We pan right from the kitchen to the living room as Wendy completes the milk's reverse journey from glass to carton to refrigerator. In this shot we see Wendy with all current consumer telecommunication devices, TV & Phone.  Media (books, TV and image) form an arrow-tree shape pointing upwards. This is the opposite view of the Boulder apartment establishing shot we witnessed at the dining table, this is a cross/reverse-angled composition of where Danny stares at in the first shot: while the TV plays Roadrunner, in essence, the entire film is interlaced with Danny's vision. The film is an escalating series of visions, the hotel is accessed through TV's and mirrors: he sees our flying credit sequence from inside the TV and now he is staring from the bathroom mirror 'into' the TV: he predicts the call.  Look at the call's intercutting closely, she picks up a white phone, and in its same position in the next shot is a woman walking in all white who passes into a glint of sunlight reflection, framed to contrast the TV in Boulder apartment that is receiving a live-action western, an animation into realism from previous Roadrunner cartoon, from children's entertainment to adult-themed conflict.  Later Danny will watch an adult themed film below a TV surrounded by toys wearing a Mickey Mouse sweater. He'll then walk to a conversation with his father acting like a cartoon villain. The TV's effects are diminished intentionally in this house, it is surrounded by books, telling us the adults find their alphabetical information superior to the TV's. This TV reappears in Halloran's house with a reversed framing. All of the hanging art of all locations is relevant, here they provide contradictions, Boulder apartment's Japanese print and TV screen are framed in precise verticals with Hotel lobby's columns, their intercutting becomes key. What they mean: the Boulder's print is of nature, sharpened, the nature seen outside the Lobby is ghosted: supernatural and they mirror one another. It coyly hints once you enter the Hotel, nature is no longer powerful, the supernatural is spiritual, beyond biological. The TV's cowboys in blue contrasts the reddened column it cuts to, a spot with the highest shine, and directly mimics Bill Watson and Ullman's pose. Our first clue the entire hotel's image is merely conjured, yet in a medium far more complex than television. Shot reveals Jack at phone, a 45 degree mirror exhibits Ullman and Bill Watson in similar, mirrored conversational positions to Jack. A man in the lobby's far background regards the maze model in the opposite position to Jack's stance above it later. The TV used to portal Summer of '42 later in the film is shown in background, inert. The bellhop that stands at the near column is carefully patterned, his colors flow from the pattern he stands above, even his foot stance is continued below. Wendy and women-at-desk are similarly dressed like settlers: a derogatory suggestion about gender roles. Image contrast is high at home and low at hotel (it is shining).

The column behind Jack,  and its inverse, the inset framing him in the office interview, are both the width size of Danny’s bathroom mirror as his zoom above begins, a compression of meanings.  The mirror's door is not closed, it is slightly opened on its left side.  A doorway in editing. This ajar/folding space motif is continuous in the film, using variantions of this logic, spaces and rooms have folds and doorways that are left open, a visual play on words. Vertical Interview. Certain cuts invert background and subject.  Others use a bookend shot, a transition, like an image of Danny looking (seeing what we see). Patterns made of folded walls in backgrounds, irregular wall designs all begin to emerge slowly as animations across cuts. Kubrick may have adapted some of this frozen animation style from his own manner merged with ghost logic/graphic topiary scene in book: there each time Jack looks back at animals carved from shrubbery they've moved, in effect Kubrick makes the entire film this blink-and-the-scene-is-different, and he gets to avoid the topiary scene's pulpy narrative device, its special effect problematics. Importantly the topiary scene is a strictly a literary device - it's only perceivable by Jack, who turns to walk and loses sight of the hedges, Kubrick rigorously chooses to avoid King's devices and offer hallucinations that are continuously and communally viewable.

This interview exhibits two faces: Danny's and the elevator.

East (ritual blood portals) meets West (elevators)

The poster, a medium that descends from stelae and other publically placed displays, illustrates what shining actually is, in yellow, animating the Starchild's/Danny's face from a black and white realm, or is the final view as the child is frozen into the black and white realm the film ends with, a sunset of some kind. The elevator is a progression from/to this poster/title-image, the T is transformed to the mesoamerican (Aztec/Mayan/Mixtec/Zapotec) lintel form, a staging location most associated with ritual bloodletting (kingship and priesthood were sometimes linked via blood spilling) and human sacrifice, the eyes transform to the elevator's dials. The yellow sunlight is diluted from red and white an unseen but implied transition. Two black and white framed posters/photos on left and right walls act as mirrors. The chandelier is in full blast, an overexposed shining like the poster's overblown yellow light.

Images from within: the demon FACE of the hotel, the elevator, in a sunlight less corridor, ejects blood from its left side indicating the hotel is an intelligent entity creating corporeal hallucinations. Similar masks are encrypted elsewhere in the hotel. The blood pours earthward to mirror - mimic the water-image the film begins with, the furniture moves and floats not unlike the island's movement.  Examine the liquids consciously: Red (blood) White (milk) and Blue (lake). Gravity enforces the division made by the liquid/sky - it moves from upper to lower. Watch further examples of right-left entrances. Red is isolated in this shot, spilling into a nearly monochrome hallway. As an extraction blood-rite, the elevator's bleeding summarizes an extreme ritual of living sacrifice and bloodletting. As a destiny-destination that separates body from spirit, the Hotel combines the segue of human sacrifice: souls are trapped, obviously this blood refers to Jack's draining once you connect Wendy's view with the maze's simultaneous catch. The color, life concentrated, is drawn from the living who, if doubled and killed inside the hotel/maze, become black and white as a final state (which is why the landscape images outside Ullman’s office can keep their color, there are no humans exhibited). This begs the question: who is storing this blood? Whose blood is it?  The answer from Kubrick: a Mesomamerican lintel (a decorated door-shape) faced by what appear to be Ahwahnee patterns, its blood-red form stolen directly from Yosemite's 1927 Ahwanee Hotel's own elevator banks (much of the Lobby and Colorado Lounge are sourced here). Brilliantly by surrounding an elevator bank with Native patterns, designers in 1927 seem to consciously or unconsciously refer to these temple-portals that led (like elevator's strict functionality) to alternate upper and lower realms. Stairless portals.  A T-shaped Mesoamerican portal hybridized with Middle American Indian U.S. forms. The darkest possible state of humanity, a blanket-form that bleeds. The lintel is used in platform portals that descend into the underworld, like most portals atop Mayan/Aztec/Mixtec/Zapotec/'Olmec'/Toltec pyramids, they represent a mythological doorway connecting spirit, blood and earth. No other primary colors appear.  Like Ullman's office there is asymmetry within apparent symmetry. Flash cut, the girls are representationally twinned: they are not true twins, we only perceive them as twins (we've been told they are different ages), an asymmetrical doubling meant to invite Danny, if unaware, to join and double himself (which has already begun to Jack). The Hotel is showing Danny a penetrating mirror, they are supernatural guides to the building's uses, like a loop in a videogame that warns us on several occasions what to avoid while showing us a clue as how to use the hotel's mirrors. We stare at them laterally (our eyes remain on a horizon) but we interpret their differences in conscious and unconscious manners sideways, there are right-left differences of bilateral symmetry and asymmetry (ie: differences in body weight, ratios of torso/legs). Their shot has blue as a primary and yellow as secondary (the title sequence returns as color leitmotif contrasted against elevator's pure red and white). Their background is littered with asymmetries and complex shadowing as well as a left hallway (like the blood they too arrived from the left). Notice the precision of Kubrick, both elevator and girl's corridor share exactly matching left wall corners.  The hotel's power, suggested by the T-form fronting the elevator, separates into further asymmetries, colors diffuse their psychic/spiritual value purities into patterns made of symbols. Back to the elevator. Now red pours onto floor (and the red animates into the hotel: the access way that Danny drives over, and the walls of the Gold Ballroom’s bathroom, the Fire alarm bells.)

The elevator's glyph-image is associated with the outer/inner symmetries split demonically in Ullman's office, except in this new form and its framing there is both asymmetry and a centerpoint. A brilliant animation in cutting: look closely, at the frame's dead center is the elevator's left call button, an incongruous and sly over design, why does an elevator bank require two request buttons.  Incredibly, this is a direct portal with 2001, combining color (the red of HAL's eye) and the form (the button-light) merging HAL 9000's eye-display with this elevator bank. Why? They are both masks of murderers, and they are intelligences that discovered murder in revolt to the paradox they were created/conquered by. There are complex differences as well. The hotel's manifest intelligence is asymmetric and analog in contrast to HAL's apparent and framed symmetry and perceived digital identity. They are opposite though they are both murderers. If the view into Ullman's room is an illusory, complex portal to a skylit ghosting-form (the lighting fixtures and the window) through an opening in native wave-lightning patterns (the curtains) broken by a change in visual-cognizance (the asymmetry hiding behind symmetry), then the elevator bank's asymmetry is a function of Kubrick's exacting frame (HAL is a cyclops, the elevator bank is cockeyed: the way Kubrick views it for us), a metamorphosis that combines what is seen in Ullman's office into a central mask.  HAL is born from perceptive and taught electrical logic (and collapses into a murderous rage, a fit of perfection) and Hotel (with elevator button like HAL's seeing interface) is born from holocaust murder-death purified into spectral logic.

In return to Boulder, red and blue (and white, her skin) are grouped back into Wendy’s outfit.

Colors/Bears.
Third redhead, the doctor, examines Danny by shining light into his eyes (and our last image was of a very faint point of light in the center of frame), who lies upon a brown bear pillow with the elevator's half circle eye form (protected like a native in his sleep/dreams by a spirit-bear). See the mirror both bear and doctor create. She also is dressed in brown hues, a fellow bear of the forest. Her final bodygarment is black suggesting a void, like the bear's mouth he could be swallowed up by and in motif similar to the animal illustration on the floor which duplicates every color in the room (and mimics monolith from 2001) and acts as a void. Appliques on left wall become three dimensional on right wall. Danny's eyes cross the center plane both horizontally and vertically (similar to the poster), as if he has seen beyond. The doctor mimics him in communication but does not succeed entirely ("is Tony one of your animals?"), she remains above horizon. When asked if Tony tells him to do things, he looks both left and right: he checks with both sides of himself - a sign of consciousness. He tells her he will not answer anymore questions. Danny disagrees with her request to remain in bed. A hero's defiance: he is suspicious of her motives. Wendy stares at bed from its foot, this exact stance 90 degree morphed is doubled at film’s end for a shock scene, the bear reappears at the film’s end reversed: as Wendy runs up the stairs, she spots a Bear giving head to a partygoer sitting on bed, her angle to the bed 90 degrees off this first bear. This tells us the hotel scares you with signs you are not aware of consciously: it reads your mind and later shows something you fear to you at right angles.

The movement from bedroom to living room is a series of right angles. "Shall we go into the living room." No doubt conscious of language shifting, this moniker seems normal to us, but perverse to non-English users. Kubrick repeatedly shows us the normality of this apartment and it will contrast with the monstrous impossibilities of the Hotel's design (to be explained in detail later).

Cigarette:  Doctor sits under sunlight and disappears into color void, like Ullman her hair matches the curtains, she is ghosted. Forms of curtains here are animating from Ullman's curtains: now a Navajo sunset pattern is used. Doctor's hand gestures differ when cutting, suggesting the Doctor is part of this mirror world that Wendy is not, she remains to one side of her unlike Jack. She's contrasted in both outfit and skintone/haircolor. Wendy takes out a cigarette (a reference to Navajo/Crow peace pipe) and is interviewed.  Her unconditional retelling of Danny’s accident means she does not rewrite history. The magic of the Navajo spirit in the smoke is honored (tobacco is a truth/peace drug). Although her past is not peaceful, she does not hide from it. This scene occurs in Altman’s 3 Women with very different palattes.  The ‘Navajo’ pattern from the Ullman interview is here composed of books, it is centered and is the highest point in the frame in almost same spot as the office, except here it is perfectly centered horizontally. Notice the shift of window left from Ullman office while the zig-zag pattern remains centered and closed. The desk is no longer a seat of power, it is a communal coffee table. These are interviews that have subtle alterations in their meanings.

Closing day is Halloween. Ullman explains earlier their season runs May 15 (very near film's release date) through October 30th. 

The car drives on left slope of approach valley, a reverse of first approach.

Framing of family in car allows Danny to be the tallest (and he remains visible to Jack in car's interior rear view mirror). Last Danny standing shot was looking in bathroom's mirror right, now he looks left into another mirror now offscreen, and talks. Jack glances at him repeatedly, in effect Danny is conceptually chasing him (the Roadrunner/Coyote reversed).  Notice audio, the car is almost silent, “Boy it sure feels different up here.” This suggests the car is not even on.  One of the few shots composing the family together.  This is the only original piece of music composed for the film as the opening theme is the Dies Irae.

The following shot is a reverse of the interior angle.

Again hotel is shown as ghost ship, the dissolve maps the Beetle's arrival as a vision, see the Beetle appears on a road to itself curving, where it is parked. Different time of day/angle of sun/change in sky condition from opening.

Reverse angle from initial lobby establishing shot (Jack’s initial arrival).  A mirror staged to re-enact his first interview, Jack is seated like he was in Ullman's office. Ullman is dressed in same colors as column. Like bellhop in previous scene in lobby, reversed.  Once out of red white and blue uniform, he adopts the hotel’s appearance. The dissolve(s) showcase patterns, surfaces and perspectives in play. In the distance, BOTH interiors have matching staircases, like a lock's form, look at the dissolve: the man with the rolled rug is ascending. Many facements overlap perfectly (notice photographs). Crosses dissolve into elevator door.

Ullman and Jack depart left and arrive right. A red pool table links this room with Games room (the Games room has a Colorado flag). Tour of Hotel is replayed during film’s last scenes in reverse, kitchen, maze, quarters, gold ballroom.  Sequences are even reversed ie: while describing maze, the party is actually walking away from the maze, surreal but not enough to awaken an audience into questioning storytelling.  Establishing shot of Colorado lounge showcases the group’s exit from the right elevator doors, the first time we see the doors post-blood vision and the only use of the elevator for ascension ever shown.  Later we will see this room has other elevator-masks.  An American flag caps the room’s end, just below here, Jack will begin writing. On an opposing 45 degree plane from the elevator is the first visible Navajo rug, made of browns, animating the hotel’s décor into a symbol source (from Lobby's polished surface designs to the weaving the patterns are born inside). Wendy is dressed in rug’s same colors.  Wendy is centered throughout tracking. Colorado lounge is a pronounced symbolic battlefield. Vast Tudor chandeliers lord over flattened Navajo patterns in rugs. Much of the Amerindian symmetry is walked upon or used out of context. A man now walks down stairs with a rug, towards us in opposition to the Lobby scene. Movement creates overlays in window-distance, mid-ground and foreground imagery. At opposite position to establishing elevator is a scale differential: an impossibly large fireplace (humans can fit inside it) opposite Sitting Bull's portrait. This is a movement from colorful abstract wall art outside Halloran office of the chief to this black and white photograph of a chief, placed opposite this massive fireplace. The transition to black and white photograph suggests death, like Jack's transition into his.

Games room is beginning of the Overlook's game, a game of death the hotel plays with any active user. Here Danny's first real time hallucination occurs, this doorway image of the girls is the Hotel's first giveaway.  All the other mirrors will be congruous, they will seem invisible, like Ullman's two offices. Later in the red bathroom scene we will see that Jack has always been fooled by the mirror, he stares into the mirror, not at the Grady we see him standing nearest. Games room sequencing is beginning of the Hotel’s ability to alter time made visible through editing: watch closely, the girls, their establishing vision and their outfits will expand into other sequences. "My son has discovered the games room." A hint at The Discovery, HAL's conscious vessel from 2001, the quote also lets the audience know that this is a game spirits play. A suggestion that foreknowledge is a weapon that emerges from knowledge. Kubrick shows mirrors within shots: Danny travels through the shot to return to an opposite stance, like Jack's initial hotel lobby sequence. Danny throws red darts (in contrast/parallel to his dad, who hurls a tennis ball later at the initial Navajo blanket beyond Ullman's office) to target and in whip-pan, girls in blue penetrate this dimension, they are no longer relegated to ‘visions’ of Danny’s, they appear present, corporeal, escalating the Hotel’s intention with Danny. The Hotel is animating (call it from now on shining) the dead as invitation to Danny: it looks as real as you are. A poster above this pair continues their symmetry deeper.   In parallel to the Colorado Lounge with an American flag at top, this is the games room with a flag made from Colorado Indian visual forms: the state flag. Both flag and dart board are target-shaped and are shown at right angles. Kubrick is suggesting that the phones (communication), the card tables, the skiing, the buffalo hunt, and the conversion of the Colorado Indian emblem to state flag are part of this game of conversion from color to black and white, a vast metaphoric glyph of a conquest game, the human version. Its mirror is later converted by Jack who parallels Danny by tossing the ball in the Colorado Lounge against an Indian form. They both agree to play the game, signing on after psychic discoveries; the Hotel's mirrors must be consciously navigated to survive now.

Like separation of blood-red pouring and girls’ establish shot, the red darts play counterpart to the girls’ blue isolation. They are responses to Danny's assertion, he's prodding the hotel to communicate, he's pricking it to play a game with him. As the instigator, he will activate a portal to Room 237 by turning its knob (and seeing the future, again).   Phone booth mimics vidphone in 2001.  In effect we are at both films' stage of consciousness: remember Floyd communicates with his daughter, now there are two girls this age communicating: in reverse they are calling him. Danny’s face stares at the departing girls, and cuts to arriving Torrances, in corridor with wall pattern behind where we first met girls in corridor vision in Bathroom mirror.  The solid yellow baseboards and blue walls here extrude from that rear corridor, amazingly the girls' fabric is now on these walls. A complex completion across time and edits, a Shining. These subtle shifts cannot all be explained here, this guide excerpt is roughly half of the notes, but like Ullman taking column's colors, and these girls' fabric extending on foreground wall in a future within the film, the upcoming is littered with hundreds of planned transferences. These keys are subtle and manipulative in an unconscious way (it makes the film riveting without knowing why).

Look below and see the EXIT sign background right. This would imply a corridor is there and a staircase. Once we enter the bathroom of their apartment, and are shown the window in the bathoom (and then later we see Danny exit an entirely flat exterior wall) this corridor and implied exit are false in physical space. We have been fooled without seeing it exactly: unconsciously we can tell the entire Hotel's design is false. Deformities in spatial logic are continuous.

Grown twins, tall light brown haired women, walk towards the blue floral wall pattern and Jack stares at them, duplicating Danny’s last act of seeing other near twins. They are seeing twins at differing time scales. Oval above bed duplicates at final bed in 2001 and is a portal to the opening shot a few minutes ago.  Kubrick probes the rooms until the bathroom to ensure we are aware of this layout logic.

Bathroom is white and black and is terminus of this sequence as well as at film's climax, again a colorfield movement towards the photographs' black and white state.

Both are followed by maze sequences.

Introduction to Overlook's hedge-maze is begun with party walking away from it, the maze is capped by pyramids. They encounter red snocat, first blood red object featured centrally after elevator expulsion. The snocat's form is dissolved towards a right angled (to it) love seat at entrance to Gold Ballroom, which it turns out has much blood red furniture. Entrance to maze is capped by the continually reappearing half-circle. The eye-form of the poster and elevator dial.

“I found him outside looking for you”  Danny seeks. Susie, a redhead like the Doctor, that stalks Danny. “Did you get tired of bombing the universe?”  Another almost secret reference to Danny’s descendancy from origin as 2001’s Starchild - final act unseen in 2001's script was the simultaneous destruction of the Earth's orbiting nuclear weapons. His jacket reads Flyer as a hint to his conscious dual Tony's eagle-spirit journey. Halloran is met in Gold Ballroom. Original goals of American conquest: passage to orient and gold.  Halloran's outfit is highly contrasted.  Staff met in Ballroom are near parodies of colonial battlefield, Halloran is an apparent Uncle Tom (it is his performance mask) and Grady is stodgy butler persona: they are cartoon characters (Scatman Crothers has voiced Disney characters).

Ghosts thrive in rooms without sunlight. The Ballroom is entered via lateral tracking, each side is a penetration into left-right mirror worlds, Danny enters mirror from left and joins them on right. The eye-forms (poster/elevator etc) appear as half-domes above insets on the golden stage far in the back. Ceiling and rear wall gold forms mimic Ullman's office window, light fixtures and shelves. The ceiling apes Aztec/Mayan temple interior/exterior with suspended Tudor crown chandeliers: the Sun God is not only worshipped, its glittering spectacle is rendered day AND night. The tables are clearly moon-shapes, and showcase the moon descendant, unworshipped, support for alcohol and tobacco usage. On the floor carpet, one of three wall-to-wall patterns in the film, is the Mayan symbol/eighth day-glyph Lamat composed of pink, gold and brown: the pouring blood red separated. Lamat is a day sign in Aztec/Maya calendars that closely resembles the sun as a glyph. Lamat is a symbol found across most prehistoric cultures as early scrawled notation (others include bar, dot and tri-dot), perhaps the first representation of the sun on earth, but here with indigenous references littering the film that indicate its specificity. Completing cosmologies, the film now has North and Central (Meso) information coding systems: the Navajo (and Apache, Crow, Blackfoot) are societies without written representation, yet their signs and symbols still encoded narratives, and now the Aztec and Maya are illustrated, societies who encoded information into syllabaries of logograms, logoglyphs and ideograms, a leap of written language that bypasses the west and its Indo-European systems entirely.  The Overlook celebrates and attempts the total domination of the Americas at its own risk.  Dick Halloran enters and keeps an optically clear ladder (teepee form) on his shoulder with a man standing on it, first indication Halloran may possess unusual gifts. The man on the ladder appears to be whispering in Halloran's ear.

The Lamat symbol. Paradoxical that the day is celebrated in a room missing sunlight. The day is walked upon, the sun's symbol broadcasts from an underworld. At its separations, INTERVIEW, CLOSING DAY, TUESDAY, 4pm, The Shining contracts in time spans, ending in the fraction of a second on a date that acts as the counterpoint to earlier looser framings; at film's beginning we view an infinity of time (INTERVIEW). Mayan time expands from a centerpoint of creation, as the future expands so does the past. Western time leapfrogs over pivots: creation to birth to death. Non-linear or Continuum vs. Linear: the horror here is becoming trapped into a millisecond, into a flash at the end of the film before the film has begun, a nightmarish western time freeze.

Gold Ballroom: there is a crucial play on words here, the yellow tennis ball will be the only ball we see consistently. Once properly decoded, this set is an inverted ballcourt (the ceiling) with a repeating sun image on the floor (the sky now below).  This ritual-game is the central practice in Mesoamerican societies, combining warfare, sun worship and sacrifice in an effort to continue the sun's movement and reappearance. The conquest of the Americas included the discovery and industrialization of rubber seen first by Cortes as a spiritual game of human-sun interaction (and then harvested madly through the 18th, 19th and part of the 20th century see the diaries of Roger Casement). The yellow Tennis ball is (colonially) a supreme compaction of sun-worshipping/ballgame played in Mesoamerican societies until the 1600's.  The ball that Jack throws is a sun-object that has been conquered and absorbed into English game codes and now returns to the hotel as a prompt. It is a tease the spirits use, the Games Room expanded into every room.

Tour of kitchen is like education of maze later on. It shows Wendy how to use the hotel.  Jack never enters the kitchen except unconsciously, dragged by Wendy. He also never leaves the Hotel until film's end.  Kubrick elevates continuity tricks here into a form of phenomenology. The film is littered with perhaps hundreds of changed orientations of props, directions, entrances.  Look closely when watching, Halloran opens a door to the freezer on one side of this hallway and they exit on the opposite side. Notice the shift in door orientation entrance to exit. Kubrick is proving the hotel is a shifting corporeal engine, at times the doorways have no obvious logic, they are portals. The kitchen itself has illogical openings across the entire hotel. Later when the film probes other accessways, Wendy will leave the lobby and enter a red-mask of the hotel (the doorway to the kitchen, not an elevator) behind the Ullman office and will reappear a few seconds later across it in a darkened, cobwebbed version of the lobby. The final, key shift you will see (summary portalling-state change) occurs during this lobby-split: the mirror entrance to the maze, which was once 90 degrees away, aimed away from the hotel, at film's end it now faces the hotel (Kubrick shows you a right pan to it).  Danny has properly perceived the maze's final opening, by studying both outer mirror and inner, he disorients his father inside the house and lures him here, to an entrance to a maze only he seems to be aware of.  Wendy's discovery of the Lobby moonlit and cobwebbed is, like the alternate maze entrance, the Hotel's mirror alternate state (in moonlight, the men are sun worshippers: remember Danny's Apollo sweater) everything you have seen in the film is single-minded, one-sided, the lights have never been on they are hallucinated, shined, The Overlook's existence to the known/outside world is as a conjuring. A perpetual shined day. A building without a nightway.

Frozen meat suggests this is another roomful of red, yet frost covers it with white. Containment of death that Jack will die in outside. Monochromatic like the B&W images.

In drystorage room, zoom reveals Halloran mirrored with Calumet baking powder. It appears both on his left and ours at right angles. Yellows, oranges and greens counterpoint frozen monochrome hell of frozen storage. Music begins cue that shining is occurring and it seems to be the result of the visual mirorring between Halloran and the only modernized Indian 'cartoon,' an unanimated archetype color image of a Native American just behind him. Calumet was the Iroquois's peace/war pipe that became a contract between French and tribe later dismantled by US Government’s evolving policies (despite the contract's acceptance into treaties). Jack will be imprisoned here, a step-away from the frozen mirror he ends inside, mirrored in time, the kitchen's maze is mirrored against the one outside.  Danny’s favorite food is french fries and ketchup, yellow and red. Dry goods storage is asymmetrical, the mausoleum-like cold storage for frozen meat is symmetric.

Brilliant sequence. The group's departure leaving Danny and Halloran behind suggests Halloran can still hear them as they depart out of earshot: they never leave his head's 'aura' in dissolve. Both parties are reversed from one another, ending with a dissolve of the group farther away into Halloran's head who begins with "do you know how I knew your name?" as Kubrick has just slyly explained visually how he does. Subtle, distant voices are heard throughout this scene.

Arrow forms are now aimed downwards, the knives on the background's column pointing towards the underworld. Favorite flavor is chocolate. Inadvertant result of America’s conquest is cocoa (Aztec/Cortes). Halloran is revealed as protector, first testing validity of Tony’s advice, then discoursing about the Overlook, discouraging his curiosity. Danny has eaten from a silver cup-chalice that he surrounds with his arms. Both use hands posed in signalling manner of discussion, initial one indicates collective prayer, they mutate per shot, defying continuity.  Danny is a seer, like Halloran. Objects and head shine here.  Shine in Danny’s chalice and Halloran’s head and their shape similarity intentional.

 

continues