Point 3 – Representations

Throughout both of the films’ runtimes, many of the themes and representations are akin to one another, such as the representation of the human condition, familial structures, the roles of men and women, and how they’re represented appropriately to their eras.

In Kubrick’s The Shining, the narrative follows a nuclear family of three and demonstrates how the past often haunts people in their futures, and just how easily people can fall back into alcoholism and addiction, and what it does to their family and those around them – even outside of a haunted hotel with a traumatic history. This same theme follows similarly within Eggers’ film, the two men falling into alcoholism and delirium as the weeks go by, resulting in them behaving more violently and aggressively toward each other.

In both films, the human condition is a key factor that drives the plotline forward, particularly within their male characters. The mental state of both Jack Torrance – Jack Nicholson’s character – and Ephraim Winslow – Robert Pattinson’s character – are presented as increasingly fragile as each film progresses, part of this being the lack of help they received in light of their behaviours – as up until recent times, far from when both films were set, the role of a man within society was to be independent, aggressive, and dominant. Because of this, it was seen as ‘weak’ to be vulnerable, and so the men in both stories decline further into these traits, becoming more erratic until they finally break down into a murderous rage in the climaxes of their respective stories. Another part of this is the lack of understanding the men have for themselves, and the uncertainty that comes with it – something that’s played upon by the catalyst of the paranormal – the only solace they find being what both Torrance and Winslow find to be their ‘answers’ – alcohol and the lighthouse’s beacon – which they’re told to avoid and stay away from.

Women in the two films are also represented similarly, in the sense that they’re consistently objectified for the male protagonists’ sexual pleasure – such as the woman in the bathroom and the mermaids. Liesbet Van Zoonen theorises that gender is a societal construct, and argues that its meaning varies dependent on cultural and historical context – and evidently so; the stereotypes of males and females are highly reinforced throughout the plotlines. However, due to the the horrific acts the male characters in these films commit, it could be argued that it spits out the opposite image back into society – and that these types of worldviews can often lead to a sense of superiority over people that these characters deem as weaker.

Point 2 – Homage/Pastiche

The Shining is considered to be a postmodern film, exhibiting various themes such as the paranormal, family, and isolation. Kubrick displays this with his disorienting use of claustrophobia throughout the Overlook Hotel’s layout, through the labyrinth of endless corridors and his use of colour to further develop the atmosphere. Another concept also present throughout his film is what is now known as a liminal space – a transitional area; such as an airport, shopping centre, and in this case, a hotel – a place that should be full of people, that is completely deserted. Audiences often find this imagery discomforting, placing more unease on them as they watch the narrative unfold. These two ideas manage to forge an overwhelming sense of claustrophobia that can be felt throughout the film, further increasing the tension as Jack Nicholson’s character falls victim to the supernatural forces eating away at his sanity before the film’s climax.

Eggers’ film gives pastiche to some of these themes in one way or another, recycling themes of isolation and the paranormal and implementing it into a tale full of ancient folklore and mythology. In an interview with /Film, Eggers specified that for a previous film, The VVitch, he took great influence from The Shining, which clearly still has an effect in The Lighthouse. This effect can be seen through Eggers’ use of sound and the consistent droning of the lighthouse, imitating Kubrick’s use of the typewriter’s constant clicking in different scenes across The Shining to stir anxiety in his audiences. Similarly, Eggers also uses a storm to keep his characters isolated from the rest of the world, following the theme of the supernatural, almost as if the island itself won’t let the men go, as the hotel did to Kubrick’s characters. The Lighthouse also captures a strong sense of claustrophobia through both its 1.19:1 aspect ratio and the use of a digitally added monochrome filter. These two elements cause an audience to experience similar emotions of entrapment that Eggers’ characters feel stuck on the island, leaving them further distressed by the grotesque imagery combined with the dark and brooding colour palette.

Eggers’ pays homage to classic film with his use of the 1.19:1 aspect ratio in The Lighthouse, which is strikingly close to the 4:3 aspect ratio that was most commonly used during the late 20th century – when The Shining was released. It should be noted that whilst Kubrick’s film was shot in a 1:1.85 ratio, it was displayed on screens with a 4:3 ratio at time of release.

https://www.slashfilm.com/542687/the-witch-influences-the-shining/