annotated Bound Script», p. 149. The Overlook Hotel would survive this tragedy, as it had so many others. It is still open each year from May 20th to September 20th. It is closed for the winter.

5. Cf. Theoverlookhotel.com, post du 25 janvier 2013, http://www.theoverlookhotel.com/post/41259062113/screenplay-for-the-deleted-original-ending-of-the [dernière visite le 5 décembre 2016]. Trois polaroïds manifestement pris à l’occasion du tournage de ces scènes dans un hôpital de Hampstead ont été mis en ligne sur le blog Theoverlookhotel.com : post du 29 février 2012, http://www.theoverlookhotel.com/post/18532274943/these-three-continuity-polaroids-are-all-that [dernière visite le 5 décembre 2016]. « Oh about the things you saw at the hotel. He (Lieutenant Elliott) told me they’ve really gone over the places with a fine tooth comb and they didn’t find the slightest evidence of anything at all out of the ordinary. Mrs Torrance, I think I know how you must feel about this, but it’s perfectly understandable for someone to imagine such things when they’ve been thru something like you have. » (Cf. également le témoignage de Justin Bozung in Danel Olson [dir.], The Shining. Studies in the Horror Film, op. cit. p. 696.)

8. Malgré les dires de MSTRMD, il ne s’agit pas de Sitting Bull. (Cf. site Mstrmd.com, http://www.mstrmnd.com/log/802 [dernière visite le 5 décembre 2016]).

9. « To pass institutionnal muster, every interpretation must show that its semantic fields are pertinent to a film’s opening. Here again, interpretation tracks comprehension, since a text’s beginning creates a « primacy » effect and intrinsic norms against which later developments are measured. Which item does not belong in this series ? / skyscraper cathedral temple prayer / Most people wil exclude « prayer ». Now consider this series : / cathedral temple prayer skyscraper / Most people will exclude « skyscraper ». The sequencing gives one item greater saliency and changes the category the perceiver constructs. Because of its agenda-setting function, a film’s beginning typically becomes a summarizing segment for interpretation. » (David Bordwell, Making Meaning, op. cit., pp. 189-190.)

13. Stanley Kubrick & Diane Johnson, The Shining (post production script), juillet 1980, téléchargeable en ligne sur Sfy.ru, https://sfy.ru/?script=shining [dernière visite le 5 décembre 2016]. ULLMAN I'm afraid you're not going to do too well here unless you've brought your own supplies. We always remove all the booze from the premises when we shut down : He points to shuttered bar. / ULLMAN that reduces the insurance that we normally have to carry. / JACK We don't drink. / ULLMAN laughs. / ULLMAN Well then, you're in luck

14. Cf. Michel Chion, Le Son. Traité d’acoulogie [1998], Paris, Armand Colin, 2005. Cf. aussi son glossaire en ligne : site Lampe-tempete.fr, http://www.lampe-tempete.fr/ChionGlossaire.html [dernière visite le 5 décembre 2016].

15. Diane Johnson, dans l’entretien qu’elle accorde à Catriona McAvoy le 11 novembre 2013, évoque le personnage en ces termes : « In the original script it seems to me Wendy was not neurotic at all. She was just a mom, concerned to protect her child, and I tried to give her a little feminist edge which got cut out as Shelley Duvall’s role dwindled. » (In Danel Olson [dir.], The Shining. Studies in the Horror Film, op. cit., p. 545.)

17. Elle la décrit ainsi : « We used an eight-structure divided roughly into timed sequences, sketched out by Kubrick : First Day, Day of the Psychiatrist ; Arrival, Before the Snow things are going well ; Snow (lull) ; Big

  10

Day (argument, radio dead, finds scrapbook, key to room 217, Lloyd, Jack to room 217) ; Night scene, with Sno-Cat distributor cap ; last, Elevator, calls to Hallorann, last twenty-four hours of terror. He saw the first sections as lasting forty-six minutes and the rest seventy-six-which of course the film greatly exceeded. » (Diane Johnson, «Writing The Shining», art. cit., p. 60.)

ARCHEOLOGIE DE L’OVERLOOK

3. On trouve dans les Archives Stanley Kubrick un courrier du Stanley Hotel relatif à l’envoi de photographies des extérieurs qui fait suite à un appel téléphonique dont on ne connaît pas la date. Le courrier adressé à Kubrick date du 20 mai 1977. (Cf. SK/15/9/14 « Location information».) « this is not the Stanley Hotel. »

5. Ibid. Les soulignements et retours à la ligne restituent la présentation des annotations manuscrites marginales. « Stars and Presidents / is this good ? Does it / make it more realistic ? It / make mafia more believable / It certainly isn’t the Stanley Hotel. »

9. D’après la légende entretenue par les tenanciers du lieu, les fantômes des fondateurs, Flora et Freelan Oscar Stanley, ou encore d’Elisabeth Wilson, une gouvernante «historique» de l’hôtel, hanteraient la chambre 217 et leurs histoires auraient été racontées à Stephen King durant son séjour. (Cf. «L’hôtel Stanley» in Mindshadow.fr, http://www.mindshadow.fr/hotel-stanley ou encore celui de l’hôtel lui-même : Stanleyhotel.com, http://www.stanleyhotel.com/hauntedhistory [dernières visites le 28 novembre 2016].)

10. Cf. «The Stanley Hotel» in En.wikipedia.org, https://en.wikipedia.org/wiki/The_Stanley_Hotel [dernière visite le 28 novembre 2016].

12. Cf. l’article «Gilbert Stanley Underwood», du site En.wikipedia.org, https://en.wikipedia.org/wiki/Gilbert_Stanley_Underwood [dernière visite le 28 novembre 2016].

14. Cf. History of the United States Naval Special Hospital, Yosemite Park and Curry Co., 15 janvier 1946, 76 p., téléchargeable sur le site Militarymuseum.org, http://www.militarymuseum.org/Ahwahnee%20naval%20hospital.pdf [dernière visite le 5/11/2016].

15. Franklin D. Roosevelt : «Address at Timberline Lodge» (28 septembre 1937), in site Presidency.ucsb.edu, http://www.presidency.ucsb.edu/ws/index.php?pid=15470 [dernière visite le 28/11/2016]. « This Timberline Lodge marks a venture that was made possible by W.P.A. emergency relief work, in order that we may test the workability of recreational facilities installed by the Government itself and operated under its complete control. »

16. « Those who will follow us to Timberline Lodge on their holidays and vacations will represent the enjoyment of new opportunities for play in every season of the year. I mention specially every season of the year because we, as a nation, I think, are coming to realize that the summer is not the only time for play. I look forward to the day when many, many people from this region of the Nation are going to come here for skiing and tobogganing and various other forms of winter sports. Among them, all of those visitors, in winter and summer, spring and autumn, there will be many from the outermost parts of our Nation, travelers from the Middle West, the South and the East, Americans who are fulfilling a very desirable objective of citizenship—getting to know their country better. » (Ibid. Je souligne.)

17. John Wintrop, «A Model of Christian Charity» (1630), sur la page John-uebersax.com, http://www.john-uebersax.com/pdf/John%20Winthrop%20-%20Model%20of%20Christian%20Charity%20v1.01.pdf [dernière visite le 5 novembre 2016]. Je souligne. « We shall find that the God of Israel is among us, when ten of us shall be able to resist a thousand of our enemies, when He shall make us a praise and glory, that men shall say of succeeding plantations, « the lord make it like that of New England ». For we must consider that we shall be as a city upon a hill, the eyes of all people are upon us ; (…) »

18. Stanley Kubrick & Diane Johnson, The Shining (treatment), doc. cit., scène 30. « Danny is quietly playing with his cars on the mezzanine, which overlooks the lounge where jack sits at his table, his head cradled in his arms, asleep. »

19. «Pope and Ackerman», in Keith S. Walklet, The Ahwahnee : Yosemite’s Grand Hotel, op. cit., p. 24 pour cette citation et celle qui suit. « By associating it with universally acknowledge Mid-Eastern arts, the designers

  11

highlighted and elevated the work of Native Americans to unprecedented status. The geometric shapes became the foundation for their design plan, linking primitive cultures worldwide through the aesthetics of baskets, textiles, pottery, paintings, and beadwork. The treatment of the Indian designs showed their makers to have been ‘creative artists of ingenuity, sensitiveness and dignity.’ » & « inspired by patterns found on the baskets of the Yurok, Hupa, and Pomo tribes of California. »

20. Ibid., p. 26 pour cette citation et celle qui suit. « The chandeliers in the elevator lobby, like those in the entrance lobby, are modeled after those of the German Gothic period, but their detailing draws on Native American designs for inspiration, proving in Ackerman’s words, ‘the admirable ease with which the California Indian motifs may be adapted.’ » & « Native American beadwork was the inspiration for the bold red and black geometric patterns that surround the elevator doors and service entrance flanking the stairway opposite the fireplace. »

21. Ibid., p. 24. « The lobby also established the use of room-banding stencils as a decorative element to link the various spaces. The stencils of the Ahwahnee are a diverse collection of individual designs with minimal repetition. Close to 100 different patterns were created to meet the needs of the lobby, lounge, and hallways. In addition, each guest room features a unique design above the door. »

23. Cf. SK/15/9/14 « Location Information ». « to look for film props, in particular, for American Indian artefacts, which we wish to hire or purchase for use in our forthcoming production of Stanley Kubrick’s picture film « The Shining », to be produced in Great Britain in 1978. »

26. Cf. Petr Král, « Que s’est-il passé, étant donné la fin de Shining, le 4 juillet 1921 ? » Positif, n° 238, janvier 1981, p. 19; Rob Ager, The Shining. Kubrick’s Gold Story Part 1 & 2, Collative Learning, 2014, 11 mn 13 s et 9 mn 09 s, visionnable sur le site Youtube.com, https://www.youtube.com/watch?v=IoWZEwedPkc [dernière visite le 5 novembre 2016].

32. Cf. Rob Ager, The Shining : Spatial Awareness and Set Design, part I & II, Collative Learning, 2011, 11 mn 36, visionnable sur le site Youtube.com,   https://www.youtube.com/watch?v=0sUIxXCCFWw [dernière visite le 28/11/2016] ; et les plans de Julie Kearns reproduits dans le livret de l’édition vidéo française de Room 237 (Rodney Ascher, Wild Side, 2012).

33. Jan Harlan souligne que la Gold Ball Room est bien trop grande pour «tenir» dans l’espace d’un hôtel dont la reconstitution en studio a conduit à «supprimer» tout un pan de la façade du réel Timberline Lodge : « ‘A straightforward horror film was not what interested him,’ Harlan insists. ‘He wanted more ambiguity. If he was going to make a film about ghosts, he wanted it to be ghostly from the very first to the very last. The set was very deliberately built to be offbeat and off the track, so that the huge ballroom would never actually fit inside. The audience is deliberately made to not know where they're going. People say The Shining doesn't make sense. Well spotted! It's a ghost movie. It's not supposed to make sense.’ » (In Xan Brooks, « Shining a Light inside Room 237 » [entretien avec Jan Harlan], 18 octobre 2012, in The Guardian.com, https://www.theguardian.com/film/2012/oct/18/inside-room-237-the-shining [dernière visite le 28 novembre 2016].)

34. Cf. Theoverlookhotel.com, post du 1er mars 2015, http://www.theoverlookhotel.com/post/112486719131/scale-model-of-an-overlook-hotel-corridor-from-the [dernière visite le 4 décembre 2016]. 35. Symptomatiquement, Juhani Pallasmaa se trompe lorsqu’entraînée dans son interprétation sémiosique du film qui lui a fait élire l’interprétant du labyrinthe, elle écrit : « In Stephen King’s novel, the murder weapon is a two-headed roque-mallet, but Kubrick changed it to a double-headed axe. The word ‘labyrinth’ is derived from the Greek word labrys, which means the ritual double-headed axe of the Minoan civilization on Crete. » (Cf. Juhani Pallasmaa, «Monster in the Maze. The Architec- ture of The Shining» in Maja Keppler & Hans-Peter Reichmann, Stanley Kubrick, op. cit., p. 202.)

36. Cf. Theoverlookhotel.com, posts des 13 et 16 décembre 2012, http://www.theoverlookhotel.com/post/37838068428/one-of-dozens-and-dozens-of-concepts-rendered-by & http://www.theoverlookhotel.com/post/38069188634/one-of-dozens-and-dozens-of-concepts-rendered-by), [dernière visite le 4 décembre 2016]. « Too much emphasis on maze. »

40. Bernice M. Murphy, «“You mean they ate each other up?” The Shining as Windigo Story», in Danel Olson (dir.), The Shining. Studies in the Horror Film, op. cit., p. 230. « However, as we shall see, food, consumption, and appetite are referred to again and again in both the novel and the film. The significance afforded to food in the

  12

film, and the references to the Donner Party are, I will argue, in fact inherently related to the metaphorical significance of the figure of the white-man-turned Windigo which lies at the heart of the story. »

41. Ibid., p. 232. Bernice M. Murphy se réfère à un texte intitulé «The Windigo Psychosis : Psychodynamic, Cultural and Social Factors in Aberrant Behaviour» (1971) de Thomas H. Hay. « So-called ‘Windigo Psychosis’ is long-recognised and controversial psychiatric disorder generally found to be specific to the people of the Northern tribes of the Algonquian-speaking Indians (Hay 1-19). The condition, as anthropologist Thomas Hay outlined in 1971, is marked by the desire to eat human flesh, something that would usually be absolutely horrifying to these tribes. »

42. Ibid., p. 241. Bernice M. Murphy se réfère à un texte intitulé « Werewolves and Windigo : Narratives of Cannibal Monsters in French-Canadian Voyageur Oral Tradi- tion» (2004) de Carolyn Podruchny. « Wendy and Danny are referenced to by him as « little pigs » (which would of course, as noted earlier, implicitly makes Jack the Big Bad Wolf). This brings to mind the fact that, as Podruchny discusses in her article on the topic, the potent cross-fertilisation between French belief in the transgressive figure of the werewolf and Native belief in the Windigo provided Canadian setters with a framework which allowed them to understand the Windigo in European terms. »

43. Ibid., p. 245. « Frederick Jackson Turner argued that the American history had, thus far, been the story of the colonisation of an ever-expanding Western frontier, the ‘meeting point between savagery and civilisation’ which, by necessity, compelled those doing the colonising to reconfigure almost every aspect of themselves in order to successfully tame the wilderness around them (…). »

44. Joseph Bruchac, « Frozen Hearts : An Indigenous View of The Shining », art. cit., pp. 269-270. « Jack, in The Shining is obsessively self-centered. He becomes devoid of normal humane emotions. Like a Chenoo, his heart is frozen. He sees his own wife and child as prey or at the very least impediments to his own desires to become on with the Overlook Hotel and its malicious spirits. »

45. Ibid., pp. 270-271. « The movie also, for me, contains a deeper meaning that may be obvious to anyone familiar with Native American culture and not merely using it−as King and Kubrick did−as a backdrop, a tragic touchstone, an example of victimization that might lend depth to the overall atmosphere of doom projected by the Overlook Hotel and the madness and murder which it spawns. In The Shining, as in many of our traditional Native tales, it is the old wisdom that has enabled the Native American not to ride into the stereotyped sunset, but remain as a vital part of the American present. One of the primarily teachings in our monster stories–including those of the Chenoo−is that a good heart may defeat or even change a twisted mind. Frequently our monsters are overcome not by sword-wielding heroes, but by intelligence and even kindness. (…) And so it is in The Shining. Danny, a little child who faces the worst kind of family trauma, manages to shine with both Hallorann and Tony, to heed some warnings, and to think clearly while being hunted. To face evil is not to become it. Staying true to himself, he vanquishes the monster and escapes the cold abyss in his father’s frozen heart. »

46. Ibid., p. 252. « But what is there in the movie The Shining that is overtly or visibly Native American ? Admittedly, at first viewing, not a great deal. »

48. Cf. « Ute Indian Bury Infant with Parent », Madera Daily Tribune (1er avril 1925), téléchargeable sur le site de la California Digital Newspaper Collection, Cdnc.ucr.edu, http://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=MT19250401.2.22 [dernière visite le 5 novembre 2016].

UNE ESTHETIQUE DE L’INQUIETANTE ETRANGETE

8. Cf. Theoverlookhotel.com, post du 4 mars 2012, http://www.theoverlookhotel.com/post/18776071001/italian-il-mattino-ha-loro-in-bocca-the [dernière visite le 6 décembre 2016].

9. On l’entend par exemple dans La Mort aux trousses et dans la bouche de Roger Thornhill lorsque, après avoir réchappé à l’attaque de l’avion et avoir retrouvé Eve Kendall dans sa chambre d’hôtel, il la questionne sur son métier probable suite à un «coup de fil» énigmatique : « Business ? Industrial Designing Business ? All work and no play. A girl like you should be enjoying herself this evening instead of taking phone calls from clients. » (North

  13

by Northwest, Alfred Hitchcock, 1959, 1h 17min 58s.)

28. Cf., notamment, Damien Deshays, « Shining, 1979 » in La Musique dans l’œuvre de Stanley Kubrick. Tradition et modernité : l’intellectualisation de la musique de film, février 2012, téléchargeable sur son site Damiendeshayes.fr, http://www.damiendeshayes.fr/fichiers/docs_musique/musique_kubrick.pdf [dernière visite le 6 décembre 2016].

30. Cf. Theoverlookhotel.com, post du 25 mars 2014, http://www.theoverlookhotel.com/post/80749945196/at-the-beginning-of-the-shining-when-jack-calls [dernière visite le 6 décembre 2016].

32. Alexander Walker évoque l’oubli de la version féminine de la formule pour argumenter le phallocratisme de Jack : « It’s a text that reflects Jack’s male chauvinism, ignoring as it does the maxim’s other half : All work also makes Jill a dull girl. » (« The Shining », in Alexander Walker [dir.], Stanley Kubrick, director, op. cit., pp. 284- 285.)

33. On y trouve une allusion qui dit bien la leçon de cette comptine. « “[…] So you see, Lucy,” said her father, “that even with you, who seem to be yourself one of the numerous family of the Piccaninies, or of the Goose-Piccaninies, there is always some connexion of ideas, or sounds, which helps to fix even nonsense in the memory.” “ Papa, will you be so very good as to repeat it once more. " "Now, Harry, once more let us try.” “I would rather learn a Greek verb,” said Harry. “ There is some sense in that. Papa, could you repeat one ?” “I could, son, but I will not now,” said his father; “let your sister divert herself with the grand Panjandrum, and do not be too grand yourself, Harry. It is sweet to talk nonsense in season. 'Always sense would make Jack a dull boy.”* The grand Panjandrum was repeated once more ; […] » *Future commentators will observe, that this alludes to the ancient British adage, “ All work and no play makes Jack a dull boy, All play and no work makes Jack a mere toy.” » (Maria Edgeworth, «Harry and Lucy concluded» (being the last part of early lessons. Comic Dramas), in Works of Maria Edgeworth, vol. XIII, Boston, Munroe & Francis, 1825.) Le mot « Piccaninies » est un mot d’argot américain pour désigner les mulâtres.

35. Cf. Theoverlookhotel.com, post du 29 juin 2015, http://www.theoverlookhotel.com/post/122818984081/stanley-kubrick-shot-countless-polaroids-during [dernière visite le 6 décembre 2016].

43. « In another shot, Torrance looms above a lobby model of the garden maze. (This shot is unnecessarily complicated by a miscalculated effect−Torrance seems to look threateningly at the tiny figures of Wendy and Danny, who are outside in the actual maze.) The maze clearly alludes to the Minotaur myth in which a monster with the head of a bull and the body of a man was kept in a labyrinth and fed on human flesh until the hero, Theseus, killed it. » (Alexander Walker, « The Shining » in Alexander Walker [dir.], Stanley Kubrick, director, op. cit., p. 293.)

46. D’après son témoignage, on peut inférer que c’est l’opérateur de steadicam remplaçant de Garrett Brown, Ray Andrew (non crédité au générique), qui a filmé cette scène : « I shot a scene with Jack where he walked down one of the hotel corridors and then he ended up on the balcony above the Colorado Lounge and looked down. In order to shoot that, I had to follow him and has he stopped on the balcony I had to actually walk past him and then turn as he left the corner of the frame, effectively revealing to the audience his perspective of the lounge. » (In «Ray Andrew. Interview by Justin Bozung», in Danel Olson [dir.], The Shining. Studies in the Horror Film, op. cit., pp. 721-722.)

48. Cf. SK/15/1/35 « Bound Script D. Parker», pp. 55-56. Les soulignements sont ceux du scénario. SCENE 47 LOBBY – DAY / Jack enters and stops to examine the model of the maze. We will intercut a shot of Wendy and Danny now in the maze to go against this. / DISSOLVE / Scene 47A LOBBY – BALLROOM WALKOFF – DAY / Jack enters and walks toward the ballroom. / This sequence of Jack wandering around the hotel will be accompanied by a strange, magical music montage mixed with just audible sounds of laughter, conversation and activity. It will convey a sens of magic echoes of the past, and an ominous sens of jack’s enchantment by the hotel. / DISSOLVE / Scene 47B LOBBY – BALLROOM WALKOFF – DAY / Jack walks through. / DISSOLVE / Scene 47C BALLROOM WALKOFF TO BALLROOM – DAY / Jack enters and walks into the ballroom. / DISSOLVE / Scene 47D BEDROOM CORRIDORS – DAY / Jack walks down the bedroom corridors / Scene 47E MEZZANINE – DAY – SCRAPBOOK ZOOM / Jack enters the mezzanine and looks down at the lounge below. We will see his work table and slowly zoom down to the Scrapbook which has mysterious been placed on his table during his walk around. We know that Wendy and Danny are still in the

  14

maze. The music builds on the zoom. / DISSOLVE / Scene 47F LOUNGE – DAY / Jack enters the lounge, walks to the table and opens the pages of the Scrapbook. The music will build on this, too.

52. Cf. Theoverlookhotel.com, post du 29 mars 2014, http://www.theoverlookhotel.com/post/81118906626/the-overlook-maze-is-the-only-maze-to-be-planted [dernière visite le 7 décembre 2016]. The Overlook maze is the only maze to be planted this century. It consists of over a mile and a half of pathways and can take up to 90 minutes to find your way out from the center. However, there is a system by which you can more easily find your way out. Whenever you come to a new junction, take any path you like. Whenever you come by a new path to an old junction, turn back. But, whenever you come by an old path to a new junction, take a new path.

55. Cf. Theoverlookhotel.com, post du 3 mai 2012, http://www.theoverlookhotel.com/post/22322665604/map-of-the-sub-section-of-the-shinings-hedge-maze [dernière visite le 6 décembre 2016].

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LE CONFLIT DES INTERPRETATIONS

12. « For example, here is Benjamin Strong Junior, the first governor of the federal reserve bank, and here is what looks a hell of a lot like Margaret Woodrow Wilson, daughter of president Woodrow Wilson who passed the federal reserve act. » (Rob Ager, The Shining. Kubrick’s Gold Story, Part 1, Collative Learning, 8mn52s-9mn 4s.)

SHINING ET L’HISTOIRE, REPETITIONS

1. Fredric Jameson, «Historicism in The Shining» [1981], in Signature of the Visible, New York, Londres, Routledge, coll. « Classics », 1992, p. 123. « The Jack Nicholson of The Shining is possessed neither by evil as such or some analogous occult force, but rather simply by History, by the American past as it has left its sedimented traces in the corridors and dismembered suites of this monumental rabbit warren, […]. »

3. Fredric Jameson, « Historicism in The Shining », art. cit., p. 124. « Kubrick’s adaptation, indeed, transforms this vague and global domination by all the random voices of American history into a specific and articulated historical commentary, […]. »

4. Ibid., pp. 129-130. « For where the novel stages the « past » as a babel of voices and an indistinct blast of dead lives from all the generations of historical inhabitants in the hotel’s history, Kubrick’s film foregrounds and isolates a single period, multiplying increasingly unified signals : tuxedoes, roadsters, hipflasks, slicked-down hair parted in the middle […]. That generation, finally, is the twenties, and it is by the twenties that the hero is haunted and possessed. The twenties were the last moment in which a genuine American leisure class led an aggressive and ostentatious public existence, in which an American ruling class projected a class-conscious and unapologetic image of itself and enjoyed its privileges without guilt, openly and armed with its emblems of top-hat and champagne glass, on the social stage in full view of the other classes. »

6. « Indeed, the great maze in which the possessed Nicholson is finally trapped, and in which his mortal body is frozen to death […]. rewrites the embryonic face of the Star Child about to be born into the immobile open-eyed face of Nicholson frosted in sub-zero weather, for which, at length, a period photograph of his upper-class avatar in the bygone surroundings of a leisure class era is substituted. » (Fredric Jameson, «Historicism in The Shining», art. cit., p. 134.)

7. Stephen King, chap. 43 «Drinks on the House», in The Shining, op. cit., p. 504. Dès la première édition française du roman en 1979 (et aujourd’hui encore dans les rééditions pourtant dites «intégrales») ce passage, long de plus d’une page, est réduit à un seul paragraphe (!) qui efface la référence directe aux années 1920 et 1940 et les descriptions qui auront nourri l’imaginaire de Kubrick : « All the hotel era’s were together now, all but this current one, the Torrance Era. (…) (Jack) could almost hear the self important ding ! ding ! of the silver-plated bell on the regulation desk, summoning bellboys to the front, as men in the fashionable flannels of the 1920s checked in and men in fashionable 1940s double-breasted pinstripes checked out. » Stephen King, Shining, op. cit., pp. 435-436.

8. Cf. SK/15/1/3 « Annotated text from Stephen King’s novel The Shining », p. 393. Les pages 392 à 398 correspondant au chapitre 43 du roman annoté par Kubrick ont été publiées sur le blog The Overlook Hotel (cf. Theoverlookhotel.com, post du 15 novembre 2012, http://www.theoverlookhotel.com/post/35779583369/chapter-forty-three-drinks-on-the-house-from [dernière visite le 9 décembre 2016]). « This could be like the trip sequence in 2001. »

9. Cf. The Shining [treatment], Partie 9, Scene 44. « He enters the ballroom and sees that it has come to life. The tables are full, a small dance ball is playing, and the men and women who fill the room are wearing elegant Thirties’ dinner clothes. Their face are covered with glittering masks. Jack looks covetously at the beautiful, expensive women. »

14. Cf. Stephen King, chap. 18 «The Scrapbook», in The Shining, op. cit., pp. 226-227. M. Derwent Requests / The Pleasure of Your Company / At a Masked Ball to Celebrate The Grand Opening of // THE OVERLOOK HOTEL // Dinner Will Be Served At 8 P.M. / Unmasking and Dancing At Midnight / August 29, 1945 RSVP.

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15. Cf. Mick Garris, Stephen King’s The Shining (1997), Warner Home Video, 2003, épisode 2 : 8 mn 5s. On peut noter l’ironie mordante de King qui l’amène à appeler l’orchestre qu’il conduit lui-même dans le téléfilm l’«orchestre du défi de croire». Horace M. Derwent / Requests the Pleasure of Your Company / at a/ Masked Ball / To Celebrate the Grand Re-Opening of the // Overlook Hotel // Dance to the Sounds of the / Gage Creed Orchestra // Dinner at Eight / Unmasking at Midnight / Revels Until ?

16. Cf. SKA 15/1/24 «Annotated Bound Script», p. 56. The Overlook Hotel / Request the Pleasure of Your Company / At a Masked Ball / To celebrate New Year’s Eve / Dinner will be served at 8 pm / Unmasking and Dancing at Midnight / December 31st, 1919

19. SK/15/1/24 « Annotated Bound Script», p. 149. Scene 146 LOUNGE / The camera holds on the empty room for a few seconds and then begins to move towards Jack’s writing table. The scrapbook still lies open upon it. We see a page – with a glossy photograph pasted on it. It was taken in the crowded ballroom of the hotel. Men and women dressed in evening clothes have been carefully arranged at their tables and sit posed looking into the camera lens. Behind them, a large silk banner reads : « Happy 1919 ». The camera begins to track in closer to the photograph until it is so close that it frames in one man – it is JACK !!! The camera holds on his smiling face for some time. Then we hear the sound of a dance band playing Thirties’ music echoing throughout the hotel.

20. L’expression sera restée dans la culture générale américaine pour désigner le jour de l’entrée en vigueur de la première prohibition, le 1er juillet 1919. Cf. l’article «Prohibition in the United States» sur le site En.wikipedia.org, https://en.wikipedia.org/wiki/Prohibition_in_the_United_States [dernière visite le 9 décembre 2016].

23. Cf. l’article « Red Summer », sur le site En.wikipedia.org, https://en.wikipedia.org/wiki/Red_Summer [dernière visite le 9 avril 2016].

25. Thomas Allen Nelson écrit : « In his first Gold Room shining, Jack remembers how to express his sexist prerogatives (« white man’s burden ») through the primitive male banalities («« words of wisdom ») of that conversation with Lloyd (who says, « Women ! Can’t live with them, can’t live without them ! »), […] » (In «Remembrance of Things Forgot- ten», in Kubrick. Inside a Film’s Artist Maze, op. cit., p. 222.) Quant à James Naremore, il écrit : « Tormented by writer’s block and guilt, Jacks explains that he suffers from a « white man’s burden » caused by the « old sperm bank upstairs » […] » (In On Kubrick, Londres, British Film Institute/Palgrave Macmillan, 2007, pp. 197-198.)

27. D’après la petite histoire, le nom de la ville aurait été choisi suite à un pari gagné par l’un des deux «premiers» propriétaires des terres. Elle aurait pu sinon s’appeler Boston. (Cf. article «Portland, Oregon» sur le site En.wikipedia.org, https://en.wikipedia.org/wiki/Portland,_Oregon [dernière visite le 9 décembre 2016].)

28. Propos cités dans l’article «The White Man’s Burden» du site En.wikipedia.org, https://en.wikipedia.org/wiki/The_White_Man%27s_Burden [dernière visite le 9 décembre 2016].

30. Cf. l’article «Manifest Destiny» du site En.wikipedia.org, https://en.wikipedia.org/wiki/Manifest_destiny [dernière visite le 9 décembre 2016].

33. Sur l’assimilation du personnage de Hallorann au «nègre magique», voir le passage dédié dans la monographie de Luckhurst : « The Magical Negro is the decidedly minor black character, sourrounded by an aura of spirituality or actual supernatural power, who serves as a sacrificial helper to the white hero, providing the means for white advance often through their own death. (…) The Magical Negro is intended as a gesture of begnin liberal inclusion, but it tends only to reinforce racial imbalance. There is an implicit equation between the telepathic young child and the black man in The Shining (in their mirrored postures at the kitchen table), which equates their ‘primitive’ state and suggests that the telepathy is a power associated with subordinated people. » (« The “Magical Negro” : Hallorann » in The Shining, op. cit., pp. 80-81.)

34. Edward P. McCabe, American Citizen, 23 Octobre 1891, cité par Martin Dann in «From Sodom to the Promised Land : E. P. McCabe and the Movementfor Oklahoma Colonization» (1974), republié sur le site Kancoll.org, http://www.kancoll.org/khq/1974/74_3_dann.htm [dernière visite le 9 décembre 2016]. « I expect to have a Negro population of over one hundred thousand within two years, and we will not only have made substantial advancement for my people, but we will by that time secure control of political affairs. At present we are republicans, but the time will soon come when we will be able to dictate the policy of this territory or state, and when that time comes we will have a Negro state governed by Negroes. We do not wish to

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antagonize the whites. They are necessary in the development of a new country, but they owe my race homes, and my race owes to itself a governmental control of those homes... »

35. « Likewise, the cans of Calumet baking powder seen in the Overlook pantry were chosen not because they featured an American Indian in headdress, thus highlighting Kubrick’s interest in the plight of the American Indian, but because they had bright, bold colors. » (In David Segal, «It’s Back. But What Doest It Mean? Aide to Kubrick on “Shining” Scoffs at ‘Room 237’ Theo- ries», The New York Times, 27 mars 2013.)

36. William Blakemore, «Kubrick’s Shining Secret : Film’s Hidden Horror Is the Mur- der of the Indian», The Washington Post, 12 juillet 1987, F6., téléchargeable sur son site Williamblakemore.com, http://williamblakemore.com/Blakemore-%20Kubrick%20Shining.pdf [dernière visite le 9 décembre 2016]. « The Shining is also about America’s current racism, particularly against black. »

37. Au motif que le calumet désignerait un objet symbolique dans la culture indienne du «contrat scellé» et que les boîtes, lors de la seconde occurrence, seraient mal rangées, Blakemore invente une histoire de contrat honnête passé entre Hallorann et Danny et de contrat vicié passé entre Jack et Grady. « The Calumet baking powder can first appears during Hallorann’s tour of the dry goods storage locker. In a moment of cinematic beauty, we are looking up at Hallorann from Danny’s point of view. As Hallorann tells Wendy about the riches of the locker, his voice fades as he turns to look down at Danny and, while, his lips are still moving with words of abundant supplies, Danny hears the first telepathic ‘shining’ from Hallorann’s head as he says « How’d you like some ice cream, Doc ? » Visible right behind Hallorann’s head in that shot, on a shelf, is one can of Calumet Baking powder. This approach from the open, honest and charismatic Hallorann to the brilliant young Danny is an honest treaty, and Danny will indeed get his ice cream in the very next scene. (…) The other appearance of the Calumet baking powder cans is in the scene where Jack, locked in the same dry goods locker by his terrified wife, is talking to Grady. (…) Visible just behind Jack’s head as he talks with Grady is a shelf piled with many Calumet baking powder cans, none of them straight on, none easy to read. These are the many false treaties, revoked in bloody massacre, that the U.S. government gave the Indians and that are symbolically represented in this movie by Jack’s rampage to kill his own family—the act to which Grady is goading Jack in this scene. Nor is the treaty between Grady and Jack any less dishonest. For Jack will get no reward for doing Grady’s bidding, but rather will reap insanity and death. » (Ibid., F6, F7)

38. Cf. Theoverlookhotel.com, post du 13 avril 2012, http://www.theoverlookhotel.com/post/21065269957/there-has-been-much-speculation-over-the-years [dernière visite le 6 décembre 2016].

40. David A. Cook, «American Horror : The Shining», art. cit., pp. 2-3. « This secret is not very well concealed to those who see clearly, or, in the film’s metaphor, « shine », but it is a secret which most Americans choose to overlook ; for the true horror of The Shining is the horror of living in a society which is predicated upon murder and must constantly deny the fact to itself. We committed genocide on the American Indians to build it (one of Hitler’s most admired models, by the way, for the Holocaust), and we have murdered ever since to maintain it ; when there’s no one else to murder, we murder each other at the highest per capita rate in the civilized world. Much of this murder is economically motivated and is the by-product of crimes of property. But much more of it is economically motivated in a subtler sense and results from the frustrations built into an economic system that demands the exploitation of its weakest members. In crime of rage, neighbors murder neighbors, spouses murder spouses, parents murder children. We have all heard a lot recently about how the incidence of wife and child abuse rises dramatically in times of high unemployment. And some critics have seen the disintegration of Jack Torrance in The Shining as an indictment of the nuclear family. It is more accurately an indictment of the system that isolates and destroys the family. »

41. La formulation constitue une allusion à un personnage de fiction très connu – invention du romancier Pelham G. Wodehouse – qui commença véritablement sa carrière en 1919 dans un livre intitulé My Man Jeeves. Nommé Reginald Jeeves, ce personnage de valet de chambre impeccable vient régulièrement à la rescousse de son employeur Bertie. Cf article «Jeeves», in En.wikipedia.org, https://en.wikipedia.org/wiki/Jeeves [dernière visite le 10 décembre 2016].

44. Geoffrey Cocks, chap. 8 «The Horror, the horror», in The Wolf at the Door. Stanley Kubrick, History & the Holocaust, New York, Peter Lang, coll. «Contemporary Film, Television, and Video », 2013, p. 162. « Kubrick’s turn toward a film project on the Holocaust was not, however, occasioned only by his own intentions. While he would never make a film about the Holocaust per se, two developments in Western culture during the 1970s in

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particular would decisively influence Kubrick’s cinematic shaping of Stephen King’s Gothic horror novel The Shining into an indirect meditation on the Nazi Final Solution. Without understanding these influences, there is no understanding the many subtly laid visual and aural historical referents in Kubrick’s The Shining. The first and most important of the contemporaneous cultural developments was the relatively sudden and massive growth in the 1960s and 1970s in cultural consciousness of, knowledge about, and discourse on the nature and history of the Holocaust. The second development was that during the 1970s horror films in America began to reflect a crisis within the patriarchal family. This cinematic commentary was an outgrowth of social criticism of Western patriarchal culture exploding out of the counterculture of the 1960s. »

45. L’illusion génétique est une variante de l’illusion de l’auteur dans le discours de William K. Wimsatt qui dénonce dans «Genesis : A Fallacy Revisited» l’obsession des critiques littéraires de son temps à vouloir reconstituer la personnalité et l’état d’esprit des poètes en s’aidant du moindre document génétique, en vue d’expliquer le sens de leurs poèmes : « At the very least, they will wish to know not only the poem in question, but also his other poems, his essays, letters, and diaries, his thoughts and feelings, and not only those which occured before the poem and might in any sense have cause dit, but (in the more recent idiom) all those which came after it at any time and are thus a part of the whole personality of which the poem is an expression, the system of contexts of which it is a part. » (In David Newton-De Molina [dir.], On Literary Intention, art. cit., p. 117.) Dans le cas de Cocks, sa perspective génétique ne s’accompagne malheureusement pas d’un travail sur archives!

48. Geoffrey Cocks ne semble pas comprendre la référence à l’été 42 autrement qu’au travers de l’interprétant de la Shoah. Évoquant la scène durant laquelle Wendy et Danny regardent le film de Mulligan, il relève bien qu’il y est question de partir en guerre, mais il ne peut s’empêcher de lier le tout à la Shoah : « Once again, Kubrick has slipped in an overdetermined dream fragment consisting of sexual desire and conflict, the Second World War, and even, in the symbolic form of the year in the title of the film that links with earlier dis/apparearances of the number 42, the Holocaust. With January at Wansee and Summer of ’42, Kubrick juxtaposes winter and summer as doubles of the evil that inhabits humankind year round. » (Ibid., pp. 232-233.)

49. Cf. article « Any Bonds Today ? », sur le site En.wikipedia.org (https://en.wikipedia.org/wiki/Any_Bonds_Today%3F) et le site Astraweb.com, (http://lyrics.astraweb.com/display/924/irving_berlin..unknown..any_bonds_today.html) qui a publié l’intégralité des paroles [dernières visites le 9 décembre 2016]. « First came the Czechs and then came the Poles / And then the Norwegians with three million souls / Then came the Dutch, the Belgians and France / Then all of the Balkans with hardly a chance / It's all in the Book if only you look / It's there if you read the text / They fell ev'ry one at the point of a gun / America mustn't be next »

50. Cf. le site du Smithsonian, National Museum of American History, Amhistory.si.edu, http://amhistory.si.edu/1942/campaign/campaign24.html [dernière visite le 9 décembre 2016].

54. Geoffrey Cocks, The Wolf at the Door, op. cit., pp. 214-215, et son article : « Death by Typewriter», in Geoffrey Cocks, James Diedrick, Glenn Perusek (dir.), Depth of Field. Stanley Kubrick, Film, and the Uses of History, Wisconsin, The University of Wisconsin Press, coll. « Wisconsin Film Studies », 2006, pp. 185-217. « […], The Shining does not restrict itself to American historical referents. It hardly can in any case, since the establishment of the United States of America represents historically the expansion of European civilization and conquest in the modern era. Kubrick’s reliance on Mann, Freud, and Kafka–and Hilberg–further expands the narrative from the specifically American one of King’s novel to the broader European subject matter of the film. Finally, the modern industrial civilization of which America became a part was the culmination of centuries of social, political, and economic development in Europe. One major visual key to understanding these broader European referents in The Shining is Jack’s typewriter. »

55. Dans un entretien à propos de Room 237, Leon Vitali explique que la machine à écrire appartenait à Kubrick : « ‘That was Stanley’s typewriter’ […] ‘A lot of decisions made on the set were about pragmatism : « This looks good. It sits on the oak table pretty perfectly. » Not to mention, it’s a great typewriter. I used that typwriter for 10 years, actually.’ » (In David Segal, «It’s Back. But What Does It Mean? Aide to Kubrick on Shining Scoffs at ‘Room 237’ Theories», art. cit.)

56. Cf. Theoverlookhotel.com, post du 11 mars 2014, http://www.theoverlookhotel.com/post/79312219385/the-editing-room-for-the-documentary-the-making [dernière visite le 9 décembre 2016].

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58. À propos du Jack de King, Kubrick écrit ceci : « Jack Questions – What does Jack listen to ? What does he read ? Does he watch TV ? Does he play chess ? Any other games ? Does he have a typewriter ? – what kind ? » (SK/15/1/3, doc. cit., p. 246.)

60. Cf. le site Warwheels.net, http://www.warwheels.net/kfz13adlerINDEX.html [dernière visite le 9 décembre 2016].

61. Cf. articles « Nazi Symbolism » sur En.wikipedia.org (https://en.wikipedia.org/wiki/Nazi_symbolism) & « Reichsadler » sur De.wikipedia. org (https://de.wikipedia.org/wiki/Reichsadler) [dernières visites le 9 décembre 2016].

62. Geoffrey Cocks, The Wolf at the Door, op. cit., p. 215. « This typewriter is not merely a sign and means of Jack’s pathetic attempt to become a writer. It is the symbol of his role as a functionnary of the Overlook Hotel, just as another mechanical device, the elevator, is also a symbol of the « work » of the Overlook. »

63. « For decades, Stanley looked for material that might allow him to make a film about the Holocaust. He was not interested in a documentary, but wanted a dramatic structure that compressed the complex and vast information into the story of an individual […] At one point Stanley considered what he called a « soft option » : a story set in the German film industry, using the day to day routine of Goebbel’s propaganda machine as the setting in which the drama would unfold, […] He liked Isaac Beshevis Singer’s novels and short story and suggested that I contact Singer and ask him to write an original screenplay for Stanley. This was in 1976. Singer lived in New York and had been surrounded for decades by refugees from the Nazi regime. […] Isaac looked at us for some time in silence and then said that he felt very honored to be asked, but that he was not able to do this justice since—and I am quoting him literaly—"I don’t know the first thing about it". […] But we knew also that this « topic » was unlike any other. » (Jan Harlan, «From Wartime Lies to Aryan Papers», in Alison Castle [dir.], The Stanley Kubrick Archives, Cologne, Taschen, 2013, p. 509.)

64. Michael Herr, qui commenca à travailler avec Kubrick après la sortie de Shining et travaillera au scénario de Full Metal Jacket, a témoigné de cette expérience. Il raconte comment le cinéaste lui fit adresser du «matériel» de lecture très vite après leur première rencontre. « When I met him in 1980, I was not just a subscriber to the Stanley legend, I was frankly susceptible to it. He’d heard that I was living in London from a mutual friend, David Cornwell (b.k.a. John le Carré), and invited us for dinner and a movie. The movie was a screening of The Shining at Shepperton Studios a few weeks before its American release, […] He called me a couple of nights later to ask me if I’d read any Jung. I had. Was I familiar with the concept of the Shadow, our hidden dark side ? I assured him that I was. We did half an hour on the Shadow, and how he really wanted to get it into his war picture. And oh, did I know of any good Vietnam books, ‘You know, Michael, something with a story ?’ I didn’t. I told him that after seven years working on Apocalypse Now, it was almost the last thing in the world I was interested in. He thanked me for my honesty, my ‘almost blunt candor ‘ and said that, probably, what he most wanted to make was a film about the Holocaust, but good luck putting all of that into a two-hour movie. And then there was this other book he was fascinated by, he was fairly sure I’d never heard of it, Arthur Schnitzler’s 1926 novella Traumnovelle, […] The next afternoon, a copy of the Schnitzler book arrived, along with the paperback edition of Raul Hilberg’s enormous The Destruction of the European Jews, delivered by Stanley’s driver Emilio, who wether I realized it or not was to become my new best friend. » (Michael Herr, Kubrick, New York, Grove Press, 2001, pp. 5-8.)

65. Les propos tenus à Frederic Raphael sont rapportés par Geoffrey Cocks in The Wolf at the Door, op. cit., p. 157. « The Holocaust is about six million people who get killed. Schindler’s List was about six hundred who don’t »

66. Patrick Webster, chap. 5 «Shining», in Love and Death in Kubrick, op. cit., p. 114. « The question thus arise is this : would have actually been possible ? While Kubrick may have been able to avoid the Spielbergian sentimentality of Schindler’s List and have made a film truthful to the horrors of the Holocaust, one has to ask wether anyone would have been able to attend such a film without averting one’s eye from the horror and hell the ‘shining’ screen would have offered. »

67. Ibid., note 106, p. 114. « He knew that the Holocaust was unwatchable. » Patrick Webster cite les propos de Christiane Kubrick, dans un entretien avec Joan Dupont paru dans l’International Herald Tribune le 15 septembre 2001.

70. Geoffrey Cocks, The Wolf at the Door, op. cit., pp. 222-223. « There is in The Shining a similar symbolic association between a machine and an animal represented in Jack’s Volkswagen, the popular postwar car

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originally promised to the Germans by Hitler ; Jack’s Volkwagen is also linked, in film as in life, with an animal that has symbolic historical meaning in The Shining, the wolf. Volkswagens were and are manufactured in Wolfsburg, Germany. This factory town, which was completed in 1939, did not receive its name until after the war, but Nazi officials long before 1945 had it in mind to name the city Wolsburg in honor of Hitler’s code-and nickname. In June 1945, Nazi sympathisers among local officials formally decided on the name Wolfsburg, or Wolf’s Castle, and the Volkswagen company created a stylized wolf and castle arch design for the hub of steering wheel. Hitler’s hypermasculine nom du guerre (sic) picked up by American popular culture in the 1930s was revived during the ‘Hitler wave’ in the 1970s. In a novel written at the end of the decade about the capture and trial of Adolf Hitler in South America, George Steiner summarizes Hitler’s grisly achievement in just this way : ‘He took garbage and made it into wolves’. Kubrick underscores the link between Jack’s Volkswagen and his role as the Big Bad Wolf in a way that also forges a connection with the memory of the Second World War in Europe. Late in the film Hallorann is driving to the Overlook Hotel in response to a « shine » of help from Danny. Juste before his car passes a red volkswagen crushed under a jack-knifed (!) semi-trailer, the car radio—tuned to KHOW, a stereotypical reference to Native Americans—announces that the mountain passes of Wolf Creek and Red Mountain have been closed and that the chain law is in effect at the Eisenhower Tunnel. Both Wolf Creek and the Eisenhower Tunnel are real locations in the Colorado Rockies, but in the context of The Shining’s historical concerns they together call up associations with the war against Hitler, particularly when we recall that Kubrick had on two occasions in the early 1950s photographed former supreme Allied Commander Dwight Eisenhower when he was president of Columbia University. »

71. Rappelons que le nom de la ville nouvelle créée autour de l’usine Volkswagen est emprunté à un village du même nom qui existait déjà sur ce territoire. (Cf. Jean-Luc Bellanger, «Wolfsburg, la ville de Volkswagen», Le Patriote résistant, n° 781, novembre 2004, republié sur le site Fndirp.asso.fr, http://www.fndirp.asso.fr/wp-content/uploads/2013/10/Wolfsburg-JLB2.pdf [dernière visite le 9 décembre 2016].)

72. Geoffrey Cocks, The Wolf at the Door, op. cit., p. 248. « With the exception of two Carlos/Elkind electronic treatments (« Dies Irae » and « Rocky Mountains ») and the unnerving atmospheric use of Ligeti’s Lontano (1967) that accompanies Danny’s first visit by the Grady sisters at the Overlook, the extra-diegetic music used in The Shining, more than in any other Kubrick film, reflects by theme and/or by time period the horrors—observed, anticipated, or recalled—of Nazism and the Second World War. Two compositions, one by Hungarian Béla Bartok (1881-1945) and the other by pole Krzysztof Penderecki, predominate, expressing ‘the disarray of contemporary humanity in the face of his maladjustment to the world, the failure of his beliefs… terrified by past cataclysms and agonized by the apocalypse to come.’ » Cocks cite ici un texte de Michel Sineux, «La symphonie Kubrick», paru dans la revue Positif en 1981 (n° 239, pp. 34-36).

73. Ibid., pp. 248-250, et p. 252 pour la citation qui suit. « It is The Dream of Jacob that assumes the greatest importance in the film’s Holocaust subtext, for it is the music heard before, during, and after Danny’s first, extended vision of the blood flowing from the hotel elevator. »

75. « On the very last day that I had people coming in, suddenly these two turned up (Lisa and Louise Burns). And it was such a remarkable sight—not quite identical, but almost as good. I had something when I was in Chicago looking for the little boy… I was very interested in photography and I had gone into a photo shop to process some research stills of hotels I’d taken for Stanley, and I’d seen a book of Diane Arbus photos, which I’ve still got to this day. There was this picture of these two little girls she had, and I thought, My God, who could ask for better ? And I showed the video I took of them to Stanley and he absolutely flipped. It was the luck of Stanley Kubrick (laughter) ! That these two little girls show up just when we were giving up, just in our hour of need. Fantastic ! » («Leon Vitali [interview by Danel Olson] », in Danel Olson [dir.], The Shining. Studies in the Horror Film, op. cit., p. 516.)

76. Vincent LoBrutto, Stanley Kubrick. A Biography [1997], Da Capo Press, 1999, p. 445. « In the right-hand corner of the article is a photograph of two little girls, Phyllis, five years old, and Barbara, age eight, standing in front of two men who saved their lives after they were overcome by poisonous carbon monoxide fumes. The girls stand side by side, wearing similar dresses, arms fully extended downward as they hold hands. They are smiling and look directly into Kubrick’s watchful eye »

79. Patrick Webster, chap. 5 «Shining», in Love and Death in Kubrick, op. cit., pp. 114-115. « The image of the two Grady girls resonated throughout the film with an iconic status matched by few other images. The clear reason being that this image resonated upon a previous image, on the 1967 Arbus photograph : Identical Twins. This

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being explained via the sense that the image of the Grady Girls directly related to Arbus’s disturbing photograph ; which, by inference, could not help but echo, albeit deep in the subconscious, with Josef Mengele’s experiments on twins within the concentration camps »

80. John Ware, The Hunt for Doctor Mengele, Granada TV, 1978, 6mn23s-08mn28s, visionnable sur le site Youtube.com, https://www.youtube.com/watch?v=wyzw3xc0Nww [dernière visite le 9 décembre 2016]. « Mengele’s medical experiments were personnal obsessions started before the war at Frankfurt’s Institut of Racial Purity. Wounded on the Russian Front in 1943 he asked to be posted in Auschwitz to continue his laboratory research. He was fiercely ambitious to rise in the Nazi Party. Mengele wanted to be the first scientist to prove the führer’s racist theory that Jews were sub-human. Mengele also wanted to bread a master race of blue eyed, blonde haired Germans. This meant he had to study how natural characteristics can be altered and for that he kneeded twins. […] Mengele studied twins to learn which qualities could be develop from identical raw material. He made comparative studies on pairs of twins, by dissecting them dead and alive. If a twin died of say a brain disorder, Mengele shot the surviving twin to see if too showed signs of the disorder […] Mengele believed that he might change the pigmentation of people’s eyes through injecting dyes with blue for preference, an important feature of this perfect German’s specimen »

81. Laurent Vachaud, « Le secret de la pyramide », Positif, n° 623, janvier 2013, pp. 78-84 ; Mathieu Rochet & Nicolas Venancio, Kubrick & the Illuminati. Don’t You Want to Go Where the Rainbow Ends. Entretiens avec Michel Ciment et Laurent Vachaud, Gasface, 2013, 29mn01s, visionnable sur le site Dailymotion.com, http://www.dailymotion.com/video/x12e5a8_kubrick-les-illuminatis_news [dernière visite le 9 décembre 2016].

84. Cf. Ed Quillen, «Monarch : A WPA boondoggle that Succeeded» (janvier 1997), sur le site du Colorado Central Magazine, Cozine.com, http://cozine.com/1997-january/monarch-a-wpa-boondoggle-that-succeeded [dernière visite le 6 décembre 2016].

90. Cf. SK/15/9/14 « Location Information ». Le passage de cette lettre est cité dans Catriona McAvoy, «Creating The Shining : Looking Beyond the Myths», art. cit., p. 293. « Dear Stanley, / We have already had several sightseers and tourists asking to see room 217. It is very probable that once the movie is released and known locally we might have serious difficulties in renting our room 217 as some of our guests could be afraid of being chased by the bloated body of the "bath-tub lady". If at all possible, Dick (the Area Operator) would like you to change the number 217 to 237, 247 or 257, neither of which exists at the Timberline Lodge. »

91. Le numéro de code de la radio de l’hôtel est à l’origine le suivant : «KDK 603-Unit 5». (Cf. SK/15/3/14/10 « Operating Instructions for Radio»). Dans le scénario de tournage de Dick Parker, Wendy appelle les garde-forestiers : « WENDY : This is KDK Unit-one-one-nine calling base… » (In SK/15/1/35 « Bound Script D. Parker», Scene 74, p. 76.)

95. « In order to become genuine cues, motifs must be situated within some temporal schema of textual form. The most general one in film interpretation constructs the film as a trajectory. This is Johnson and Lakoff’s « source-path goal » pattern, which presumes a starting point, a destination, a series of intermediate points, and a direction. » (David Bordwell, Making Meaning, op. cit., p. 188.)

96. « Like the beginning, the film’s ending plays a summarizing role in ordinary comprehension. The interpreter therefore has good reason to highlight it. And the ending offers great freedom of interpretation because critics have several heuristics for making it mean. We can itemize four possibilities. 1. The simplest routine is to assume that the film resolves its referential meanings and its more abstract ones. […] 2. If the plot or argument seems "deliberately" to leave some events or effects unresolved, the interpreter can find correspondingly "open" meanings. […] 3. Conversely, even if confronted with an "open" dramaturgy, the critic can assert thematic closure. […] 4. In a reversal of the third strategy, the interpreter may find a diegetically "closed" film semantically "open" […] Because the four heuristics are available, the ending has a particular significance in contemporary symptomatic criticism. » (Ibid., pp. 192-194.) Dans le cas du roman de Weidner, la stratégie adoptée relève de la troisième des quatre « tactiques ».

97. « It isn’t the real launch of Apollo 11. It is of course the symbolic launch of Apollo 11. In another words, it isn’t real. What happens next is crucial to understanding everything else that happens in this film. Danny, bewildered, walks down the hallway. He sees that Room Two thirty-seven, the room that Hallorann warned him about, has a key in the lock and the door is wide open. It is important to note that the room in question was

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number Two Seventeen in the Stephen King’s version of The Shining. For reasons unknown, Kubrick changed it to Two thirty-seven. Those unknown reasons are about to become known. Danny is literaly carrying a symbolic Apollo 11 on his body, via the sweater, to the moon as he walks over to Room Two thirty-seven. Why do I think this ? Because the average distance from the earth to the moon is Two Hundred and thirty-seven thousand miles. Well some people may argue with this and say that it is exactly Two Hundred and thirty-eight thousand miles and change. The moon is in a slightly elliptical orbit, which means that sometimes the moon is much further away from the earth that at other times. If you do the math and you figure it out, you can see that the true distance that the moon is from the earth is Two Hundred and thirty-seven thousand miles. Even more important to this argument : at the time that Kubrick faked the Apollo moon landings, it was common knowledge in the textbooks and the scientific work that the moon was Two Hundreds and thirty-seven thousand miles away from the earth. This is the figure that Stanley was working with and that is why he changed the room from Two seventeen to Two thirty-seven. The real truth is that this movie is really about the deal that Stanley Kubrick made with the manager of the Overlook Hotel, America. » (Jay Weidner, Kubrick’s Odyssey. Secrets Hidden in the films of Stanley Kubrick., doc. cit., 43mn25s - 46mn57s.)

98. « "That was knitted by a friend of Milena Canonero, the costume designer", Mr. Vitali said. "Stanley wanted something that looked handmade, and Milena arrived on the set one day and said, ‘How about this?’ It was just the sort of thing that a kid that age would have liked." » (In David Segal, « It’s Back. But What Does it Mean ? », art. cit.)

100. La société General Foods est créée en 1929 sur la base d’un consortium constitué autour d’une société elle-même créée en 1895, la Postum Cereal Company, par le rachat de nombreuses sociétés agro-alimentaires, dont en 1928 la Calumet Baking Powder Company. Cf. article «General Foods» in En.wikipedia.org, https://en.wikipedia.org/wiki/General_Foods [dernière visite le 10 décembre 2016].

101. In Ward Kimball, Man in Space, «Disney Parade», saison 1, épisode 20, diff. ABC Channel, 9 mars 1955, 35mn46s-35mn58s, visionnable sur le site Youtube.com, https://www.youtube.com/watch?v=omWRxonewL4 [dernière visite le 10 décembre 2016].

102. Kennedy utilisera la formule notamment lors de son fameux discours à la Rice University du 12 septembre 1962, resté dans les mémoires comme le Moon Speech : « We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too. […] What was once the furthest outpost on the old frontier of the West will be the furthest outpost on the new frontier of science and space. » («John F. Kennedy Address at Rice University on the Space Effort», sur le site Explore.rice.edu, http://explore.rice.edu/explore/Kennedy_Address.asp [dernière visite le 10 décembre 2016].)

103. Footprints on the Moon est le nom d’un film réalisé en 1969 par Bill Gilson, produit par Barry Coe dans lequel von Braun narre l’événement. Il est visionnable sur le site Youtube.com, https://www.youtube.com/watch?v=x3KbhgDLiSU [dernière visite le 10 décembre 2016].

106. C’est un jour de célébration de la mémoire des anciens combattants américains de toutes les guerres à travers l’histoire des États-Unis. (Cf. article «Memorial Day» in En.wikipedia.org, https://en.wikipedia.org/wiki/Memorial_Day [dernière visite le 10 décembre 2016].)

110. Frederick Jackson Turner, «The Significance of the Frontier in American History», in The Frontier in American History, New York, Henry Holt and Company, 1921, rééd. Gutenberg (epub avec images), 2007, pp. 16-17, téléchargeable sur le site Gutenberg.org, http://www.gutenberg.org/ebooks/22994 [dernière visite le 10 décembre 2016]. « Thus American development has exhibited not merely advance along a single line, but a return to primitive conditions on a continually advancing frontier line, and a new development for that area. American social development has been continually beginning over again on the frontier. This perennial rebirth, this fluidity of American life, this expansion westward with its new opportunities, its continuous touch with the simplicity of primitive society, furnish the forces dominating American character. »

111. Ibid., pp. 77-78 (Je souligne). « Since the days when the fleet of Columbus sailed into the waters of the New World, America has been another name for opportunity, and the people of the United States have taken their tone from the incessant expansion which has not only been open but has even been forced upon them. He would be a rash prophet who should assert that the expansive character of American life has now entirely ceased. Movement has been

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its dominant fact, and, unless this training has no effect upon a people, the American energy will continually demand a wider field for its exercise. But never again will such gifts of free land offer themselves. […] And now, four centuries from the discovery of America, at the end of a hundred years of life under the Constitution, the frontier has gone, and with its going has closed the first period of American history. »

112. Cf. article «Roosevelt Corollary», in En.wikipedia.org, https://en.wikipedia.org/wiki/Roosevelt_Corollary [dernière visite le 10 décembre 2016].

113. L’idée d’une expansion qui en passe par l’installation de «postes» est consubstantielle à la conception expansionniste turnerienne : « And yet, in spite of this opposition of the interests of the trader and the farmer, the Indian trade pioneered the way for civilization. The buffalo trail became the Indian trail, and this became the trader's "trace;" the trails widened into roads, and the roads into turnpikes, and these in turn were transformed into railroads. The same origin can be shown for the railroads of the South, the Far West, and the Dominion of Canada. The trading posts reached by these trails were on the sites of Indian villages which had been placed in positions suggested by nature; and these trading posts, situated so as to command the water systems of the country, have grown into such cities as Albany, Pittsburgh, Detroit, Chicago, St. Louis, Council Bluffs, and Kansas City. » (Frederick Jackson Turner, The Frontier in American History, op. cit., pp. 77-78.)

114. « First, we note that the frontier promoted the formation of a composite nationality for the American people. The coast was preponderantly English, but the later tides of continental immigration flowed across to the free lands. This was the case from the early colonial days. The Scotch-Irish and the Palatine Germans, or "Pennsylvania Dutch," furnished the dominant element in the stock of the colonial frontier. With these peoples were also the freed indented servants, or redemptioners, who at the expiration of their time of service passed to the frontier. […] Very generally these redemptioners were of non-English stock. In the crucible of the frontier the immigrants were Americanized, liberated, and fused into a mixed race, English in neither nationality nor characteristics. The process has gone on from the early days to our own. » (Ibid., pp. 50-51)

SHINING ET 2001, GEMELLITES

1. In SK/15/1/3 « Annotated Text from Stephen’s King novel The Shining», p. 393. « This could be like the trip sequence in 2001. »

5. Ibid., p. 214. « One anecdote reports that, during the development process of Skylab, NASA’s Werner von Braun (whom Ordway, in turn, had worked for earlier, and who now headed the Marschall Space Flight Center) encouraged Loewy’s design team to see 2001 for its ‘excellent design’. »

6. « In fact, when he came across the wealth of accumulated documentation from the US space industry during his visit, NASA official Mueller drew the comparison to his own organisation, calling Kubrick’s studio facilities « NASA East ». » (Ibid., p. 201.)

7. Alexander Walker, par exemple, compare explicitement ces deux scènes : « What makes The Shining sequence so compelling is the contrast it invites with its benign antecedent in 2001. In both films, the hotel decor has a classical elegance bathed in a translucent light characteristic of symbolist art. Both surreal entities appear to be in two places at once, or to have changed places as the beholder blinks. In both sequences, accelerated aging induces en eerie metamorphosis, and in The Shining, a terrifying image. This scene has no narrative relevance to earlier or later events in the film, and Torrance, on returning to Wendy, denies having found anyone in Room 237. » (« The Shining », in Alexander Walker [dir.], Stanley Kubrick, director, op. cit., p. 305.)

9. « - What about the red bathroom that we see in The Shining ? Did you have anything to do with the design of that set ? / - Roy Walker designed that. He had been in a bathroom similar to it in a hotel in America when he went to do research for Stanley. I’m not sure which hotel he had seen it in, but he really liked the look of it. Roy wanted to paint the room red and when he asked Stanley about it he said, "Well, if you wanna be that bold… go for it." » (« Lee Tomkins (Art Director). Interview by Justin Bozung », in Danel Olson [dir.], The Shining. Studies in the Horror Film, op. cit., p. 695.)

10. In SK/15/1/24 « Annotated Bound Script», SCENE 101 BALLROOM, p. 108. « A man, wheeling a drink’s cart, bumps into Jack, spilling his drink on the carpet. The bottles and siphons chatter musically. / GRADY

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(English accent) Excuse me, sir. / JACK (mimicking English accent) That’s all right, old boy. Just watch it next time. / GRADY I’m sorry sir. Would you care for another drink ? / JACK I’ll have a martini. / While Grady makes the martini, Jack stares at him with increasing interest. / GRADY Here you are, sir. / Jack looks at him closely, then downs the drink. / GRADY Was it all right, sir ? / JACK Fine. Hit me again. / GRADY Thank you, sir. / Grady starts to mix another drink. / JACK Pardon me, but do you mind telling me your name ? / GRADY Grady, sir. Delbert Grady. […] »

11. L’accessoire des cartes se trouve aux archives Stanley Kubrick, en plusieurs exemplaires (SK/15/3/4/8 « Poem Cards»). There is no death ; / Lifelessness is only a disguise, / Behind which hide, / Unknown forms of life.

12. C’est ce que confirme par exemple le témoignage de Brian Cook : « That scene with Jack and Philip Stone, the actor who played Grady in that red toilet, that scene was supposed to take place in the ballroom, but Stanley had his producer’s hat on, and when he realized that he’d need to have all of those background extras for ten days or so for that scene where Grady spills the drink on Jack and they have their talk, Stanley said, "Maybe they should go off into the toilet…" So Roy Walker quickly built a red toilet and that’s how that whole scene came into being. » (« Brian Cook (Assistant Director) Interview by Justin Bozung », in Danel Olson [dir.], The Shining. Studies in the Horror Film, op. cit., p. 700.)

15. In SK/15/1/24 « Annotated Bound Script», pp. 101-104. « SCENE 98 LOBBY / Jack and Wendy stop in front of the elevator. It is still running, and the indicator lights trace its movement down to the lobby floor. / The doors open. We catch a glimpse of several costumes, masks and some party streamers on the floor. The doors close immediatly, and the elevator starts up again. / WENDY (slowly) What was that ? / Jack doesn’t say anything. / WENDY Jack, what was that on the floor ? / JACK I didn’t see anything. / WENDY You must have seen it. There were some things on the floor ! I think they were masks and party streamers. / JACK I said I didn’t see them. / WENDY Jack… / JACK I said I didn’t see anything ! / WENDY Jack, there were some masks and some kind of a party decorations on the floor. I saw them. That’s crazy ! I used the elevator this morning and it was empty. There is someone in this hotel. / The elevator stops on the top floor and it seems like it’s going to stay there. Wendy tries to press the button to call it back but Jack stops her. / JACK Never mind, the elevator’s stopped. Let’s go back to the room. / WENDY Jack, if you’re trying to keep me from being scared, you’re scaring me even more by what you’re doing. / We hear music floating through the lobby. / WENDY And, listen, what’s that ? I hear music. Jack, what is going on ??? / JACK You tell me. Maybe it’s not Danny who need a shrink. / WENDY Christ, Jack, surely you hear that ? / JACK It’s the wind outside. / WENDY Jack, I don’t believe this. I just don’t believe it ! What the hell are you trying to do to me ? / JACK Are you saying that I’m lying to you ? / WENDY I’m saying that something strange is going on here. / JACK Are you calling me a liar ??? / WENDY Jack, what is the matter with you ? / JACK Are you calling me a liar ??? / WENDY For Christ’s sake, stop screaming at me !!! / JACK Are you calling me a liar ??? / WENDY Oh, go screw yourself !!! / Jack slaps her heavily several times, knocking her against the wall. / JACK Don’t you ever talk to me like that again, bitch. Do you understand me ? Don’t you ever talk to me like that again. / Jack turns and exits. Holding her face, Wendy starts to cry. She watches Jack go, and then runs back to her room. »

17. In SK/15/1/24 « Annotated Bound Script», p. 81 et p. 82. « SCENE 78 ROOM 217 / Danny enters. It is a plush, two-room suite. / DANNY Mommy ? / He walks uncertainly inside. / DANNY Mommy ? Mommy ? / He walks from the sitting room into the bedroom, and notices that the bathroom door is ajar. / DANNY Mommy ? / He walks into the bedroom and sees a horrific sight. / SCENE 79 BATHTUB / There is a woman in the bathtub : she is bloated and purple, and her eyes are glassy, like huge marbles. She has been dead for a long time. She grins at Danny, and her teeth are hideous and brown, and the gums have retreated most of the way to the roots. / SCENE 80 DANNY / As if in a dream, Danny is unable to scream. He whispers, barely audibly. / DANNY Mommy ? Daddy ? Help me… Help me, please… »

18. In SK/15/1/24 « Annotated Bound Script», p. 93. Une modification officielle, datée du 23 avril 1978, a décomposé cette scène en une suite plus découpée – les scènes 93, 93A, 93B, 93A et 93C – sans modifier son contenu descriptif (Cf. SK/1/35 « D. Parker Bound Script», p. 93.) « SCENE 93 MAIN BEDROOM CORRIDOR – ROOM 217 / Jack looks along the corridor. The door to Room 217 is still ajar, the key still hanging from the lock. He walks slowly to the door, stands uncertainly for a moment and then enters. / He walks through the sitting room, into the bedroom and sees that the bathroom light is on. He walks to the bathroom door and pushes the door slowly open. But now there is no one in the tub. / Suddenly, he has a sense that someone is hiding behind him in the suite. He whirls around, stares at the silent room, and then starts searching around in the

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places someone might be concealed. / While doing this, he is startled by a rattling, metallic sound from the bathroom. He straightens up, stifles his fear, and walks back to the bathroom to investigate. / The opaque shower curtain is now drawn accross the tub, but we can see the outline of a woman’s shape in the tub, and a purple and bloated arm hanging over the side. Jack stares in horror. The hand slowly draws the curtain back, revealing the same creature Danny saw. She smiles at Jack, and speaks in a terrible voice : / LADY I’ve been sleep-walking again, my dear. / Jack backs slowly out of the suite, pulling the door to the hall closed behind him. He stands in the corridor to regain his composure. The sound of the door-knob being turned makes him look up. It turns back and forth slowly, as if someone were trying to get out. / Jack tries to make some sense of what he has seen, fails, and walks stiffly down the corridor. »

22. Christine Lee Gengaro, « Richard Strauss : Also Sprach Zarathustra », in Listening to Stanley Kubrick., op. cit., p. 88. « Strauss’s tone poem Also Sprach Zarathustra is loosely based on the eponymous literary work by Friedrich Nietzsche, which the author had completed in 1885. The novel follows the fictional prophet Zarathustra (who shares only his name with the Persian Zoroaster), who travels and teaches his ideas about morality. In the prologue, Nietzsche explains that humans are the link between apes and a new type of being, what Nietzsche calls the Übermensch, or superman. This concept of the development of the human into a being that has achieved its full potential is particularly resonant in the narrative of 2001, since the monoliths are an external stimulus that helps apes and later humans (as represented by Dave Bowman) achieve such a self-actualization. »

24. « The implication of The Dream of Jacob as composed and as placed within the dreamlike symbolic structure of The Shining are rendered brutally clear. The world has often been an abattoir and never more so than during the Holocaust. As, in Danny’s inner eye, the moutain of blood cascades from the elevator (a mechanical Jacob’s ladder), we are instructed in the single most terrible lesson of modern history : in twentieth-century Christian and Nazi Poland the descendants of Jacob—Israel’s father and Stanley’s—would awaken not, like the biblical Jacob, to salvation, but to slaughter » (Ibid., p. 255.)

26. «Kubrick, suivant son inspiration éclectique, emprunte à des sources variées, et assez révélatrices. Les jumelles viennent, me semble-t-il, de Diane Arbus. Le succube appartient à la tradition des Danses macabres, de Baldung Grien en particulier (La Marche à la mort). » (Jean-Loup Bourget, « Le territoire du Colorado », Positif, n° 234, septembre 1980, p. 18.) Ursula von Keitz propose la même affiliation iconographique : « This figure is a two-headed being in the Kubrick film, a figure from the Baroque iconography of Vanitas, which, at first, gets out of the bathtub as an enticing, juvenile naked woman, putting her arms around Jack, who is astonished but then delighted about this unexpected erotice intermezzo. In the course of the embrace, she transforms into a terrifying figure as if from a picture by Hans Baldung Grien or Lucas Cranach, and makes Jack, disgusted, stumble backwards and flee from the room. » (In «The Shining – Frozen Material», art. cit., p. 189.)

35. Cf. le texte en allemand de cette phrase : «Der Name des Thorwegs steht oben geschrieben : “Augenblick”», disponible sur le site Magister.msk.ru, http://www.magister.msk.ru/library/babilon/deutsche/nietz/nietz04g.htm [dernière visite le 10 décembre 2016].

44. «Major action sequence : Wendy is attacked by Jack. Action to be worked out. In the end, Jack catches her and is undeterred from strangling her by a knife wound in the thigh. Wendy loses consciousness but Jack holds on to her throat, wanting to make sure. Suddenly, Tony appears. He speaks with an entirely inappropriate authority. / TONY Let her go, Mr. Torrance ! / Jack looks up. / JACK Hey, hi there, guy. See what I’m doing ? Maybe I’ll do that to you next. / He laughs. / TONY (cooly) Only if you catch me, Mr Torrance. Only if you catch me. / Jack takes the bait, lets Wendy drop to the floor, and sets off after Tony. The knife-wound slows him down to a hobble. » (In SK/15/1/24 « Annotated Bound Script », p. 143.)

45. In SK/15/1/24 « Annotated Bound Script», pp. 144-145. « SCENE 141 MAZE – INSIDE – NIGHT – BLIZZARD / The inside walks of the maze are lit by widely-spaced rows of outdoor lights, on short poles, which are tipped up to shine toward the top of the yew hedge walls. The lights flare in the mist, silhouetting the figures. / We will see them come on when Jack turns on the other hotel lights. In the maze, Jack has no difficulty following Tony’s footsteps in the snow. At one point, Tony, who has taken a wrong turn, almost bumps into Jack, but he manages to get away. / When Tony reaches the long, centre promenade of the maze, he deliberately runs in and out of five or six of the archway entrances, making a confusing pattern of footsteps. / Then he crouches out of sight behind a hedge wall. / Jack reaches the centre of the maze and sees the trail of footsteps leading off to the different arches. He choose one, taking him momentarily out of sight. / Tony sees this and dashes back along the same path which brought him into the maze, following his own footsteps. / He has picked

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up something like a large pair of hedge shears, or a croquet mallet, or a fence post (this has to be cunningly worked out), and, tracing his way back, he stops at each bulb and smashes it, leaving total darkness in the maze walkaway behind him. / Jack hears the first bulb break, and sets off after the noise. He soon realises what is happening, as he finds himself lost in an ever-growing pool of darkness. He rages after Danny. / Following his own footsteps, Tony has no difficulty working his way out of the maze, stopping to smash all the bulbs on the way. / This leaves Jack hopelessly trapped. No one could possibly find their way out of the maze in the dark. »

46. L’accessoire du pistolet laser spatial est introduit « officiellement » (c’est-à-dire typographiquement) le 10 avril et trouvera sa fonction dans une page datée du 23 avril 1978. Dans la scène 7 à Boulder l’objet est introduit par cette phrase : « Wendy serves him Sugar Pops and milk. We see on the table alongside him his Space Laser Gun, which will allways be with him. The Tv is on. » (In SK/15/1/35 « Bound Script D. Parker», p. 3.)

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BIBLIOGRAPHIE AUGMENTEE (DOCUMENTS ACCESSIBLES EN LIGNE)

Documents génétiques

KING Stephen, Before the Play [1977], Whispers Magazine, vol. 5, no 1-2, Whole Number 17-18, août 1982, réédition (version abrégée) in Tv Guide, « collector’s edition », 26 avril-2 mai 1997, téléchargeable sur le site Withnailrules.tumblr.com, http://withnailrules.tumblr.com/post/12169447131/before-­‐the-­‐play-­‐by-­‐stephen-­‐king FICHE Imdb de The Shining : site Imdb.com, http://www.imdb.com/title/tt0081505/?ref_=ttrel_rel_tt  

KUBRICK Stanley & Johnson Diane,

— The Shining (treatment), téléchargeable sur le site Cinephiliaandbeyond.org, in « Stanley Kubrick’s original treatment for ‘ The Shining’ », http://www.cinephiliabeyond.org/stanley-­‐kubricks-­‐treatment-­‐of-­‐the-­‐shining/  

— The Shining (post production script), juillet 1980, téléchargeable sur le site Sfy.ru, https://sfy.ru/?script=shining

SITE Stanley Kubrick Archives, dossier The Shining, SKA/15 « The Shining », http://archives.arts.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=SK%2f15 BLOG The Overlook Hotel, administré par Lee Unkrich, http://www.theoverlookhotel.com/archive,

Approches génétiques de Shining et 2001

2001

HARLAN Jan, Stanley Kubrick. A Life in Pictures, 2001, 142 mn, prod. Warner Bros, https://www.youtube.com/watch?v=GSgbjhuQ4Co 2006

LEHMANN-HAUPT Christopher & Rich Nathaniel, Stephen King. The Art of Fiction, no 189 (entretien avec Stephen King), in The Paris Review, automne 2006, http://www.theparisreview.org/interviews/5653/the-­‐art-­‐of-­‐fiction-­‐no-­‐189-­‐stephen-­‐king 2011

STEENSLAND Mark, « The Shining Adapted » (entretien avec Diane Johnson), Kamera #2, in The Terror Trap, mai 2011, http://www.terrortrap.com/interviews/dianejohnson/

2012

BROOKS Xan, « Shining a light inside Room 237 » (entretien avec Jan Harlan), The Guardian.com, 18 octobre 2012, https://www.theguardian.com/film/2012/oct/18/inside-­‐room-­‐237-­‐the-­‐shining

2013

BERRY Howard, Staircases to Nowhere. Making Stanley Kubrick’s The Shining, prod. «The Elstree Project », 55 mn, 2013, http://theelstreeproject.org/?page_id=236,.

REECE Ed, Kubrick & Shining. Entretien avec Jan Harlan, 13 mn 44 s, 2013,  https://vimeo.com/72348404

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Entretiens

1996 JOYCE Paul, Stanley Kubrick, The Invisible Man, prod. Lucida Productions, 1996, 51 mn, https://www.youtube.com/watch?v=H8lrZts4cCs

Commentaires critiques en langue anglaise

2011

AGER Rob, The Shining : Spatial Awareness and Set Design, part I & II, Collative Learning, 2011, 11 mn 36 s, https://www.youtube.com/watch?v=0sUIxXCCFWw

2014

AGER Rob, The Shining. Kubrick’s Gold Story Part 1 & 2, éd. Collative Learning, 2014, 11 mn 13 s et 9 mn 9 s, https://www.youtube.com/watch?v=IoWZEwedPkc  &  https://www.youtube.com/watch?v=f8UD3aZm10k 2015

AGER Rob, The Shining. Mystery of the Twins, éd. Collative Learning, 2014, 14 mn 57 s, https://www.youtube.com/watch?v=6enBqFjWbhs

Commentaires critiques en langue française et autres langues

1999

ALLARD Roland, Benudis Frédéric & Michaux Agnès, À la recherche de Stanley Kubrick, prod. Canal +, 1999, 60 mn, https://www.youtube.com/watch?v=fEmv1stgtqo

2012

DESHAYS Damien, « Shining, 1979 », in La Musique dans l’œuvre de Stanley Kubrick. Tradition et modernité : l’intellectualisation de la musique de film, février 2012, http://www.damiendeshayes.fr/fichiers/docs_musique/musique_kubrick.pdf 2013

ROCHET Mathieu,VENANCIO Nicolas, Kubrick & the Illuminati. Don’t you want to go where the rainbow ends. Entretiens avec Michel Ciment et Laurent Vachaud, Ed. Gasface, 2013, 29 mn 1 s, http://www.dailymotion.com/video/x12e5a8_kubrick-­‐les-­‐illuminatis_news

Sitographie (sélection)

SITE officiel du « Projet Kubrick », catalogage des archives conservées par le Stanley Kubrick Estate entre 2003 et 2005 par la Deutsche Filmmuseum : http://kubrick.deutsches-­‐filmmuseum.de/

SITE officiel de l’exposition itinérante « Stanley Kubrick » créée par la Deutsche Filmmuseum, commissaire Hans-Peter Reichmann : http://www.stanleykubrick.de/en/

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THE Kubrick Site, http://www.visual-­‐memory.co.uk/amk/index.html

BLOG « Kdk 12 » consacré à Shining, http://kdk12.tumblr.com/

BLOG « Collative Learning » : « Rob Ager : Film Analysis », http://collativelearning.com/FILMS%20reviews%20BY%20ROB%20AGER.html

BLOG de « Mstrmd » consacré à Shining, http://www.mstrmnd.com/log/802