
Coincidentally, much of the same could be said about Stanley Kubrick and his line of work. As a film director, Kubrick has left a lasting impression in the history of cinema for his avant-garde characterizations and innovative visual style. To convey such intrinsic interpretations of his medium, Kubrick articulated his films with a series of images and sounds that combine to elicit some sort of emotional response from viewers. Typically, the meaning of film is conveyed to an audience through the words of a reviewer by mode of the internet, a newspaper, a magazine or even a book. However, just as a novel has a meaning unique to each independent reader, so does each one of his films respectively.


“I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophical content...I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does...You're free to speculate as you wish about the philosophical and allegorical meaning of the film.” (Kubrick)
Often exercised in conjunction with a particular character’s viewpoint – or in place thereof – is Stanley Kubrick’s robust movement of the camera to vividly exemplify the state of being his characters depict without the need of text or dialogue. His precision with centering and carefully counterbalancing the video shots in his films dictate the relationships his characters share with the environments they inhabit.

While Danny navigates the winding architecture of the hotel, the viewer is virtually hypnotized by the rhythmic flow of his trajectory. The camera follows Danny at a velocity incomparable to that of his tricycle, generating long tracking shots. The angle of the camera in pursuit is low and distant making the walls that surround him more monstrous and enveloping. As Danny approaches the arch of each doorway, it seems as though the hotel is consuming him as an extraneous being and is immersing him in the environment as he simultaneously vanishes at a distant point. In addition, the sounds of Danny’s tricycle gliding over the rug and echoing floor boards further perpetuate the emotions triggered by the camera’s movement. The culmination of these elements pulls at the heart strings of the viewer as they adopt a feeling of uneasiness and discomfort for Danny as his innocence and naivety are exploited. The falsified peace of the whole scenario is contingent with the viewer’s disposition as they watch feeling as frail as they imagine Danny to be.


The affiliation between character and environment is even more prevalent in the ending sequence when Jack gives chase to Danny through the hedge maze just outside the Overlook Hotel. The geometric intricacies of the maze itself are symbolically parallel to Jack’s spiraling sanity while the limp that disrupts his perseverance alludes to the crumbling well being of his physical and mental states. Again, the viewer becomes saturated with a sense of entrapment as Jack migrates through the maze on his sinister quest. The raw perspective Kubrick instills prevents audiences from blinking as they sit dreading a predictable yet uncertain future. He once again manipulates mind and emotion through variations in camera movement and perspective, unsettling viewers through mere expression.

"I would not think of quarreling with your interpretation nor offering any other, as I have found it always the best policy to allow the film to speak for itself."
(Kubrick)
(Kubrick)

Through masterfully misunderstood techniques, Stanley Kubrick has subsequently indoctrinated generations of viewers with his physically and mentally disembodying film craft. Though the definition of art is subjective, few can contest Stanley Kubrick’s unique and experimental art form.
Sources:
[1], [2], [3], [4], [5]