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Stanley Kubrick’s film The Shining (1980) can be read as a central European imaginary retelling Thomas Mann’s The Magic Mountain (1924). The film constructs a dark meditation on the human condition not only through its formal and thematic focus on Mann’s novel but also through the lens of works by numerous other central European artists and scholars. Consequently, The Shining presents historical comprehension as the product not only of knowledge, but of experience, memory, and artistic representation/reception. Just as The Magic Mountain addressed itself to the crisis of European civilization that had culminated in the First World War, a deep-laid historical subtext in The Shining concerns the more desperate crisis facing the West in the wake of the Second World War. At its dark center, Kubrick’s horror film reflects its creator’s and its era’s struggle with the reality and representation of the Holocaust. [ABSTRACT FROM AUTHOR]