For many, Stanley Kubrick’s The Shining is the exemplar of modern horror. It wasn’t gore that instilled such fear in its audiences, but the terror of isolation, domesticity, and the decline of the human psyche.
The Shining, adapted from a 1977 novel by the maestro of terror himself, Stephen King, has long been celebrated, sampled, reframed, conspiracy-theorised and dissected to the point of parody. And with a cult following, cultural weight and bank of symbolism this big, is there anything left to see, or say?
Yes, according to Taschen, which will publish a new limited-edition three-volume book collection in February 2023. Ten years in the making, the edition includes hundreds of never-before-seen production and behind-the-scenes photographs, rare production documents, private correspondence, and set design sketches from the Stanley Kubrick Film Archives, conceptual art, an exclusive look at deleted scenes, alongside a set of facsimile reproductions of ephemera from the film.
Edited by ‘Shining aficionado’ and Academy Award-winning film director Lee Unkrich, with text by bestselling author JW Rinzler, the book is a deep dive into the mechanics of how The Shining came to be, from Kubrick’s endless script rewrites to the film’s pioneering use of the Steadicam, and how exactly that blood-filled elevator happened.
As Steven Spielberg described, ‘You must read this book. And then – watch The Shining again the second you put the book down. And I don’t care if you’ve seen it 50 times, you will never see it the same way again. It’s going to change everything.’
Stanley Kubrick’s The Shining, limited-edition of 1,000, £1,500 each. taschen.com (opens in new tab)
Harriet Lloyd-Smith is the Arts Editor of Wallpaper*, responsible for the art pages across digital and print, including profiles, exhibition reviews, and contemporary art collaborations. She started at Wallpaper* in 2017 and has written for leading contemporary art publications, auction houses and arts charities, and lectured on review writing and art journalism. When she’s not writing about art, she’s making her own.
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