Taking Reality's Sides. Stanley Kubrick. The Shining

presentation by Corry Shores
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[The following is quotation. Image credits below. Thank you source very much.]

Taking Reality's Sides

Stanely Kubrick

The Shining

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter VIII: Cinema, Body and Brain, Thought

Chapitre VIII: Cinéma, corps et cerveau, pensée

2b: The Cinema of the Brain and the Question of Death (Kubrick, Resnais)

2b: Le cinéma du cerveau et la question de la mort (Kubrick, Resnais)

in The Shining, how can we decide what comes from the inside and what comes from the outside, the extra-sensory perceptions or hallucinatory projections? [Deleuze Cinema 2, 1989:198d]

dans « Shining », comment décider de ce qui vient du dedans et de ci qui vient du dehors, perceptions extrasensorielles ou projections hallucinatoires ? [Deleuze Cinéma 2, 1985:268c]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.

Image obtained gratefully from:

http://wondersinthedark.wordpress.com/2009/10/15/4268/

Mazey Brains. Stanley Kubrick. The Shining

presentation by Corry Shores
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[The following is quotation. Image credits below. Thank you source very much.]

Mazey Brains

Stanely Kubrick

The Shining

Gilles Deleuze

Cinema 2: The Time Image

Cinéma 2: L'image-temps

Chapter VIII: Cinema, Body and Brain, Thought

Chapitre VIII: Cinéma, corps et cerveau, pensée

2b: The Cinema of the Brain and the Question of Death (Kubrick, Resnais)

2b: Le cinéma du cerveau et la question de la mort (Kubrick, Resnais)

For, in Kubrick, the world itself is a brain, there is identity of brain and world, as in [...] the Overlook hotel in The Shining. [Deleuze Cinema 2, 1989:198b]

C'est que, chez Kubrick, le monde lui-même est un cerveau, il y a identité du cerveau et du monde, tels [...] l'hôtel Overlook de « Shining ». [Deleuze Cinéma 2, 1985:267d]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.

Image obtained gratefully from

http://rings-on-her-fingers.blogspot.com/2009/11/obligatory-spooky-post.html

Glory Brains Gory. Stanley Kubrick. Paths of Glory

presentation by Corry Shores
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[The following is quotation. I am deeply grateful to my sources, 1 and 2, for the images. Credits below.]

Glory Brains Gory

Stanley Kubrick

Paths of Glory

Gilles Deleuze

Cinema 2

Cinéma 2

Chapter VIII: Cinema, Body and Brain, Thought

Chapitre VIII: Cinéma, corps et cerveau, pensée

2b: The Cinema of the Brain and the Question of Death (Kubrick, Resnais)

2b: Le cinéma du cerveau et la question de la mort (Kubrick, Resnais)

Kubrick is renewing the theme of the initiatory journey because every journey in the world is an exploration of the brain. The world-brain is A Clockwork Orange, or again, a spherical game of chess where the general can calculate his chances of promotion on the basis of the relation between soldiers killed and positions captured (Paths of Glory). [Deleuze Cinema 2, 1989:206a] [C2, 206a]

Si Kubrick renouvelle le thème du voyage initiatique, c’est parce que tout voyage dans le monde est une exploration du cerveau. Le monde-cerveau, c’est « L’orange mécanique », ou encore un jeu d’échecs sphérique où le général peut calculer ses chances de promotion d’après le rapport des soldats tués et des positions conquises (« Les sentiers de la gloire »). [Deleuze Cinéma 2, 1985:267-268b]

Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.

Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.

Image 1 from:

http://www.chud.com/articles/articles/20854/1/CHUD-LIST-BAD-FOR-US-WORSE-FOR-THEM---DAY-9/Page1.html

Image 2 from:

http://www.thirdfactory.net/nb05Mar-Aug.html