Kubrick

[Roshan]

I have been through the ringer with commentary on this guy, especially the three 'big' films, 2001, Shining, and EWS, but finally we have a cameo here in the discussion of the Navajo pollen path painting in The Shining at around 37".

[Roshan]

Reason I was thinking SiTe is some similarities to Lynch but I'm not sure if it's coming from the same place or anywhere close at all.
Both "photograph the photograph", have a similar thing going on with people as marionettes and plastic, and both set up the eeriness of atmosphere through that.
And I just found out that Kubrick considered Eraserhead to be his favorite film, and that he screened it before shooting the Shining

But, Lynch literally grew his grandmother.

And Kubrick does treat everything as primal instinct.

which, actually, makes perfect sense to me why Kubrick would find Eraserhead fascinating (and probably not only Eraserhead, also most other "freakish Si" films)

There seem to be so many SiFe's diving into Kubrick commentary on the Net, I'm not surprised it goes the other way around too, with Kubrick being both Si obsessed and Si PolR. But in a way they are all trying to meet at 'Se'.

But the SiFe's are running the risk of their Ti running amok into something close to lunacy in trying to interpret his Te chess game mind fucks. There is far less risk for Kubrick.

Though early Lynch would have just blown him up; late Lynch would meditate.

[Vincent]

I have been through the ringer with commentary on this guy, especially the three 'big' films, 2001, Shining, and EWS, but finally we have a cameo here in the discussion of the Navajo pollen path painting in The Shining at around 37".

Yep, finally indeed
Bookmarked this one and will listen to it soon.

[Roshan]

Strangely, despite ties to the Pollen Path such as the importance of footprints (Danny escapes Jack in the maze by walking backwards in his own footprints), the other prominent native painting being called 'The Great Mother', all the corn boxes in the pantry, nd Wendy's real name being Winifred (Winnie or Fred, she is asked), Campbell's book wasn't published until1986. Being there is a red book called the Red Book on the desk of the guy who hires Jack, I wonder if Kubrick and Campbell were friends. After all, that book....

(Or perhaps Campbell had written about the Pollen Path elsewhere, unbeknownst to the maker of the video and the writer of the linked article).

[Roshan]

It's also interesting to compare King's novel to Kubrick's version of 'The Shining', which King hated. It is true that despite his coercing tour de force performances from the actors, Kubrick's characters in this film (and others, though not all) lack conventional development and depth. They are archetypal, so oddly both over-full and flat, and like I said much earlier here, he does seem to have treated the actors in some way like his model set kits.

[Roshan]

I read this article Essam sent me (not tagging him over Ramadan), which confirms Kubrick was already using Campbell's Hero With a Thousand Faces very explicitly for his conception of 2001 in 1964--among other interesting tidbits. What I'm still unable to confirm is whether Campbell wrote publicly about the Pollen Path before 1986--six years after The Shining came out. (The Pollen Path seems very important in the film so I really have to give a hat tip to these Si/Ti jumper alpha kids for identifying that painting, even though the bonkers correlating mania of their online Kubrick cottage industry upsets me a lot).

But the chronology doesn't really matter much, methinks. Kubrick read Raul Hilberg's Destruction of the European Jews (he would later start and shelve a Holocaust filn due to Schindler's List and he went and struck up a mail correspondence with Hilberg. I'm sure he did this all the time. If Kubrick didn't strike up a relationship with Campbell, I'd be surprised.

This was part of the genius of the man. It wasn't just the unusual combination of his very high level in both mathematical/technical and arts/humanities arenas (and I ain't talking DaVinci clean, imperial arts); it was also his gung ho, get up and go, man on a mission no matter what, brass tacks, no nonsense, lusty bossy and when necessary down and dirty gamma extravert personality. The business of chess remained his game no matter what board he played on. Chess, visionary art, and him--those were the three legs of the perfect tripod for his camera.

Not for nothing 'my' King K. was also King Kong on top of the giant phallic Empire State Building that I would see five blocks away from my window on the 17th floor in 1980. There was a genius to his personality. Te, Te, and more Te. He imposed his will, he got shit done. I really can't see him as anything but TeNi now. As the ENTJ, really.

But about the unforeseen toll his PolR as superpower Si was bound to take on these King K. cottage industry alpha jumper babes in the cyberwoods...

[Roshan]

It's been asked so what is Si; by extension what is Si PolR? Let us peruse some snippets from this companion article to the previous one, linked by that site.

Under "There just was no kidding around with him": Special effects supervisor Wally Gentleman, an industry veteran, had left the project: officially to undergo surgery, actually because he was in disagreement with Kubrick’s tendency to pursue unorthodox technical solutions. (And we just read in the previous article how hard Kubrick worked to get the makers of Universe; well he lost the appropriately named Gentleman, leaving only the voice of Hal from that team. Kubrick the gentleman not.

Then next paragraph, 'He gets a phone call, goes in the office and Kubrick is there, holding up a pen. He says, ’I want to see this pen float. Don’t try to sell me on the wires, I don’t want to hear it. And make it happen.’ Utterly abrasive, and again, contemptuous of standard techniques. This followed by: 'Stanley didn’t really talk much; he was a very intense guy.' There seem to be quite a lot of TeNi's on the quiet side and a misconception that there aren't. He only made the 'chess moves' when needed. Let us recall his disparagement of making the audience 'feel good' and of sentimentality.

And then, Kubrick’s methods did not derive from a mindless capriciousness, but from his need to challenge the ways people worked. He was trying to put on screen a spectacle never seen before, an objective that could not be attained by usual practices. Eventually, he got the amount of footage he was looking for and kept showing it with pride to all the visitors on the set—always with a mischievous glint in his eye when he was asked how he got it.

Let's just say convention was not his thing. But history was. tbcd

[Roshan]

I am sticking this long essay here to refer to soon, not suggesting others read it without me as your servant and guide. It's very long and apparently written by another SiFe (possibly SiTi), and it looks like Kubrick blew this youthling's Ti/Ne gaskets. But there is plenty of stuff in it that is valuable to the analysis of Kubrick per se and stuff valuable in and of itself to see what happens when the contrary of a PolR as superpower flies to it like a moth to a shining day-glo flame.

tbcd

I refer you to the sections 'Duality and Doppelgangers' and 'Twinship and Names'. He has a couple of vids on yt (reciting 'rap' I guess); that's how I'm pretty sure he's SiTi. But it could be worse. He could, for instance, be playing The Shining forwards and backwards simultaneously, along with Abbey Road --because redrum is backwards and four times the Torrences are seen touring the hotel with Ullman, the manager, and Watson. the spring caretaker walking in a line like the Abbey Road cover, and Stephen King got the title from the line 'We all shine on'--to crack the code numerically looking for 237the time stamps (because Room 237, could be 2 hours, 37 minutes, could be 237 minutes), not to mention all the variations such as 372, 723...This is a true story.

But see that guy knew it was just a theory about a film, even though he worked on it for years and made multiple carefully constructed videos about this; he knew his girlfriend didn't agree and a lot of other people wouldn't either. Whereas this guy's 'seamless fabric of seeing' broke the fourth wall irreparably. At least Abbey Road is also an artwork and however you play the film, forwards and backwards it's still the film.

[Roshan]

This was also from Essam, haven't watched it yet but narrated by Tom Cruise. Ugh.
(Edit: No. It did not really have a narrator).

Okay.

[Roshan]

I have rewatched The Shining and Eyes Wide Shut, and also watched the documentary Room 237. I did not watch Barry Lyndon because I was on a roll.

I also saw this video below by The Shining cameraman and a biographer that came out with a Bluray edition. And then a bunch more of these Si overactivated alpha jumpers, who, mind you, they do deliver the goods. I would never otherwise have known that there were pictures of four birds in Room 237, let alone what birds they were or that they were by Charles Gould, an ornithological artist who inspired Darwin...and these birds do matter, and so the Gold Room is the Gould Room...but what you have to sift through to get to these nuggets can be ...quite depressing. Moreover with all the entomological correlating, that guy didn't even get to what was essential about those four birds but whatever, here's the two pros and tbcd