Layout For 20 Key Frames

Layout For 20 Key Frames

Frame 1- An exterior shot of the boy and his mother walking to the entrance of the nursing home. It is a medium shot from behind them and they are positioned in the middle of the path walking towards the door.

Frame 2- An medium shot of the boy sitting in a long hallway, we see the legs of his mother and her hand placing a white toy car in front of him. The frame is positioned so that we see behind him in a medium shot, with the boy positioned in the middle with his mother to the left of him. This frame is similar to the first shot.

Frame 3- A medium shot, the frame is a one point perspective from a high angle. We see a long hallway, and at the bottom, just before the corner of the hallway turns , a single white balloon hovers mid air as if it were bouncing. The use of one point perspective links to my research because Kubrick used this technique in lots of his films so it was one of his motifs.

Frame 3 would look like this, with the same framing and attempt
to capture the mood of the film.

One point perspective, where the shot is framed using right angles and
squares to make it seem to the viewer that they are seeing the action
from only one perspective and that is what they are restricted to.
It is prominent through Kubrick's work in Barry Lyndon, Full Metal Jacket,
A Clockwork Orange and 2001.

Frame 4- A medium shot facing the boy walking forward towards the balloon away from his white toy car, behind him is a open door which we assume his mother has entered to see someone. The boy is positioned in the middle of the frame again and he looks puzzled.

Frame 5- The camera is now at a low angle to simulate the boy's short stature- it is a POV (personal own view) from the perspective of the boy. The right of the frame is cut off by the corner of the wall but we can see the left of the screen, around the corner of the wall. In the middle of the long symmetrical corridor is a man dressed in a suit, holding a glass of water. The man is looking straight ahead and we can see the white balloon bouncing around below his feet.

The POV would be like this scene in ''The Shining''.  A long tracking shot
with a heartbeat in the background.

Frame 6- This frame is split into three different sections to illustrate a zoom in. The first section is still the POV shot of the wall and the suit man, but now the suit mans eyes are looking directly at the boy, which is at the viewer. The second section is a closer shot of the man, with motion blur around the edges of the screen to illustrate that it is a quick zoom in. The third section is a extreme close up of the suit man's eyes looking straight at the viewer/boy. This zoom in is a reference to the fast zooms in used in The Shining.

An example of the fast zoom in, usually accompanied by a loud noise in
The Shining. The motion blur around the edges is visible mid zoom.

Frame 7- The next frame continues from the same shot type as frame 5 except the suit man's foot is raised to stamp and pop the white balloon below him. Using the three frames for one small part shows Kubrick's attention to detail and his preference for slow long takes to build atmosphere.

Frame 8- A medium shot from behind the boy, his mother taking him by the hand as the boy looks up at her, they are not positioned in the middle of the frame but are instead towards the right of the hallway and frame. The shot of the boy and the mother from behind is used lots of time in 'The Shining' with Wendy and Danny.

An example of the mother-son tracking shots in The Shining.

Frame 9- This frame is again split into three sections again, the first section is a birds eye view of the remnants of the white balloon contrasting with the red carpet. The second section is a dissolve of he previous frame with the next frame slightly visible. The third section (the largest) is a establishing shot of the boy and his mum entering their home. It is a long shot, with the camera being positioned from across the street. Kubrick used the dissolve in a lot of his films and it was one of his motifs, a stylistic cut he used in all his films.

An example of a dissolve, this dissolve in 'The Shining' is used when
the camera zooms out of the television, showing the whole room, then
cuts to a image of a doorknob and chain, but it slowly takes over
the image of the whole room.

Frame 10- An medium shot with the boy entering his bedroom, an medium shot which captures the whole room. To the right of the frame is the boy's bed, in the middle of his pillow is a black bow tie, visible from long distance.

Frame 11- A close up side shot of the boy sitting on his bed, holding the black bow tie, studying it. The boy is positioned in the middle of the frame, although he is not sitting in the middle of the bed.

Frame 12- The next frame is a side shot of the boy standing in front of his toy box to the left of the frame , it is open indicating he has been playing with it. In front of him is a old man dressed in 1940's esque outfit, he is at the end of the bedroom to the right of the frame, essentially the boy and the old man are at opposite ends of the room. 

This sort of tracking shot, with the threatening figure positioned in the middle
of the frame in a side shot. From Eyes Wide Shut

Frame 13- The next frame is the same side-shot as frame 12, but the old man has taken a big step forward so he is now in the middle of the frame, level with the boy's closet. The boy has tightened his grip on his toybox, frightened.

Eventually he stops walking straight in the viewers direction
and looks straight at them in another side shot. The use of ''Stop''
says all he needs to say.

Frame 14- We see again the child's POV, it is the old man opening the doors of his closet and walking in, he is staring at the boy and thus, because we are seeing the frame from the boy's perspective, at the viewer. 

Frame 15- A medium shot from inside the closet, showing the boy's clothes but also the boy looking blankly into an empty closet.

Frame 16- The next frame is the boy in his bathroom, a sickly green colour scheme and lots of mirrors, it is a long shot from behind him, we see a toilet and a bathroom indicating he is in his bathroom. We can see from a distance that the boy is about to drop the bow tie into the toilet. It is another one point perspective shot.

The bathroom of Room 237 in The Shining.
Sickly green colour scheme and reflective surfaces/mirrors.

Bathroom scenes in Kubrick's films. Another bathroom scene in The Shining where
Jack is finally convinced to kill his family, In Full Metal Jacket, Pvt Pyle kills himself
giving Joker his first experience of war,  A Clockwork Orange, Alex sings Singing in the rain
revealing his real identity to the old man and the bathroom Bowman finds
himself in at the end of 2001.

Frame 17- The next frame is the boy turning round and looking shocked, he sees the old man Baker giving him the Kubrick stare in anger and pointing at the toilet, with the bow tie in it. This is a low angle shot from the boy's perspective, making the old man look taller and more foreboding.

The Kubrick Stare- a reoccuring motif in his films.
Featured is Alex from A Clockwork Orange, Pvt Pyle from Full Metal Jacket
Jack Torrance from The Shining and  Redmond Barry from Barry Lyndon.

Frame 18- It is the same frame as 16, the same positioning of the frame and the camera, except the boy has his hand in the toilet bowl, fishing for the bow tie. The old man is standing in the left of the bathroom, overlooking the boy.

Frame 19- A medium shot from in front of the boy, his mother walks in whilst his hand is down the toilet, he looks back in panic, the old man is gone. Low angle. Kubrick also used low angles regularly in his films.

The low angles of Kubrick's films. 

Frame 20- A close up of the boy's face looking into a mirror, terrified as his mum scrubs his arm by the sink, she is not looking in the mirror. In the reflection of the mirror,through the open bathroom door, we can see the suited man from earlier standing there, a evil smile on his face holding the bow tie.

In 'The Shining' supernatural ghosts and spirits are only seen
by Jack when he looks into mirrors. He is talking to the caretaker
Delbert Grady who killed himself and his family the previous winter
since he is the previous caretaker of the Overlook Hotel.

Danny talks to his imaginary friend Tony whilst looking in
the mirror continuing the theme of the supernatural when Tony predicts
the future.