2001: The Shining / Analyses of Kubrick's Films

[1977]

Originally Posted by feralgoose

I was planning on posting next regarding paths of glory and an interesting parallel in the the plot with that of the story of barrabus and pontius pilate, the execution and trial of the film seems to hold basis with the passion. in the film the barrabas figure is the only coward and traitor shown in the film - the man who blindfolds the executees, the 3 men killed are not cowards or traitors but failed in an impossible expectation of them and where victims of a practice similar to Roman 'decimation' (which was actually not accurate of the french army). They are the three crucifixions at calvary. The story was a parable about the concept of a 'sin offering' where one would release a goat at the expense of the other. Mireu is "made the goat" or the scapegoat, this parable which has it's origins in the odyssey seems to be what the great sacrifices and the demonstrative executions are about in this film.

James Mason and Kirk Douglas both embody Messiah archetypes, and Kubrick plays this up as part of their Hero's Journey.

This is also part of Kubrick's little joke--he has transformed Humbert Humbert from a pedophile into Jesus Christ (the Messiah's function being to unite himself with the fallen Shekinah). Although this subtext was also present in Nabokov's book, Humbert is always the most moral person in the room (if we can forgive him for wanting to kill his wife).

I also see Mireau and Broulard as being the Devil and God wagering over the soul of Job (Dax). This ties into the doctrine of Election, wherein God chooses those whom he wills for salvation. But in this case, Dax and his three men (if we regard these as being aspects of himself) must first pass through the Abyss. (Christ, after all, said that all followers must take up their own cross . . .)

See Dr. Strangelove where war is a sexual (read: alchemical) metaphor, with Russia as the Dark Mother impregnated by American bombs.









Alice's dream from the Eyes Wide Shut original screenplay--

Then you were being followed by a crowd of people who were shouting threats. Then you were seized by soldiers, and there were also priests among them. Somebody, a gigantic person, tied your hands. You were still naked. I knew you were going to be crucified but I felt no sympathy for you. I still blamed you for everything that had happened. I felt that I was far removed from you but I knew you could see me naked in the arms of countless men in this sea of nakedness which foamed around me. The soldiers began to whip you and blood flowed down you in streams. I saw it without feeling any surprise or pity. Then you smiled at me as if to show you had fulfilled my wish and bought me everything I wanted. But I thought your actions were ridiculous and I wanted to make fun of you, to laugh in your face. They began to nail you to the cross and I hoped that you would be able to hear my laughter. And so I laughed as shrill and loud as I could. That must have been the laugh that you heard when I woke up.

[mata]

Vivian.jpg

Vivian, 17, and her Dad on-set.
Smoking Guest on Couch,
Gold Room Party.

[dr steam]

The Golliwog and the tennis ball...



The tennis ball appears 3 times and is used by the Hotel to “play with” or control the film’s characters. It appears firstly when Jack repeatedly beats the ball against twin Indian murals (suggesting violence), secondly when the Hotel uses it to lure Danny to room 237 (where he re-lives his child abuse), and thirdly in the deleted hospital scene, where the Hotel again uses the ball in an attempts to lure Danny back to the Overlook...






All three locations at which Jack smashes the ball are symbolic...

Firstly, when Jack smashes the ball against the wall he is lashing out at the two blue dressed figures on the Indian tapestry (Grady daughters). Secondly, when he's smashing it on the ground in the Colorado lounge, he's hitting the EXACT spot where he will later kill Halloran. Note the racist "Golliwog" doll on the floor at this point (deemed derogatory toward Africans). Thirdly, when he throws it across the corridor, he is hurtling it toward the EXACT spot where Wendy will later see Halloran's dead body. Fourthly, between Halloran's dead body and Wendy's body are a stack of children's toys, over which the ball flies. Thus Kubrick links the murdered daughters, Indian genocide, Halloran, Wendy and Danny, all with this simple tennis ball. This symbolic instrument of violence and Americana (American sport).A Winnie The Pooh bear rests on the floor as well. Wendy is linked to Winnie The Pooh when Hallorann says "Now, are you a Winnie or a Freddie?"
Whilst Wendy and Danny are constantly exploring or doing “housework”, Jack seems content to stay within his familiar surroundings, doing nothing, spinning in hopeless circles. He's regressing and refuses to progress. He's stuck in a comfortable routine which gets him nowhere and which he can not break free of. Mr Ullman says the Hotel season closes on October 30th. This means that the Torrance's move into the Overlook on Halloween Day...

Golliwogg - Wikipedia, the free encyclopedia

Golliwogg - Wikipedia, the free encyclopedia
Golliwogg - Wikipedia, the free encyclopedia

Regarding Jack's growing aggitation, writer Harry Bailey says: "Jack displays what has been termed a 'negative solidarity', a displaced and aggressively enraged sense of injustice. His self-loathing is committed to the idea that, because he must endure increasingly austere working or living conditions (a menial job, poor wages, loss of benefits, increasing career precarity, etc, having lost his job as a teacher) then everyone else must too, making life hell for everyone else. Negative solidarity can be seen as a close relation to the kind of ‘lottery thinking’ that underpins the most pernicious variants of the American Dream. In lottery thinking we get a kind of inverted Rawlsian anti-justice- rather than considering the likelihood of achieving material success in an unequal society highly unlikely and therefore preferring a more equal one, instead the psychology of the million-to-one shot prevails. Since Jack will 'inevitably' be wealthy in the future, this line of thinking runs, he will ensure that the conditions when he becomes wealthy will be as advantageous to him as possible, even though on a balance of realistic probabilities this course of action will in fact be likely to be entirely against his own interests.

During the car ride to the Hotel, Danny tells Wendy that he is hungry. Ironically, he and Jack then have a conversation about cannibalism. “You mean they ate each other up?” Danny asks. “They had to," Jack replies, "in order to survive”.

More than lottery thinking, which is inherently (if misguidedly) aspirational in nature, negative solidarity is actively and aggressively anti-aspirational, utterly negative and destructive in the most childish fashion, and drives a blatant “race-to-the bottom”. Negative solidarity operates under the invisible, though clearly contradictory and self-refuting, assumption of reflexive impotence (actively going to extremes to 'prove' that one is impotent to do anything). Jack then actively endeavors to make life a total misery for everyone else, resorting to racism, sexism, and child abuse



Der Auto und Adler

Berlin-Kraft durch Freude-Stadt Für eine grössere Darstellung
Adler=Eagle...


Logo :Trans-for-mation

Follow the Sun-road with swastika Sun-sign and enjoy the view of the mountain top...



Volkswagen Group had nine concentration camps, including four in Wolfsburg and has obviously kept their highly creative advertising agency...


Hitler's desire was that almost anybody should be able to afford a car just like Henry Ford...




Nazism was an elitist and global project

Henry Ford, c. 1919

The newspaper published The Protocols of the Elders of Zion, which was discredited by The Times of London as a forgery during the Independent's publishing run. The American Jewish Historical Society described the ideas presented in the magazine as "anti-immigrant, anti-labor, anti-liquor, and anti-Semitic." In February 1921, the New York World published an interview with Ford, in which he said: "The only statement I care to make about the Protocols is that they fit in with what is going on." During this period, Ford emerged as "a respected spokesman for right-wing extremism and religious prejudice," reaching around 700,000 readers through his newspaper. The 2010 documentary film Jews and Baseball: An American Love Story (written by Pulitzer Prize winner Ira Berkow) noted that Ford wrote on May 22, 1920: “If fans wish to know the trouble with American baseball they have it in three words—too much Jew.”

In Germany, Ford's anti-Semitic articles from The Dearborn Independent were issued in four volumes, cumulatively titled The International Jew, the World's Foremost Problem published by Theodor Fritsch, founder of several anti-Semitic parties and a member of the Reichstag. In a letter written in 1924, Heinrich Himmler described Ford as "one of our most valuable, important, and witty fighters." Ford is the only American mentioned in Mein Kampf. Adolf Hitler wrote, "only a single great man, Ford, [who], to [the Jews'] fury, still maintains full independence...[from] the controlling masters of the producers in a nation of one hundred and twenty millions." Speaking in 1931 to a Detroit News reporter, Hitler said he regarded Ford as his "inspiration," explaining his reason for keeping Ford's life-size portrait next to his desk.[65] Steven Watts wrote that Hitler "revered" Ford, proclaiming that "I shall do my best to put his theories into practice in Germany," and modeling the Volkswagen, the people's car, on the Model T

Henry Ford - Wikipedia, the free encyclopedia

Henry Ford - Wikipedia, the free encyclopedia
Henry Ford - Wikipedia, the free encyclopedia

Service Cross of the German Eagle


In 1938, Henry Ford, became the first American to receive Nazi Germany’s highest non-citizen award, the Grand Cross of the Supreme Order of the German Eagle/Adler.


The yellow beetle

A Kubrick Tribute Video:http://geektyrant.com/news/2011/2/4/...ute-video.html



Highly recommendable literature regarding Nazism

Peter Levenda - 24 maart 2011 - Symposium Secret Space Program. 3-april-2011 - YouTube

Peter Levenda - 24 maart 2011 - Symposium Secret Space Program. 3-april-2011 - YouTube

[1331]

The Shining opening scene:

Glacier National Park. St Marys Lake...the little island is called Wild Goose Island. The road is named "Going-To-The-Sun Road"...

How did the Going-to-the-Sun Road get its name?
The road officially received its name, “The Going-to-the-Sun Road,” during the 1933 dedication at Logan Pass. The road borrowed its name from nearby Going-to-the-Sun Mountain. Local legend, and a 1933 press release issued by the Department of the Interior, told the story of the deity, Sour Spirit, who came down from the sun to teach Blackfeet braves the rudiments of the hunt. On his way back to the sun, Sour Spirit had his image reproduced on the top of the mountain for inspiration to the Blackfeet..

A deity who came down to teach to hunt - Monolith

Dawn of man - Golden dawn?

The next shot in the film is a sunrise taken from down on the surface of the earth. Where are we and when are we? Kubrick answers the question with a subtitle: The Dawn of Man. This is the first of four chapters in the film.

In alchemy the process of transmutation of the spirit goes through four stages or realms. Kubrick also breaks the film into the four aspects. [/COLOR]

The Gold room - A room for transmutation?



A magical sun-earth-moon alignment.

]The film opens with a magical sun-earth-moon alignment. We are just at the end of a lunar eclipse. The sun is pulling away from the alignment. The shot is taken from just beyond the moon's point of view. It shows the earth rising over the moon, with the sun rising over the earth. The soundtrack is the 'World Riddle' theme from Strauss' 'Thus Spoke Zarathustra'. Right away Kubrick is showing the viewer the relationship between the philosopher Frederick Nietzche and the film, between transformation and extinction...

Most critics at the time thought that Kubrick simply did not know how to conclude the movie so he contrived this ending. I can assure you that this is not so. The ending to the film explains everything that Stanley is conveying in the film. Without the ending, the film would be nearly worthless. [COLOR="rgb(255, 140, 0)"]It is in that ending that Kubrick reveals his deep inner profound knowledge of alchemy, gnosticism and the ancient view of the spirit domain...


Also of a great alchemical significance is the number of 'threes' that are in the film. In alchemy the process for the unfoldment of the soul, that is so necessary to completing the Great Work, is a three-fold process. These processes are filled with deep mystery. The best description of this process is that it is like a caduesus with its two writhing snakes on each side of a central rod. This is also represented by the Kabbala, or the Tree of Life. The Tree of life has three main pillars. In order to pass from one realm, or aspect, of the Kabbala one must use one of these three central pillars, or processes. If one adds up the numbers 2001 ( 2 + 0 + 0 + 1 ) the sum is three. There are three words in the title after the 2001. There is an eclipse of three celestial bodies at the beginning of the film. There are three eclipses in the film. There are three conscious entities aboard the Discovery spacecraft and there are three unconscious entities, the men who are in hibernation. Bowman goes through three stages of transformation in his life at the end of the film. The 'World Riddle' theme also plays three times.

Also extremely interesting is the use of the Kabbala in the film. As said before there are four great realms within the Tree of Life . Kubrick reflects these realms with each of the four chapters in 2001. The first is the earthly realm, represented by Malkuth, which is the sephireh located at the very bottom of the Tree of Life. This is the realm of the kingdom, or of mankind. The second realm up is that of the moon, or the sephireh Yesod. The third realm is that of the sun, or the sephireh named Tiperoth, and the final realm of the Tree of Life is that of the ultimate being or consciousness, represented by the sephireh named Kether. [/COLOR]

For me the Black Monolith of 2001 fits the lore of the ancient Emerald Tablet that was brought to modern man by the Atlanteans!

"The Emerald Tablet doing a house-call perhaps?"

The Emerald Tablet, also known as Smaragdine Table, Tabula Smaragdina, or The Secret of Hermes, is a text purporting to reveal the secret of the primordial substance and its transmutations. It claims to be the work of Hermes Trismegistus ("Hermes the Thrice-Greatest"), a legendary Hellenistic[1] combination of the Greek god Hermes and the Egyptian god Thoth.[2]

[It is] true, without a lie, certain and most true,

That which is below is as that which is above, and that which is above is as that which is below, to perform the miracles of the one thing.

And as all things were from the one, by means of the meditation of the one, thus all things were born from the one, by means of adaptation.

Its father is the Sun, its mother is the Moon, the Wind carried it in its belly, its nurse is the earth.

The father of the whole world [or "of all of the initiates"?] is here.

Its power is whole if it has been turned into earth.

You will separate the earth from the fire, the subtle from the dense, sweetly, with great skill.

It ascends from earth into heaven and again it descends to the earth, and receives the power of higher and of lower things.

Thus you will have the Glory of the whole world.

Therefore will all obscurity flee from you.

Of all strength this is true strength, because it will conquer all that is subtle, and penetrate all that is solid.

Thus was the world created.

From this were wonderful adaptations, of which this is the means. Therefore am I named Thrice-Great Hermes, having the three parts of the philosophy of the whole world.

It is finished, what I have said about the working[s] of the Sun.

Most consider the writings on the Emerald Tablet to be one of the earliest of all extant Western alchemical works, originating from pre-Greek sources. In mystical circles it is still popular with modern-day alchemists. The writings are considered to belong to the Hermetic Tradition, a non-Christian branch of Hellenistic Gnosticism. The Arabs called alchemy the Hermetic art. There were generally two types of Hermetic writings, philosophical and alchemical/magical. Like many texts from this era, most of these texts (the Corpus Hermeticum) were lost somewhere, sometime in history and nobody really knows how many there were.

Influence

In its several Western recensions, the Tablet became a mainstay of medieval and Renaissance alchemy. Commentaries and/or translations were published by, among others, Trithemius, Roger Bacon, Michael Maier, Aleister Crowley, Albertus Magnus, and Isaac Newton.

C.G. Jung identified "The Emerald Tablet" with a table made of green stone which he encountered in the first of a set of his dreams and visions beginning at the end of 1912, and climaxing in his writing Seven Sermons to the Dead in 1916.[citation needed]

Because of its longstanding popularity, the Emerald Tablet is the only piece of non-Greek Hermetica to attract widespread attention in the West. The reason that the Emerald Tablet was so valuable is because it contained the instructions for the goals of alchemists. It hinted at the recipe for alchemical gold,[citation needed] as well as how to set one's level of consciousness to a new degree.

Emerald tablet - Emerald room



Emerald city - golden road, rainbow and emerald





Eyes wide shut - Alice in oz?

Kubrick is obviously playing on two indelible works in the American psyche- [COLOR="rgb(46, 139, 87)"]The Wonderful Wizard of Oz and Alice in Wonderland. If you do a little research into The Wonderful Wizard of Oz, it is interesting that it was written by L. Frank Baum, who was a [COLOR="rgb(255, 140, 0)"]member of a secret society called The Golden Dawn[/COLOR], an occult society with members such as Alistair Crowley. He was also involved in several other occult societies. The way Kubrick adorns the secret mansion with occult symbols suggests he is at least knowledgeable about occultism and secret societies, and he based this screenplay off a book written in 1916, when occult societies still flourished underground to avoid the rebuke of Christian/Societal values. It is a bit interesting that the two models tell Bill he is "[COLOR="rgb(255, 140, 0)"]going over the rainbow[/COLOR]," with its connection to the author's activities, and what Bill will come to see. Bill is a Dorothy character, who will have a sexual adventure where he meets strange characters, and finally finds Oz- the mansion. Alice seems to be an allusion to Alice in Wonderland. She falls down the proverbial "rabbit hole" into a world she has never known-- the mask on Bill's pillow, and their tenuous union at the end, which reeks of a mutual understanding of Bill's night out, suggests either she was threatened by members of the cult, part of the cult, dreamed about the cult, or somehow found out about Bill's night out. It is interesting that when Bill finally gets home she wakes up groggily and says "What happened" as if she actually has fallen down a rabbit hole[/COLOR].

Over the rainbow



---------------------------------------------------
http://otherworldmystery.com/the-emerald-tablet
http://forum.prisonplanet.com/index....pic=140183.120
http://everything2.com/title/Eyes+Wide+Shut

Emerald Tablet - Wikipedia, the free encyclopedia

Emerald Tablet - Wikipedia, the free encyclopedia
Emerald Tablet - Wikipedia, the free encyclopedia

http://www.rense.com/general7/alchemkubrick.htm
http://forum.alchemyforums.com/showt...ubrick-Alchemy

[1331]

Emerald tablet - Monolith

The Emerald Tablet

The Emerald Tablet is one of the most revered documents in the Western World, and its Egyptian author, Hermes Trismegistus, has become synonymous with ancient wisdom. His tablet contains an extremely succinct summary of what Aldous Huxley dubbed the "Perennial Philosophy," a timeless science of soul that keeps popping up despite centuries of effort to suppress it. The basic idea is that there exists a divine or archetypal level of mind that determines physical reality, and individuals can access that realm through direct knowledge of God.

The teachings of Hermes -- the Hermetic tradition -- is one of the oldest spiritual traditions in the world, and while no direct evidence links the Emerald Tablet to Eastern religions, it shares uncanny similarities in concepts and terminology with Taoism, Hinduism, and Buddhism. In the West, the tablet found a home not only in the pagan tradition but also in all three of the orthodox Abrahamic religions (Judaism, Christianity, and Islam), and many of the most heretical beliefs of the Gnostics are also openly expressed in it. Like the authors of the tablet, the Gnostics believed that direct knowledge of reality could be attained through psychological discipline and meditative exercises. They also shared a common view of the universe in which "All Is One," a pattern of creation and decay symbolized by the Ouroboros (the snake eating its own tail).

Without doubt, the Emerald Tablet was the inspiration behind many other esoteric traditions, including over 1,700 years of alchemy. Most medieval alchemists hung a copy of the tablet on their laboratory wall and constantly referred to the "secret formula" it contained. In fact, during the sixteenth century, Hermes Trismegistus was such a revered figure that there was a movement to have his teachings replace those of Aristotle in European schools.

Five hundred years later, the tablet's words are still held in the highest regard. "The Emerald Tablet is the cryptic epitome of the alchemical opus," noted Jungian analyst Dr. Edward Edinger, "a recipe for the second creation of the world." Ethnobotanist and consciousness guru Terence McKenna agrees, calling the tablet "a formula for a holographic matrix" that is mirrored in the human mind and offers mankind its only hope for future survival. "Whatever one chooses to believe about it," sums up John Matthews in The Western Way (Penguin 1997), "there is no getting away from the fact that the Emerald Tablet is one of the most profound and important documents to have come down to us. It has been said more than once that it contains the sum of all knowledge -- for those able to understand it."

However, there is one nagging problem with the Emerald Tablet: Nobody seems to know for sure where it came from, or who really wrote it...

Who really wrote the Emerald Tablet and when? New evidence started to turn up in the late nineteenth century, when new discoveries about Egypt and the deciphering of hieroglyphics suggested that the principles exposed in the tablet go back at least 5,000 years. Some scholars suggested the date of origin for the Emerald Tablet to be around 3000 BC, when the Phoenicians settled on the Syrian coast. Phrases from the tablet, including references to the One Mind, the One Thing, and the correspondences between the Above and the Below, were discovered in many Egyptian papyrii, such as Papyrus of Ani and the Book of the Dead (1500 BC), the Berlin Papyrus (2000 BC), and other scrolls dating between 1000 and 300 BC. One early Hellenistic papyrus known as An Invocation to Hermes might refer directly to the Emerald Tablet and its author: "I know your names in the Egyptian tongue," it reads, "and your true name as it is written on the Holy Tablet in the holy place at Hermopolis, where you did have your birth."

That "true name" is the same name that all the Egyptian records point to as the author of the tablet: Hermes. But this person appears to have a threefold identity, which is why in the Latin translations of the tablet, he is called "Hermes Trismegistus" or "Hermes the Thrice Greatest." If we follow the strict genealogical order in the Egyptian texts, Hermes is the son of the Agathodaimon, the great Thoth, who is the Egyptian god of all learning and hidden knowledge. According to those same texts, Hermes himself had a son, Tat, who was a scribe and lived in Alexandria around 250 BC. As mundane as all this sounds, there is something very disconcerting about the triple progression here. It descends from god to god/man to common man.

Thoth: the First Hermes



There are tantalizing bits of evidence that suggest mysterious visitors came to Egypt over 12,000 years ago and brought with them a powerful spiritual technology, which they passed down to future generations in a time capsule of wisdom that became known as the Emerald Tablet. The Book of What Is In the Daat, the Book of the Dead and other Egyptian funerary texts, and numerous rebirth texts refer to a remote epoch known as the "Zep Tepi," a time before the Great Flood when the godlike beings came to earth and established their kingdom in Egypt. They included Thoth, the "god" of science and mathematics, who is said to have written the Emerald Tablet and hid it in a pillar at Hermopolis to preserve it through the coming world deluge.

The Osiris Legend

The legend of Osiris begins with Thoth, who was credited with having introduced all the arts and sciences, including astronomy and hieroglyphs, to the Ancient Egyptians. He was also the spokesman, or messenger, of the gods and the keeper of their records. "Thoth" is actually the Graeco-Roman form of the Egyptian name "Djehuti". Thoth was usually represented as an ibis bird or a baboon; both of which are native to Africa. This is significant because it reflects his ancient African origin. In addition, because he was regarded as the moon god he was sometimes seen represented together with a winged moon.

Attributes:
Thoth was a moon god who played an important role in the Osiris legend and the judgment of the dead in the Hall of Maat. Thoth was said to be mighty in knowledge and divine speech. The inventer of spoken and written language. As the lord of books he was the scribe of the gods and patron of all scribes. He is credited with inventing astronomy, geometry, and medicine. Thoth was the measurer of the earth and the counter of the stars, the keeper and recorder of all knowledge. It was Thoth who was believed to have written important religious texts such as The Book of the Dead. In this text, he appears in the Hall of Maat as a scribe holding a writing reed and palette to record the results of the weighing of the deceased's heart against the feather of Maat.

… according to legend, Thoth preserved his canon of writings inside two great pillars “just before the Great Flood inundated the world.” Thousands of years later, the pillars were rediscovered. According to existing texts written by Egyptian priests, one of the pillars was discovered outside the city of Heliopolis (city of the Sun), and the other was unearthed near Thebes...

The massive columns were covered with sacred hieroglyphics. When first discovered, they were referred to as “The Pillars of the Gods of the Dawning Light.” The pillars were eventually moved to a secret temple dedicated to the First Gods. Some texts indicate that this location was the Temple of Amun in Siwa, which is the oldest temple in Egypt. Only priests and pharoahs were allowed to view the sacred objects and scrolls.
Some evidence suggests the pillars really existed. Not only were they described in scrolls dating back to 1550 BCE, but they were also periodically put on public display and have been mentioned by credible sources throughout history. Solon, the Greek legislator and writer, studied them firsthand and noted that they memorialised the destruction of an ancient advanced civilisation. The great historian Herodotus encountered the two pillars in a secret Egyptian temple he visited in 400 BCE. “One pillar was of pure gold,” said Herodotus, “and the other was as of emerald, which glowed at night with great brilliancy.” He named them the Pillars of Hermes.

Pillar of gold



Pillar of emerald

In the eyes of a variety of esoteric and Hermetic practitioners, the heart of alchemy is spiritual. Transmutation of lead into gold is presented as an analogy for personal transmutation, purification, and perfection. This approach is often termed 'spiritual', 'esoteric', or 'internal' alchemy.

Q. When the Philosophers speak of gold and silver, from which they extract their matter, are we to suppose that they refer to the vulgar gold and silver?
A. By no means; vulgar silver and gold are dead, while those of the Philosophers are full of life.[

Esoteric interpretations of alchemy remains strong to this day, and continue to influence both the public and academic perceptions of the history of alchemy. Today, numerous esoteric alchemical groups continue to perpetuate modern interpretations of alchemy, sometimes merging in concepts from New Age or radical environmentalism movements. Rosencrutzians and freemasons have a continued interest in alchemy and its symbolism.

Most notably analogous to the story of the Fisher King is that of Kronos (Saturn), who, writes Evola,
“after having been the Lord of this earth, the King of the Golden Age, was dethroned and castrated (that is, deprived of the power to beget, to give life to new stock). He still lived on, though asleep, in a region located in the Far North, closer to the Arctic Sea, which was also called the Cronic Sea.”
Keeping this in mind, it is interesting to note that in many of the Grail romances, the Fisher King complains that his wounds become more painful when Kronos is dominant in the Heavens. It is also noteworthy that Saturn is called “the Hidden One”, thus alluding perhaps to his seclusion inside of the Earth.

Many researchers have equated him with the prototype for Satan, given that he was horned, rebellious, and cast down into the Abyss (the Chronian Sea) to become Lord of the Underworld. Also note that, like Satan, he was called “the Lord of the Earth”, and that “Saturn” and “Satan” may be etymologically linked, as many have argued. Furthermore, Saturn is also called “the Lord of the Mountain”, and so is Satan...

Interestingly, the phrase “Rex Mundi” appeared in the parchments that were found at Rennes-le-Chateau, and the Cathars accused the Catholic Church of secretly worshipping Rex Mundi in the form of Jehovah, the Earth’s creator, whom they regarded as an evil demiurge. And of course, Jehovah, as “El Shaddai”, was also the Lord of the Mountain. Moreover, as I have previously noted, the “Black Sun” stage of alchemy is attributed to the powers of Saturn, where his “element” – sulfur - is mixed with the “element” of Hermes - mercury. Hermes, of course, was representative of the light-bearing aspects of Lucifer, whereas Saturn represented more of the “Dark Lord” aspects of what we would now call the Devil, as ruler over the Underworld and the Abyss.

Soundgarden - Black Hole Sun

Soundgarden - Black Hole Sun

Originally Posted by 1331

Emerald city - golden road, rainbow and emerald

Over the rainbow

The KEY shows connection with the Kundalini Energy in the center of the earth, and then the connection by means of the Squaring of the Circle ( energy is always square, 90 degrees, to the surface of the earth) which leads on to the Antahkarana (kundalini energy which flows from the center of the earth through YOU! upwards into the center of the universe). The Antahkarana is the connection coming outwards from the center of the earth with the center of the universe showing the higher planes and even Higher. Reaching the higher planes of the Soul, the Monad (The group soul) and the Logos (The Archangel in charge of this Planet, the Father, Abba) and higher...

This is the meaning of the Emerald Tablet of the first Alchemist, Hermes Trismegistus or Enoch of the Enochian Keys..

Muppet Movie - The Rainbow Connection

Muppet Movie - The Rainbow Connection

Oz, Sirius, and the Antahkarana Rainbow Bridge

Oz, Sirius, and the Antahkarana Rainbow Bridge

............................
http://ancientegypt.hypermart.net/osirislegend/
http://www.alchemylab.com/hyper_history.htm
http://ishtarsgate.wordpress.com/201...lchemy-part-i/
http://www.egyptartsite.com/thoth.html

Alchemy - Wikipedia, the free encyclopedia

Alchemy - Wikipedia, the free encyclopedia
Alchemy - Wikipedia, the free encyclopedia

http://www.bibliotecapleyades.net/me...vingios_12.htm
http://www.energyenhancement.org/SUFI-ALHAMBRA.htm

[elysiansix]

Originally Posted by alf hearted

There's an awful lot of arrogance implied by either scenario. Must come with the territory if you are in the game of purporting to have hidden powers and knowledge. Which do you think is more the more likely of the two? Was Kubrick with or against this group of occult believers?

I think the absolute Master of Subtlety, Stanley Kubrick, got involved early on with arcane knowledge, dimensions and societies; he knew the language of the Illuminati, used this in his films to try to raise people's awareness of the hidden agenda, was himself very worried about the future for mankind and with his last film (Eyes Wide Shut) went just a little bit too far with the warning ..... hence his death.

[feralgoose]

The Ricky Gervais Show: The Shining (Karl's In A Film) - YouTube

The Ricky Gervais Show: The Shining (Karl's In A Film) - YouTube

[unity808]

wonder woman

YouTube (Short URL)

YouTube (Short URL)

[unity808]

godzilla vs mothra (trailer)
http://youtu.be/-MLvi8pp-uc

[unity808]

bee gees - how deep is your love (watch wonderwoman video above muted in sync)

YouTube (Short URL)

YouTube (Short URL)

[mata]

does anyone know if size of light is okay?

[unity808]

google search----"stanley kubrick is jewish"
here it is--->

Religious Affiliation of Directors of AFI's Top 100 Movies
Stanley Kubrick: Jewish: 23. The Maltese Falcon (1941) John Huston: Episcopalian (lapsed) 24. Raging Bull (1980) Martin Scorsese: Catholic (lapsed former seminarian)
www.adherents.com/movies/​FilmAFI100.html - Cached

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people on the thread---saying that judaism doesn affect kubricks movies are mistaken

if youre gonna take his symbolism in---you gotta take in the fact of his judaism--and the agenda of mgm--
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size of death is light

size of light is beyond
------size of light is gone

the way it is not supposed to be
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what is the world to do---what is the world to be?

only perfect--only truth

WEEN - FLUTES OF CHI

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[unity808]

PISS ON WHAT THE ANTI SEMITES WOULD SAY

THEY ARE NOT RIGHT
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WEEN - MUTILATED LIPS

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[unity808]

this one is for size of light...

WEEN - IF YOU COULD SAVE YOURSELF,YOU'D SAVE US ALL

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[unity808]

WEEN - DID YOU SEE ME?

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[mata]

This thread is not 'about' whether Stanley Kubrick was Jewish or not, this thread is about analysis of his FILMS. i.e. - it requires applying eyeballs to his actual cinematic work and going from there in working out what he was presenting in terms of subtext. It is not about rolling in and plastering paradoxical political palahva about the implications of Kubrick having been Jewish. Seems size_of_light is indeed gone. Far as I can tell there no point sticking round. Was fun while it lasted. Cherio

[unity808]

stanley kubrick did 911
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olivia newton john - hopelessly devoted to you (play in sync with mute kubrik video_

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promo 10 anos sin kubric

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[dr steam]

"All you can do is either pose questions or make truthful observations about human behaviour. The only morality is not to be dishonest.” - Stanley Kubrick



Do not despair...mata

The first shot of "The Shining" features the largest and oldest mirror in the film (water). We see an expansive lake with a near symmetrical reflection of an island and mountain range. This imperfect symmetry will feature heavily throughout the film, as Kubrick subjects us to an orgy of visual and aural duality, flawed mirror images, echoes, repetition and parallels, in which characters and objects have doubles, twins, doppelgangers and alter-egos. Even dialogue is persistently repeated, both person-to-person and scene-to-scene.

After the first shot, the camera immediately swoops overhead as it pulls in on Jack’s yellow Volkswagen. These overhead tracking shots convey the impression of a maze, Kubrick implying that Jack is already trapped ("You’ve always been the caretaker"), drawn inexorably toward the Hotel.



Note- The color yellow (Volkswagen/ball) denotes objects used by the hotel to tempt or lure others. Recent HD releases of the film contains color errors which render the ball and car pink (amongst other bizzare color changes). Note also that during this primer scene, Jack passes 2 moving cars and 2 motionless cars, Kubrick introducing us to the theme of twins or doubles.


Once the Volkswagen comes into view, Kubrick begins his first and only use of scrolling credits. The credits come from below as the car moves forward, creating a symmetry of motion. Essentially, Jack is trapped in a current, being pulled toward the Hotel. This dual motion applies later on, as the film’s narrative simultaneously “shines” both "forward" into the future and "backward" into the past. This forward/backward double motion is itself necessary when trying to negotiate one’s way out of a maze, a process in which one must not only search for the center, but remember past routes if one intends to get out.

Significantly, the labyrinth road that the car travels down is called the "Going to the Sun" road, and construction of it began in 1921. Later we will notice that the film itself ends with a photograph taken in 1921.


Legend has it that the Going to the Sun Mountain, and later its main road, were named after a mystical Indian who ascended the 9,642-foot peak to join the sun in eternity. The choice of road is no coincidence, as the film begins and ends with both credits and references to the year 1921. What's more, Kubrick's name is nowhere in the final credits, and the film begins with a cast scroll that is typically located where most films end. So what we have here is a film which folds in on itself like an ouroboros snake, the past and the present, beginning and end, merging indefinitely, one big cyclical repetition of history.





The Volkswagen's journey further and further into the wilderness also highlights the theme of moral regression. Modern man Jack will eventually regress into a more primal state, adopting a savagery akin to the ape men in "2001: A Space Odyssey".


The music throughout this primer sequence also has an interesting shift in tone. It goes from plodding and ominous (beating thumps) to the squeals of what sounds like native Indian women. Audio rhythms like this take place throughout the film. For example, Danny’s bicycle mimics the sound played during the chase through the maze, and the beating of Jack's tennis ball on the wall echoes the crashing of an axe through a bathroom door.


Throughout the film, Kubrick uses these themes to suggest that the present is merely an imperfect reflection of the past. Man (Jack) is trapped in a maze and is doomed to REPEAT his past horrors. Kubrick applies this theme to both a microcosm (family) and macrocosm (America) .



Throughout the film, Kubrick will also show us the horrors of at least three generations of history. The film's three caretakers - Delbert, Charles and Jack - are all interchangeable. They’ve each attempted to murder their families and all represent man at three specific points in time.

Furthermore, the current father and son roles of Jack Torrance and Danny Torrance are assumed by another Jack and Danny (Jack Nicholson and Danny Lloyd) thereby perpetuating the cycle of horror outside the film.

Danny Lloyd's name is itself further fragmented in the Gold Room scenes which all involve Lloyd the bartender and a large bottle of Jack Daniels. Note also that a deleted scene - cut by Kubrick after the film's premiere - featured Danny being given a tennis ball by Mr Ullman. This act, which occurred at the end of the film after Jack's death, hints that Danny will later head back to the hotel and assume Jack’s role....

So what we have here are various generations extending in all possible directions: the past (Delbert and Charles), the future (Danny), the present (Jack) and outside the film (the real life actors).



Kubrick shows that these generations of men live in a maze, a cycle whereby they repeat the same horrific actions in much the same way humanity is trapped in a loop, constantly repeating the same mistakes. Danny, however, unlike his forefathers, retraces his steps and takes a different path. By refusing to make the same mistakes, Danny escapes and survives, while his father is left frozen in time.

But the irony, of course, is that Jack was not trapped at all. In exactly the same way that we the audience are literally looking right at our answer, so to is Jack literally holding the solution to his predicament in his own hands. Trapped in a maze and carrying an axe, he doesn’t think of cutting his way out......

The hotel seems stuck in a time warp. It's reliving a cycle of man's historic horrors[/B]. In addition to the Grady murders, something horrific seems to have happened in the years 1921 and 1942 (or perhaps 1821 and 1842?). The torrents of blood squeezing through the shut elevator doors hint at some past mass killing. But what mass killing? Kubrick provides hints, but intentionally never spells it out. The lines “we had to fend off Indian attacks” and “built on Indian burial ground” suggest native Indian genocide, yet the date 1921 suggests the end of World War I (actually referred to at the time as "the war to end all wars"). Two decades later, and the date 1942 suggests Word War 2- man essentially repeating his mistakes with a second, more destructive world war.


The Wolf At The Door

Authors like Professor Geoffry Cocks, in his book "The Wolf At The Door: Stanley Kubrick, History and the Holocaust", argue that the film is about the Holocaust, pointing to references like the name of a famous Jew on Jack's baseball bat and Jack's typewriter being the same brand as used by the Nazis to type up their extermination lists. He also cites images, like the twin boilers, as being references to "gas chambers".


At any rate, Kubrick’s use of a moving timeline suggests that humanity has not learned its lessons. Man keeps murdering his family, denying it, and then doing it again. Kubrick suggests that it is this denial ("I have no recollection of that, sir") coupled with a refusal to confront history (pictures in a book) that keeps man trapped in this maze.



During the car ride to the Hotel, Danny tells Wendy that he is hungry. Ironically, he and Jack then have a conversation about cannibalism. “You mean they ate each other up?” Danny asks. “They had to," Jack replies, "in order to survive”.

Of course, Jack’s casual defense of the early American settlers foreshadows his own forthcoming brutal acts committed under the guise of civility (his “duty”). This little tale of "Wagons" and "Donner parties" also foreshadows Jack falling off the wagon and indulging in ghostly parties. Jack's thinly veiled contempt for his wife (he subtly mocks her lack of historical/geographical knowledge) is also hinted in this scene, his hatred and feelings of superiority, of course, bubble to the surface as the film progresses.


Writer Harry Bailey on this scene: "What's also of interest is the sudden stark contrast between the Torrance's discussion and allusion to the starving Donner Party, to hunger and cannibalism, and the scenes a few minutes later (in film grammar terms, a 'setup/payoff') of being introduced to a Chef and shown around an enormous kitchen with vast quantities of food everywhere, in freezers and pantries. If only the Donner Party had made it to the Overlook and to Chef Hallorann! Instead we later witness a different kind of party, the Torrance Overlook 'Party' ("Great party, isn't it!?"), where instead of a material hunger for food, a different kind of spectral hunger prevails.

The scene in the car, though, is the first indication of Wendy's underlying uncertainties and fears about what lies ahead, about her (correct) apprehensions about Jack, the scene ending with Wendy looking at Jack, a sudden expression of shock on her face (foreshadowing her looks of horror and real terror later in the film) after Jack's "See! It's okay, he saw it on the television!". Perhaps Wendy's fears of going to a remote, isolated place combined with Danny's expression of hunger pangs to immediately conjure up in her a dread memory of hearing about the Donner Party? This scene isn't so much a critique of television as it is indicative of Jack's total abandonment of his paternal role in relation to Danny, his indifference to his education and welfare. And remember, who would remove a six-year-old child from school and all other social contact and isolate him in a remote hotel for six months (wouldn't this be illegal today? Or maybe Jack informed and reassured the school authorities: "But I'm a school teacher!")? Jack's supposed to be a school teacher, yet when it comes to his own son, he proves to be the most incompetent and impotent educator imaginable, the TV and alter-ego 'Tony' providing Danny's 'education' instead.

[IMG][/IMG]

The other, somewhat minor or peripheral point, is that Danny and Jack are the only characters we ever see eating in the film. In the shorter 'European' cut of the movie, Danny is first introduced munching on a sandwich (a sandwich in which, via a cut-away, a giant bite mysteriously appears), and later eating ice-cream with Hallorann on his first day at the Overlook. And later still, after the Torrances are first alone in the now-vacated Overlook, Wendy's primary contact with Jack (her efforts to strike up a normal conversation with him) is via food, via serving him meals: the very first scene is of Wendy bringing Jack his breakfast with his 'sunny side up' fried eggs, while the next time we see them together it's the infamous "Whenever you see me typing" intimidation scene, Wendy bringing Jack a snack, Wendy responding to Jack's verbal abuse with the same expression of horror we saw earlier in the car. Food again. And Wendy with a large kitchen knife. And then Jack locked in the pantry, having helped himself to some dried food, gets a call from Grady*** ...


The Unwinding Hours

Jack and Wendy are taken to the Gold Room. The Gold Room sign states that the spectral house band that plays there is called "The Unwinding Hours".

Of course, the term "Unwinding Hours" has many associations with what is happening in the film and to Jack. As Harry Bailey writes: "Jack is literally "unwinding", both relaxing and going crazy, but he is also returning to the past (or nostalgia) via the "unwinding" of time, pulled back into the hotel's history as well as reflecting on his own past (his violent assault on Danny, admitting it but then dismissing it all as Danny's fault, deflecting from all his own past failures by treating his own family with abject contempt and then blaming them for everything) until it overwhelms him.

The architectural design of the Gold Room is also interesting. Its silhouette resembles a Mayan/Aztec pyramid, the huge chandeliers like glittering Sun Gods. The hotel thus seems to have conquered and incorporated ALL of America. From the North American Indians (Navajo, Apache, Blackfoot, Iroquois etc) to the Central and South American Indians (Mayans, Aztecs) to the African Americans brought over in the slave trade, to modern minorities. The hotel crushes and absorbs these cultures, incorporating their iconography, their languages, their symbols, art and traditions, into its sanitized concrete walls.

Turned upside down, the Gold Ball room also resembles a Mayan Ball Court (the ceiling becomes the terraced seats), where ancient games and rituals were performed. Here, in The Overlook, the Hotel will use a Gold Ball (yellow tennis ball) to "play with" Danny and Jack.

The term "playing" has a double meaning.
Consider this...

Danny wants friends to play with. The twins want to play with Danny. Danny is told to play with his toys. Wendy and Danny play in the maze. Jack plays with a tennis ball. The tennis ball beats against a pair of twins on the wall. The ball rolls to Danny whilst Danny plays. Danny enters room 237. All work and no play makes Jack a dull boy. Jack and Danny play murderous games in the maze. Grady's girls were playing with matches. Danny was playing with Jack's papers before he broke his arm...

It is the Caretaker's duty to dispose of all those who seek to play. Playing is burning down the hotel with matches ("can I get my fire engine?"). Playing is exploring and chartering the hedge maze. Playing is mapping the Hotel in a Big Wheel. Playing is the unbridled creative play of the Star Child. It's the boundless freedom of Alex (Clockwork Orange). Playing, in short, is against the wishes of the House, which seeks total obedience.

Notice that as soon as Danny arrives at the Hotel, he's already "found wondering alone". He's off in the games room, playing, solitary and without duty or care.



So the meaning of "playing" is two fold. On one hand, it represents the playful, rebellious spirit of those who shun duty and disobey the House. Secondly, it's the Hotel tapping into Jack's unconscious primal desires. Jack is jealous that others may play whilst he is constrained to Duty (how dare you play whilst I have to work?), and so the Hotel unleashes Jack to play murderous games.

In short, the Hotel deliberately mismanages Jack's resentment. It directs Jack's anger away from itself and onto the nearest victims.

One can abstract this idea and apply it to the real world. For a simple example, consider Nazi Germany (The House), blaming the poverty and frustrations of her people (Jack), on Jews (Danny) and outcasts (homosexuals, gypsies etc). The caretakers of the country are thus made to commit genocide and horrors (holocaust) out of nothing more than national duty and personal animosity. A sense that the Other (Danny/Wendy/Jews) is responsible for their own misfortunes (the inability to ever really be worthy of The Gold Room/The American Dream)




THE SHADOW

“Unfortunately there can be no doubt that man is, on the whole, less good than he imagines himself or wants to be. Everyone carries a Shadow, and the less it is embodied in the individual’s conscious life, the blacker and denser it is.” – Dr. Carl Jung


“The psychological rule says that when an inner situation is not made conscious, it happens outside as fate. That is to say, when the individual remains undivided and does not become conscious of his inner opposite, the world must perforce act out the conflict and be torn into opposing halves.” – Dr. Carl Jung


“Despite all attempts at denial and obfuscation there is an unconscious factor, a black sun, which is responsible for the surprisingly common phenomenon of masculine split-mindedness, when the right hand mustn't know what the left is doing.” - Dr. Carl Jung

The Shadow, a psychological term introduced by Swiss psychiatrist Carl Jung, represents everything in us that is unconscious, repressed, undeveloped and denied. Jung believed that these rejected aspects may be “dark” as well as “light”, having both positive and negative facets, and that a confrontation with the Shadow was necessary for self-awareness. Jung also speaks of the Shadow in conjunction with what he called “projection and denial”. Projection is an unconscious psychological mechanism in which we project onto other people parts of ourselves that we disown or deny. But we will usually not identify with this projected quality or characteristic. It’s them, we think, it is not us.


During the production of “The Shining” Kubrick mentioned several texts: Bruno Bettelheim’s “The Uses of Enchantment: The Meaning and Importance Of Fairytales”, Diane Johnson’s “The Shadow Knows” (Johnson would also collaborate on “The Shining’s” screenplay) and Freud’s writings on “The Uncanny”. What’s interesting is that all these texts essentially approach horror stories from the perspective that the “evils” within them are merely projections of our own evil selves. That though the monsters of fables and fairytale inhabit our collective memories as supernatural beings, their actual existence resides in the ordinary, the banal, the everyday. They are projections of our unconscious; an unconscious that we refuse to confront and so disassociate ourselfs from by relegating these "evils" to the realm of the supernatural.


On a literal level, the ghosts in “The Shining” are just that: ghosts. But on another level, they are all projections, representative of Jack’s darkest desires. Lloyd represents alcohol, Grady represents Jack’s desire to get rid of his family, the beautiful woman in 237 represents a new, more glamorous wife and the Gold Room represents the riches, wealth and respect Jack deems himself worthy of. These projections are Jack’s Shadows, the darkness which he both wants but denies wanting.


Dark underside of White Imperialism

The Overlook Hotel is similarly in possession of a giant Shadow. The elevators of blood, the dead Grady girls, Hallorann’s body, the numerous photographs, trinkets and artifacts which adorn its walls and halls, represent the dark underside of White Imperialism, a dark underside which the Overlook's very wealth and power depends upon, but which it cannot ever admit to possessing.



But what’s most interesting is that whilst Wendy and Danny are repulsed by the various visions they see, Jack is entirely comfortable around his Shadow projections. And this is unique in ghost movies, for rather than run away from the ghostly apparitions, Jack wants to merge with them. Jack wants to reassert both his Shadow (his desire for wealth, a better family, success, The American Dream etc) and the shadow of the Overlook Hotel. He wants to restore a nostalgic version of the past, of a sort of unified patriarchy, where he is “all the best people” and he has the power to subjugate those below him.

The world Jack seeks to re-establish, or retreat too, thus represents the last days of the American leisure class. The days when the ruling class led an aggressive and unapologetic public existence, projecting an image of privilege and guiltless enjoyment in full view of the other social classes (compare this to Ullman, a bland figure of corporate power and boardroom politics).


And this nostalgic image is exactly what the Overlook depends on. The Overlook depends on continuously "reincarnating” or “projecting” a certain sanitized image of itself. An image in which anyone - even a hack writer like Jack - can attain the American Dream and share the wealth and power that the Overlook commands. "Full Metal Jacket" deals implicitly with this, the military resurrecting "Cowboys and Indians" mythology so that the grunts can go forth and conquer land in the noble guise of freedom and democracy. The Overlook and everything it represents - Colonialism, capitalism, white imperialism, corruption and exploitation on a grand scale - is thus locked in a cycle of reincarnation, plucking "noble lies" out from its past so that it may seduce others into doing its bidding. What the film thus does is undermine this Dream and display the system of exploitation and violence that fuels it.

But the world Jack wishes to reassert no longer exists, or rather, no longer exists in quite the same form. Imperialism is now the primary function of capitalism in the third world. The “Wendys”, “Dannys” and “Halloranns” of today are in impoverished “third world” countries at the peripheries of capitalism, the divisions of labour that exists between workers and managers now also existing between entire nations, the world divided between the core and its peripheries, capitalism’s wealth and resources flowing from the outer extremities to the center, forever being accumulated in the vast Gold Rooms of The Overlook.

[feralgoose]

What a great concise post Dr.! One of the best and most thought out here. I hope this thread doesn't die off, I haven't internet access for a while but still check in when I can.

[unity808]

rage against the machine sucks balls