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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]

The article presents a film criticism of the 1980 motion picture "The Shining," directed by Stanley Kubrick. The author asserts that the film features a strong cinematic subtext linking it to the Jewish Holocaust. Kubrick's personal connection to the issue as a Jewish film maker is outlined, suggesting that while Kubrick rarely addressed the subject direct, it manifested itself subconsciously in many of his films. Several elements of the film are then highlighted and analyzed in this frame, such as its color scheme, its use of monsters and supernatural evil, and its metaphorical connections to older German literature of the grotesque.

Deals with the use of psychoanalytic approach in understanding the life and work of the film director Stanley Kubrick. Similarities between psychoanalysis and motion picture film; Beliefs of Kubrick; Analysis of the works of Kubrick.