Ephemera related to Stanley Kubrick's Masterpiece of Modern Horror, 'The Shining'

Silicone sculptures of characters from The Shining, including authentic vintage tricycle, Adler typewriter, and custom geometric carpeting.

Artist: Howard Senft

The Grady Twins’ dresses and patent leather shoes on display at the Los Angeles County Museum of Art’s Stanley Kubrick exhibit.

Grip Dennis Lewis, Assistant Director Brian Cook, Camera Operator Kelvin Pike, and Camera Assistant Douglas Milsome set up a shot for The Shining in the exterior hedge maze set on the backlot of Elstree Studios.

Grip Dennis Lewis, Assistant Director Brian Cook, Camera Operator Kelvin Pike, and Camera Assistant Douglas Milsome set up a shot for The Shining in the exterior hedge maze set on the backlot of Elstree Studios.

Actor Joe Turkel and director Stanley Kubrick on the Gold Room set of The Shining.

Actor Joe Turkel and director Stanley Kubrick on the Gold Room set of The Shining.

The new NBC television program, Hannibal, contains many subtle and not-so-subtle references to the films of Stanley Kubrick. The Shining is particularly well-represented, as evidenced by this still from the show. in an Entertainment Weekly article, Showrunner Bryan Fuller discusses the influence The Shining had on him as a child, and why he’s chosen to pay homage to the film in Hannibal.

The new NBC television program, Hannibal, contains many subtle and not-so-subtle references to the films of Stanley Kubrick. The Shining is particularly well-represented, as evidenced by this still from the show.

in an Entertainment Weekly article, Showrunner Bryan Fuller discusses the influence The Shining had on him as a child, and why he’s chosen to pay homage to the film in Hannibal.

Actors Jack Nicholson and Shelley Duvall attend a party for the London premiere of Superman during the filming of The Shining. They’re joined by James Coburn, Ringo Starr, and singer Lynsey De Paul.

Actors Jack Nicholson and Shelley Duvall attend a party for the London premiere of Superman during the filming of The Shining. They’re joined by James Coburn, Ringo Starr, and singer Lynsey De Paul.

In his essay on the uncanny, ‘Das Unheimliche’, Freud said that the uncanny is the only feeling which is more powerfully experienced in art than in life. If the [horror] genre required any justification, I should think this alone would serve as its credentials.

Stanley Kubrick, discussing The Shining with film critic Michel Ciment.
Publicity still from The Shining. This image was taken directly from one of the frames used in the finished film, although it was rotated ninety degrees from how it appeared in the movie. The image is of Danny lying in bed having a vision of the bloody elevator, but it was released for press and other use in this vertical orientation.

Publicity still from The Shining. This image was taken directly from one of the frames used in the finished film, although it was rotated ninety degrees from how it appeared in the movie. The image is of Danny lying in bed having a vision of the bloody elevator, but it was released for press and other use in this vertical orientation.

Set of ten lobby cards from the original U.S. theatrical release of The Shining.

Stills from an episode of The Simpsons entitled “Bart to the Future,” with corresponding stills from The Shining. (submission courtesy Wayne Kotke)

Stills from an episode of The Simpsons entitled “Bart to the Future,” with corresponding stills from The Shining.

(submission courtesy Wayne Kotke)

Set of six lobby cards from the Australian theatrical release of The Shining. 

The helicopter footage shot for The Shining’s title sequence was originally intended to be used only for that sequence. For the later sequence where Jack Torrance returns to The Overlook with Wendy and Danny, Kubrick had originally planned to use a series of ground-based shots showing the yellow Volkswagen towing a small trailer with the family’s possessions. Those shots were filmed by the 2nd unit crew, but during the editing process, Kubrick decided not to use them. He instead made use of more of the footage that had been shot for the title sequence. Many have speculated as to how the Torrance family could have possibly brought all the luggage shown in the hotel’s lobby when they arrive. This explanation answers that question. This behind-the-scenes photo from The Shining’s 2nd Unit shows camera operator Jeff Blyth, Jeff’s wife, and their camera assistant. The three doubled for the Torrance family in the many unused shots of the car, and are wearing costumes from the film. Note their “Tony” finger poses. (photo courtesy Jeff Blyth)

The helicopter footage shot for The Shining’s title sequence was originally intended to be used only for that sequence. For the later sequence where Jack Torrance returns to The Overlook with Wendy and Danny, Kubrick had originally planned to use a series of ground-based shots showing the yellow Volkswagen towing a small trailer with the family’s possessions. Those shots were filmed by the 2nd unit crew, but during the editing process, Kubrick decided not to use them. He instead made use of more of the footage that had been shot for the title sequence. Many have speculated as to how the Torrance family could have possibly brought all the luggage shown in the hotel’s lobby when they arrive. This explanation answers that question.

This behind-the-scenes photo from The Shining’s 2nd Unit shows camera operator Jeff Blyth, Jeff’s wife, and their camera assistant. The three doubled for the Torrance family in the many unused shots of the car, and are wearing costumes from the film.

Note their “Tony” finger poses.

(photo courtesy Jeff Blyth)