Keys 01

I’m going to supply my own frame captures for Mata’s dialog here concerning his key 6. I’ll get to other of his keys soon, hopefully.

http://www.davidicke.com/forum/showthread.php?t=205856&page=46

Wendy locks Danny and herself in the Bathroom as her husband attacks the apartment door with an axe. We are now at the high point of the film in terms of horrific, frenetic action. As such, it is the perfect place to hide something that requires slow-motion to catch – a paused moment to be more precise! As Wendy & Danny turn from the bathroom door to make for the window, a Hook appears on the back of the bathroom door that was not on the door when they first entered.

Hook not there.

Couple of seconds later: hook there.

Continuing…

This Hook, visible in the edge of the frame for only a split second, is now visible in the Bathroom Mirror as Wendy frantically makes her way to the Bathroom Window with her son. The Hook’s presence is what alerted me to the fact that some pause-button action was called for. What comes next had me freaked out for quite some time. It has clarified other components in the film that Stanley Kubrick has revealed surreptitiously in the July 4th photo, about which i’ll go into further detail later in Key 7. Back to the scene at hand: freeze-framing across the shot of Wendy Torrence and Danny heading for the bathroom window, I discovered a blatant flash of co-ordinated yellow writing – which appears in the bathroom mirror above the reflection of the Hook. It appears only in that one frame. It says one word: ” I ” with two dashes before and two underscores after. Subsequent Remasters done by Warner Brothers have altered the yellow writing enough to distort the underscore immediately after the letter ” I ” – as well as the two dashes leading up to the ” I “. Overall the markings have become lighter in coloration. However, Warner Brothers did not remove it completely. I believe it’s simply a case of no one having picked up on it in the context I’m about to elaborate on. Here below I provide stills of the frame in question, from both the non-remastered 2000 release – as well as the remastered 2001 release.

This is as good a shot as I can get w/ my ordinary DVD of what mata is talking about… quite blurred, but obviously something going on here. Look in the mirror above the hook that has suddenly reappeared. I’m going to have to take mata’s word about the “–I__” present.

About this being partnered with the word REDRUM written on the same door — it kind of makes sense (!) “–I__” would be directly above the backwards “MURDER” on the other side (which, if we could see through the door at this point, would be the forwards version of this word). But “I __ saw murder”?

Well, let’s look at another anomaly about this door that mata didn’t mention — or I haven’t read yet. After the yellow lettering frame, Wendy successfully fits Danny through the bathroom window and he slides down a huge pyramid shaped snow bank to temporary safety outside. But Wendy herself is too large to fit through the same window, so she’s stuck to face the oncoming, maniacal, axe wielding Jack. Jack then chops through one panel of the “REDRUM” door with some effort, and while trying to unlock the door from the other side by reaching through, he’s cut with a knife by Wendy. Here’s the state of the door just before he pokes his head through it, uttering the famous line, “Here’s Johnny!”, in perhaps the most iconic shot of the whole film.

But then after receiving the cut, he hears Hallorann’s approach in the sno-cat and aborts his assault on Wendy. We have a brief shot from Halloran’s viewpoint of the approaching hotel through his windshield. When we return to Jack, here’s what we see: *both* panels are suddenly missing, the one to the left that Jack *couldn’t* have possibly hacked through, given the time frame, being the *much cleaner* cut.

There’s something obviously very queer going on with this door (!) These cut panels appear between the backwards MURDER message below and the “–I__” message above (again taking mata’s word that this is what the obviously present yellow scrawl reads). It seems the door represents a kind of dimensional portal, both forwards and backwards at once.

—–

Yeah, I can sort of see those “Kubrick eyes” mata references, in the shadows of various bathroom objects perhaps positioned *just* so on the shelf below the mirror. And Danny turns his head at this moment to look directly at the created effect. Hmmm…

And reading further: Aldebaran again.

http://black.greyfalcon.us/

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High Kite

You’d think…

… but I believe it’s more akin to “*high* as a kite”, and thus to Petty-High, Lone Star State (and also, then, Carrcass-10 and Tom’s Petty High).

It spreads out (*is* spreading out?).

I’m not sure…

… it ever ends, this research on The Shining. Deeper and deeper it goes, a true rabbit hole indeed! Story Room agrees.

Lots and lots here on the psychiatrist scene, discussed on the F&HE! blog in posts “strange? 01”, “strange? 02”, and “strange 04”, as well as “Strange Duck.”

http://www.zerozerotwo.org/KUBRICK/PILLBEAR/PILLOWBEAR.html

Just, “what the f?” is all I can think of for now.

“Wtf?”

I am reminded of MUnck again.

But to give the person behind Crypto-Kubricology all the credit in the world — and setting aside the subliminal bears for now — his graphics are simply amazing, his research mindbogglingly detailed, and his writing lucid.

The doctor’s bag moving around the bed is very interesting as well, and something I didn’t spot at all. I also find the overall symmetry of the shots here worth pondering, with the close-up of Wendy, as Crypto-K points out, at or near the very center of the scene. On the other side, this page mentions nothing about the flashes I review in the “strang?” post series, nor the fact that the blackboard changes positions when we get to the closeups of the psychiatrist beginning in shot 67, at the same time the topic of Tony is first broached. Up to this point, we seem to be talking about two very different animals (sorry).

(continued?)

Keys 02

(continued from)

http://www.davidicke.com/forum/showthread.php?s=78daac6d57aff3e1f7c4ad1ee0553efc&t=205856&page=45

Mata’s key 1 here is basically the same as what I explained in the “New Tree” post below.

I’ll quote from his thoughts on key 2 now:

The second key is composed of three parts, two of which relate to a “prop”, a prop which represents the reason the Torrence family is at the Overlook Hotel in the first place. Jack Torrence’s typewriter. We know from his interview with hotel manager, Stuart Ullman, that he wants the job of Winter Caretaker in order to ‘outline a new writing project’ in a secluded environment. To this end, Jack Torrence sets himself up in the Colorado Lounge and begins his project on a White ‘Adler’ typewriter. When we see him next, later that evening, he is still in the Colorado Lounge however something has changed. His White Adler typewriter has become a Grey one!

Between Jack Torrence’s writing session with the White Adler – and his evening writing session with the (now) Grey Adler, Stephen King had sent Jack Torrence down to the Hotel’s Boiler Room. During this trip, in the book, Jack Torrence had discovered the Hotel Scrapbook. This is the large open book that we see on the table next to Jack Torrence’s Grey Adler. Stanley Kubrick famously wrote Jack Torrence’s trip to the Boiler Room out of the film script entirely, despite the lengthy protestations of his co-writer, Diane Johnson – who identified the trip to the Boiler Room as the story’s most critical ‘point of characterization’ in regards to Jack Torrence, because his discovery of the Hotel Scrapbook is what initiates his ‘insanity’, the very insanity that the film is supposed to be all about.

I propose that Stanley Kubrick wrote Jack Torrence’s trip to the Boiler Room out of the script – because he is using the ‘omission’ as a device. A device which shifts the ‘weight of importance’ that was previously assigned to the Hotel Scrapbook – to some other item which can be found in the Boiler Room later in Stanley Kubrick’s film. The changing colour of the typewriter, from White to Grey (during what would have been Jack Torrence’s ‘plot-critical’ trip to the Boiler Room) indicates that there is something very special about the word “Grey” – specifically in relation to the Boiler Room.

I knew from previous readings of Shining research about the typewriter changing colors, and that Adler was a German brand, used by the Nazis. What I didn’t know about was Kubrick’s omission of King’s boiler room scene where Jack discovers the Hotel Scrapbook, despite the fact that it appears to be famous. 🙂 I did know of the Hotel Scrapbook in the movie, and had written about a deleted scene involving it here (the “New Tree” post again), where the contents are explained in some detail. In the final film, the scrapbook is not even mentioned, although we see it open beside Jack several times while he’s writing with his white/gray/(blue?) typewriter.

Plainly speaking, mata is invoking an alien allusion here, and again we’re speaking of the Greys, the best known reptilian e.t.s. I’m deciding not to go down that road with mata, but I am interested here in the boiler room now, and why Kubrick chose to dissolve into it from Danny entering Room 237. Instead of continuing to saunter into that most definitely famous room, we find ourselves among the lowly boilers with Danny’s missing mom. She presses a button marked “danger high voltage”, and it seems to instead shock Jack, who begins to grunt and then scream before a rushing Wendy wakes him up and he falls to the floor.

And we’re also, of course, back in the scene where the 2 ChOking posters are found.

Another red spark is seen beside the DANGER HIGH VOLTAGE sign after Wendy seems to shock Jack (58:56).

Wendy’s hair clip begins to shine, and a shiny dot appears on the column above the refrigerator (59:01).

In the next frame, another similar dot on the refrigerator.

Turns out these 3 white glints form a seemingly perfect Giza style pyramid shape.

Chance, right?

3 Whites Don’t Make a Wright

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Quedlinburg treasures
Main article: Theft of medieval art from Quedlinburg

Whitewright was the home of US Lieutenant Joe Tom Meador, who after World War II looted several major pieces of art from a cave near Quedlinburg, Saxony-Anhalt, Germany.

On April 19, 1945, American troops occupied Quedlinburg. Various treasures of art were secured in a cave near the castle Altenburg. Meador was responsible for the security of the cave.

Meador, a soldier with good knowledge of art, recognized the importance of the treasures (among them being Gospel of Samuel and the Crystals of Constantinople). He sent the treasures to Whitewright via army mail, and the art was placed in a safe at the First National Bank of Whitewright.

Meador died in 1980, and his heirs tried to sell ten pieces of Beutekunst (looted art) on the international art market. After a long search and judicial processes, the art was returned to Germany in 1992 and were investigated because of damages to the pieces. At first those stolen artefacts were exhibited in Munich and Berlin but were finally returned to Quedlinburg in 1993. However, two of the pieces stolen by Meador are still in the United States at an unknown location.

On April 20, 2000, the IRS and the Meador family settled for $135,000.

Kentucky town.

Tom Bean
Tom Bean was a mysterious character that showed up in Grayson County one day – having just traded his horse and pistol for a wagon with a yoke of oxen carrying a barrel of whiskey. He had everything needed to open a saloon and so he did – naming it the White Elephant for what he considered his end of the trade. His profession other than saloonkeeper was said to be that of surveyor.

He bought or traded his services for so much land that it was said he could ride to Austin (a three day trip) and camp out every night on property he owned. Reportedly he owned 25,000 acres in Grayson County alone.

Denizen? I think not.

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This…

… in combination with this…

http://en.wikipedia.org/wiki/Eisenhower%27s_farewell_address

… makes sense. He was a Texan from Denison. But apparently there are denizens.

In the same county (*Gray*son) as Denison, the b-place of Eisenhower, appeared this seemingly peculiar triangle of Whites: White Rock, White Mound, Whitewright. Tom Bean (center figure) is a denizen, and maybe even of that [extreme] type we’re talking about here.

Mr. Bean the alien. We never find out his first name.

Meador meaning? Settlement? See here for one that could have been made.

http://www.huffingtonpost.com/2012/02/14/eisenhower-met-aliens-says-timothy-good_n_1277133.html
http://en.wikipedia.org/wiki/Nordic_aliens

On the other hand we have Bald (Prairie) Head(sville) also highlighted by a resonant White Rock, Texas, Ike being famously bald. Cube Brick knew something.

Eisenhower is part of a mindf*ck.

Words of caution from the Corbett Report…

But I think Chris White has his own emotional agenda. We all do, and maybe that’s his point.

—–

More on Mr. Bean:

Mr. Bean often seems unaware of basic aspects of the way the world works, and the programme usually features his attempts at what would normally be considered simple tasks, such as going swimming, using a television set, redecorating or going to church. The humour largely comes from his original (and often absurd) solutions to problems and his total disregard for others when solving them, his pettiness, and occasional malevolence.

At the beginning of episode two onwards, Mr. Bean falls from the sky in a beam of light, accompanied by a choir singing Ecce homo qui est faba (“Behold the man who is a bean”). These opening sequences were initially in black and white in episodes two and three, and were intended by the producers to show his status as an “ordinary man cast into the spotlight”. However, later episodes showed Mr. Bean dropping from the night sky in a deserted London street against the backdrop of St Paul’s Cathedral. At the end of episodes three and six he is also shown being sucked right back up into the sky in the respective background scenes (black scene in episode 3 and street scene in episode 6). Atkinson himself has acknowledged that Bean “has a slightly alien aspect to him”.

Bean

Tom Bean ghost sightings (multiple):

http://www.ghostsofamerica.com/7/Texas_Tom_Bean_ghost_sightings.html

Tom Bean turns White Mound into ghost town.

https://www.tshaonline.org/handbook/online/articles/hrw20

When the St. Louis Southwestern Railway’s right-of-way missed White Mound by three quarters of a mile in 1887, the community declined. Tom Bean was built on the railroad and attracted 75 percent of the population, many businesses, and all of the churches from White Mound. White Mound quickly became a ghost town.

Nearby White Rock (also of the White Mound – White Rock – Whitewright triangle) doesn’t even seem to exist in a manner, not listed in the otherwise extremely thorough Texas Almanac atall. It has this in common with White Rock, Robertson County. And another White Rock that’s listed in the GNIS database as being in Fannin County immediately east of Grayson County is actually just inside Lamar County to *its* immediate east. In this blog post, I compare this to a similarly GNIS displaced Herbert population place from Alabama.

http://bakerbloch.wordpress.com/2013/04/10/more-whitehead-related-maps/

Void, null.

White Rock, Lamar County, Texas (near Petty) on Ghost Creek.

I’m going to quote something directly from this post now:

http://bakerbloch.wordpress.com/2013/04/10/more-whitehead-related-maps/

There is no article in the Texas Alamac for White Rock, Robertson County, unlike for nearby Headsville and Bald Prarie. However, this comprehensive almanac has a listing for a White Rock in Fannin County, which happens to be near a Petty according to the below stats, as White Rock in Robertson County is very near a Petteway (Pett—y + ewa in effect).

White Rock population places in Texas. Notice that White Rock, Robertson County is on a Petteway topo map and White Rock, Fannin County is on a Petty map. This clued me in to their possible association.

4/11/13:

But getting back to the White Rocks of Texas, I noticed that the above mentioned White Rock near Petty is actually not in Fannin County but just over the east line in neighboring Lamar, about a mile and a 1/2 from Fannin County. So the GNIS database got this wrong, harkening back to the Herbert error discussed several months ago on this blog. But then in looking at that listing again, it’s interesting to note that a White Rock lies on a Whitewright topo map, and this particular White Rock is just beyond the *west* Fannin County line, in Grayson County in this case, about 4-5 miles in. Besides Whitewright we also have a White Mound near this White Rock, making a type of White Rock – Whitewright – White Mound triangle, with two more interestingly named population places within this established triangle, or Tom Bean and Kentucky Town.

This is where I originally uncovered the White Mound – White Rock – Whitewright triangle, then.

Continuing…

Another perhaps odd thing here: White Rock in Lamar County, unlike the great majority of population places on the topo map involved, is marked with a black dot. So is White Rock in Robertson County. If we make White Rock, Lamar County the retrograde inversion of White Rock, Robertson County merging these two black dots, we find that each lies about 2 1/2 miles from their Petty (Lamar County) and Petteway (Robertson County) and in the same direction.

Retrograde Inversion of White Rock-Petty, Lamar County. You can kind of make an animation by toggling this with this.

Call me crazy, but I think these black dots standing in for Texan White Rocks have something to do with the meaningful placement of *black dot* like specks in various Shining shots, most prominently, for now, in the scene involving the Danny-psychiatrist interaction — another interview of sorts, per the title of the movie section (“The Interview”).

But which ones?

Read about what I called the film flaw occurring right where Wendy walks over the spot where Jack later axes Scatman Cruthers’ Hallorann character. I’ll quote a key sentence of mine from the “strange? 03” blog post on this:

I think there’s a strong possibility that mad genius Kubrick purposely constructed this as one of those “burnt toast” spirits.

Spirits… ghosts. White Rock, Robertson County next to Ghost Creek, a White Rock that doesn’t seem to exist in a way. Another White Rock (Grayson County) made a ghost town by nearby Tom Bean, named after a denizen/alien or pseudo-extraterrestrial. Tom Bean itself as haunted by ghosts. Another White Rock in Fannin County a ghosted or basically non-existent population place, and forming a retrograde inversion through PETT(EWA)Y with the similar White Rock spirit ghost thingie in Robertson.

Burnett County, Texas pronounced like “burn it”, as in burnt toast. 125 = 1.25 = 1/8.

It has to do with Texas.

Danny-Psychiatrist 01

I’ve repurposed Crypto-Kubricology’s most excellent graphic of the Danny-psychiatrist scene, taking place within shots 61-78 of the film. Or what C-K called the Bear Pillow Scene here. Perhaps I’ll start to call it that as well, then.

Note: I decided to abandon this line of research for now.

Lemon Message

The wife and I watched the second episode of the popular Sherlock television series tonight, and I was very interested to see several things that resonated with my ongoing Shining research. The first comes in a graffiti message code found near the beginning of the show.

This is a better indication of what I’ll call the lemony color of the graffiti, which immediately struck me…

The Blind Banker.

… because it’s basically a direct match, to my eyes, for the color of the The Shining’s mirror scrawl found by Icke forum frequenter mata. It also represents another code according to him (or her), and in a somewhat similar physical style, if on a considerably smaller scale.

And, thinking of the first 2 images above from Sherlock, keep in mind there are *eyes* below this mirror that stare at Danny as he fully faces them in an extended, even forced glance while running w/ his mother toward the bathroom window. Mata theorizes that these are the silhouette eyes of Stanley Kubrick himself, and also claims that they are part of the code as well, which he claims to have solved: “I saw murder.”

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

A break-in occurred in which nothing was taken, but an apparently meaningless pair of symbols were spray-painted onto a portrait of a banker. Sherlock realises that was a message meant for one man – Edward Van Coon of the Hong Kong desk – who hasn’t come to work. Sherlock breaks into Van Coon’s locked flat and finds him dead. The police, under Detective Inspector Dimmock (Paul Chequer), are prepared to regard it as a suicide, though Sherlock sees it as murder. Soon, journalist Brian Lukis (Howard Coggins) is also killed inside his locked flat. Sherlock and John investigate, and in a library where Lukis had been they find the same mysterious symbols painted on a shelf.

And now part 2…

Sherlock realises that Van Coon and Lukis were members of the Tong, involved in smuggling valuable antiquities from China to sell in London, and that they were killed because one of them stole something.

Compare with this:

http://bakerbloch.wordpress.com/2014/01/10/3-whites/

Meador, a soldier with good knowledge of art, recognized the importance of the treasures (among them being Gospel of Samuel and the Crystals of Constantinople). He sent the treasures to Whitewright via army mail, and the art was placed in a safe at the First National Bank of Whitewright.

Meador died in 1980, and his heirs tried to sell ten pieces of Beutekunst (looted art) on the international art market.

Pretty close match as well! Meador’s Whitewright is in the same county (Grayson) as D.D. Eisenhower’s birthplace of Denison, forming one-third of the 3 Whites Triangle. When Meador stole the Quedlinburg antiquities during the German liberation, Ike was Supreme Commander of the Allied Forces in Europe, which meant Meador worked directly for him in effect.

It goes without saying that Sherlock Holmes broke the code in The Blind Banker episode, just as mata claims to have done with the Shining REDRUM door encryption. Can’t wait to see more Sherlock; startled that these resonances came up with such a seemingly disparate source.

Circle of 12?

“So much information coming in now, Hucka D.”

Hucka D.:

Move into REM. What’s the variant name?

bb:

Unsure Hucka D. Should I check UmapS?

Hucka D.:

Yes.

bb:

That it?

Hucka D.:

No.

bb:

Story Room?

Hucka D.:

I am the manager. We put out 1-10 records, you guess. But certainly “What’s Up Doc?”. We got sued by Warner Brothers.

bb:

Did you now?

Hucka D.:

Yes. Cash. Sue. Cash. Nickel and dime. Goldberry.

bb (offering):

Macon bacon?

Hucka D.:

Denison. Denizen.

bb:

So… Story Room? What’s the deal-i-o?

Hucka D.:

Well, the sueing. Then the settlements. Settle.

bb:

What is the lemon message in The Shining?

Hucka D.:

What he said.

bb:

Murder.

Hucka D.:

Yup.

—–

bb:

Is Story Room created through the CHRO system?

Hucka D.:

Munck.

bb:

Hmmm. Is it a code? Is it like the lemon code?

Hucka D.:

Make your graphic.

—–

“So this is how Story Room wants Carrcass-10 to be represented.” [no answer]

—–

It makes sense. Story Room is the (red) circle, all encompassing. Tom’s Petty High is yellow, reduced or condensed into a tight triangle. REM is blue. But it’s not REM.

The Shining: Other Considerations 01

At 1:51:50 in, we have another partially hidden tiger behind Wendy, just as we did in the earlier Bear Pillow Scene where the psychiatrist talks to Danny about Tony. In the present scene, Wendy has just locked Jack in the “Story Room” (Hallorann’s clear words he calls the storage room, and what the great majority of viewers just pass right over), after their battle on the stairs, where Wendy konks him with a baseball bat. The obviously possessed Jack is attempting to persuade Wendy to let him out, saying he’s badly hurt, etc.

Jack breaks through the REDRUM bathroom door. I wonder what is reflected in his axe — hafta check this when I get a blu-ray player. At any rate, it certainly doesn’t look like the interior of the bathroom. Maybe this *is* just a type of continuity error? Kubrick couldn’t have planned *everything* in this film. But I kind of doubt it, given the focus Kubrick puts on this particular door, and the extreme camera angle here. He probably wants us to see something (again!).

This is more obviously planned: Jack’s limping stagger through the kitchen when he’s searching for Danny (after pulling off the attack of Wendy when they hear Hallorann pull up in the sno-cat) is obviously suppose to line up with the chOking poster above his head here. He wears it as he would wear a crown.

Postcard from Steptoe

Story Room consists of 3 individuals who don the geometric shapes sphere, tetrahedron and cube to mask their true identities. Sometimes lead singer Steptoe Butte is from Whitman County, Washington.

From the Uncyclopedia entry on Steptoe Butte:

“He was a striking-looking guy and he also bought weird records, which not everyone in the store did”, collaborator Pete StarBuck recalled. The two became friends and eventually decided to form a band.[1] StarBuck and Steptoe started writing music together;[2] at the time Steptoe also spent time in a local group named Raid.[3] The pair were soon joined by Bill Mills and Mike Berry and named themselves Murmur, a name Steptoe selected at random from the dictionary.[4]

—–

“Hucka D., clarify for me something. Wouldn’t Steptoe be the blue figure here?”

Hucka D.:

Sometimes.

bb:

Is he the yellow figure as well?

Hucka D.:

No.

bb:

The red figure is the boss.

Hucka D.:

That’s Story Room.

bb:

I’m confused. I thought the name of the band was, or is, Story Room.

Hucka D.:

It is. (pause)

bb:

Where does Tom’s Petty High fit in[ here]?

Hucka D.:

Yellow. Lemon yellow.

bb:

Each… sorry.

Hucka D.:

Each rule over their portions of The Shining that come before or after. So Tom’s Petty High rules the psychiatrist-Danny scene. What have you renamed that recently?

bb:

The Story Room. Oh, wait. That’s — I know what you’re talking about now — that’s the Bear Pillow Scene, with all the little blips and sparkles, at least a handful that seem to mean something.

Hucka D.:

Sorry as well: actually Story Room rules that scene. So that’s why you have the word “strange” highlighted spoken by the doctor, and then the Duck just afterwards. The duck is both the lemon colored VW that protagonist [sic?] Jack drives to the Overlook Hotel to start the movie, and also Duck, WV, then. The presence of The Duck demonstrates the rule of Story Room, see.

bb:

Let’s see.

—–

Hucka D.:

Story Room had a lot of fun with that room.

bb:

Isn’t Story Room, though, the room in the exact center of the Shining with all the rainbow colors, Hucka? Rainbow man Hallorann lies in the middle. Soon to shine. [no answer]

White to Gray

http://www.thedailybeast.com/articles/2013/03/28/the-most-eccentric-conspiracy-theories-on-the-shining-in-room-237.html

The Holocaust

Another metaphorical theme enveloping The Shining is that Kubrick used the film as a means to deal with the Holocaust. Room 237 mentions the reccurring use of the number 42 in the movie—as in the year 1942 when the “Final Solution” was put into place.

However, one of connecting tissues is the reappearance of the figurative eagle in the film. The interviewees in Room 237 allege that the typewriter Jack so fondly uses to type pages and pages of, “All work and no play makes Jack a dull boy,” symbolizes the Third Reich’s mechanical methods of killing people and their obsession with list-making. The machine is made by German manufacturer Adler which means “eagle” in the English translation.

White…

… to gray.

http://bakerbloch.wordpress.com/2014/01/09/keys-02/

Between Jack Torrence’s writing session with the White Adler – and his evening writing session with the (now) Grey Adler, Stephen King had sent Jack Torrence down to the Hotel’s Boiler Room. During this trip, in the book, Jack Torrence had discovered the Hotel Scrapbook. This is the large open book that we see on the table next to Jack Torrence’s Grey Adler. Stanley Kubrick famously wrote Jack Torrence’s trip to the Boiler Room out of the film script entirely, despite the lengthy protestations of his co-writer, Diane Johnson – who identified the trip to the Boiler Room as the story’s most critical ‘point of characterization’ in regards to Jack Torrence, because his discovery of the Hotel Scrapbook is what initiates his ‘insanity’, the very insanity that the film is supposed to be all about.

I propose that Stanley Kubrick wrote Jack Torrence’s trip to the Boiler Room out of the script – because he is using the ‘omission’ as a device. A device which shifts the ‘weight of importance’ that was previously assigned to the Hotel Scrapbook – to some other item which can be found in the Boiler Room later in Stanley Kubrick’s film. The changing colour of the typewriter, from White to Grey (during what would have been Jack Torrence’s ‘plot-critical’ trip to the Boiler Room) indicates that there is something very special about the word “Grey” – specifically in relation to the Boiler Room.

Boiler Room: △ White + Gray(son County).

This is the place where the typewriter is neither white nor grey but a mixed up, in-between place.

—–

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

During the Nazi regime, the memory of Henry I became a sort of cult, as Heinrich Himmler saw himself as the reincarnation of the “most German of all German” rulers. The collegiate church and castle were to be turned into a shrine for Nazi Germany. The Nazi Party tried to create a new religion. The cathedral was closed from 1938 and during the war. The local crematory was kept busy burning the victims of the Langenstein-Zwieberge concentration camp. Liberation in 1945 brought back the Protestant bishop and the church bells, and the Nazi style eagle was taken down from the tower. Georg Ay was local party chief from 1931 until the end of the war.

The former collegiate church of Quedlinburg Abbey, now the Lutheran church of St. Servatius, from which the artifacts were taken

http://en.wikipedia.org/wiki/H._G._Adler

Red

There are many white and black/dark specks or errors in The Shining. In contrast I’ve only seen 2 red flashes so far, and both appear to be one frame affairs. Here they are again.

http://bakerbloch.wordpress.com/2014/01/09/keys-02/

Another red spark is seen beside the DANGER HIGH VOLTAGE sign after Wendy seems to shock Jack (58:56).

http://bakerbloch.wordpress.com/2013/12/31/strange-03/

Certainly Wendy is being illuminated here as well, with the realization that her husband is truly, stark raving mad (!) In the same shot we have a more conspicuous *red* colored flaw on the bannisters to her right in the picture, about 6 seconds after the one described above flashing atop a *red* triangle [1:43:05].

Meaning: Pay attention to something *red* in these shots??

https://sixweeksofshining.wordpress.com/category/week-4/