1) The Shining were an En… Read Full Bio ↴There are multiple artists with this name:
1) The Shining were an English rock band formed in 2002. The band comprised of Duncan Baxter (Vocals), Dan MacBean (Guitar), Mark Heaney (Drums / ex-threshold, ex-the seahorses), Simon Jones (Bass) and Simon Tong (Guitar, Keyboards), the latter two both ex-members of The Verve. The bands originally featured former The Stone Roses-guitarist John Squire, however he chose to leave the group early in the band's lifetime. Lack of interest and motivation on Squire's part were reasons cited to this decision. They released the three singles "Quicksilver", "I Wonder How" and "Young Again" throughout 2002, and then their first album "True Skies", all of which were minor successes. They split in 2003. In 2007 The Verve reunited with Simon Jones, but not with Simon Tong who currently plays in the 2 bands the good, the bad & the queen and transmission.
2) The Shining is a dutch trash metal / punk band formed in 2001 in Amsterdam.
3) The Shining was a goth band from Birmingham, UK, cold, synth-heavy, droning, drowning and quite bleakly glorious all in all. They were active again around 1990 - 1991, and are now generally totally unknown, outside of a few people who were around that scene and associated at that time.
Note: if you are here for the soundtrack of the film "The Shining", please change your tags according to http://musicbrainz.org/release/04d1386f-eaa1-4cfd-a438-fca242b19f2e
What You See
The Shining Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Till the day you draw your last breath
I see you
I never left
It's understandable to feel invisible
In a world that's so loud,
you're just a face in the crowd
It's only logical
you feel invisible
In a world that's so proud,
you're just a face in the crowd
I see you
I see you
I see you
Do you, do you see me?
It's your silence that made me notice you
It's your pain that made my heart long for you
It's your sadness that made me wanna hold you
It's your scars that made me wanna heal you
It's your scars that made me wanna feel you
It's your scars that made me wanna heal you
I see you
I see you
I see you
Do you, do you see me?
All you gotta do is,
All you gotta do is
Open your eyes
Open your eyes
Open your eyes
Lift the veil from your eyes
And see me see you
These lyrics seem to address the feeling of being invisible or unnoticed in the world, and how one person's empathy and understanding can make a difference. From the very beginning, the singer emphasizes that they have always seen the person they are addressing, and that they will continue to see them until they die. They acknowledge that it's natural to feel invisible in a noisy and proud world, but they want the other person to know that they are seen and heard.
The second verse delves deeper into the reasons why the singer is drawn to this person - their pain, sadness, and scars. The singer wants to heal and comfort them, to make them feel seen and understood. The repetition of "I see you" throughout the song reinforces the message of empathy and connection.
In the final lines, the singer urges the other person to "open your eyes" and see them in return. This could be interpreted both literally and metaphorically - the other person may be physically unable to see the singer due to a veil or mask, or they may be emotionally closed off and need to open up in order to truly connect.
Overall, the song seems to be a heartfelt expression of empathy and desire for connection, emphasizing the importance of seeing and being seen in a world where it's easy to feel lost.
Line by Line Meaning
From the first time I laid eyes on you
Since the moment I met you
Till the day you draw your last breath
Until the day you pass away
I see you
I notice you and acknowledge your presence
I never left
I never turned away or ignored you
It's understandable to feel invisible
It's normal to feel unnoticed
In a world that's so loud,
In a world that's so chaotic and overwhelming,
you're just a face in the crowd
you're just another person among many
It's only logical
It makes sense that
you feel invisible
you feel unnoticed
In a world that's so proud,
In a world that's so self-centered,
you're just a face in the crowd
you're just another person among many
Do you, do you see me?
Do you acknowledge my presence?
It's your silence that made me notice you
It was your quietness that caught my attention
It's your pain that made my heart long for you
Your suffering made me care for you deeply
It's your sadness that made me wanna hold you
Your sorrow made me desire to comfort you
It's your scars that made me wanna heal you
Your wounds made me want to nurse you back to health
It's your scars that made me wanna feel you
Your wounds made me want to empathize with you
All you gotta do is,
The only thing you need to do is,
Open your eyes
See the truth
Lift the veil from your eyes
Remove the barrier that's blinding you
And see me see you
And recognize that I notice and care for you
Lyrics © O/B/O APRA AMCOS
Written by: Xander 'Nax' Stok
Lyrics Licensed & Provided by LyricFind
@MLoreley
Interesting observation! I think that you made a lot of good points about what's going on. The Camera Look is inherently unsettling for all the reasons you pointed out, and even just on a surface level, Kubrick wanting the audience to feel unconsciously 'seen' by the movie was a major factor in why it was littered just everywhere; the unnerved effect without necessarily realizing WHY it was unnerving.
The titular "Shining" is a matter of awareness- one of a world beyond our own. The more Jack looked into the void of the Overlook, the more the Overlook was aware of *him*. Quite possibly, he was becoming more and more aware of the presence of the audience, whether it was the "we're seeing the ghosts' perspectives" or a genuine sense of being in a movie, and either one would make anyone deranged; imagine becoming aware that you're a character in a movie? A horror movie, no less? And that people were there to WATCH things go wrong, and hated you as an antagonist?
I think the inclusion of the Funny Games clip could be fairly pertinent in that case; the characters there are aware of the audience, and call them out for what they're doing.
Completely out there speculation; the movie gaslights the audience about the layout of the hotel, about whether we can trust the visions we're being shown. It uses light to direct our attention, to make us aware of something in a more heightened way by literally shining a light on it. We can sense that something is wrong, but not always place just what it is that makes us feel that way. And Jack, the abusive husband and father, is gleefully checking on us to see if we're believing his story, if we're accepting discrepancies and just taking the film at its word. "You've always been the caretaker here," he's told, even though we know he only just started months ago, and YET the final shot is of a picture that definitely places him as the caretaker of the hotel since the beginning.
He's looking at us to gauge what we believe. To figure out how to ply us even more.
@user-jq1pt8ez5i
Fantastic piece, brings full-circle something I 'felt' I noticed when the movie came out, but could not put a finger on!
Theory:
Going from the POV of 'the holographic universe', Jack is consciously aware of something the rest of normal society is only distantly aware of at the subconscious level. This is called 'The Shining' in the story, but we call it other things IRL (which isn't so real as you may deduce), like ESP, psychic energy, ghosts, collective memory, and other hard to explain events and feelings.
Holographic creation/interpretation/recreation is much more than we are aware of, until we delve deep into the subject. The theory existed long before precise equipment such as lasers and holographic paper existed. A quick summary is that all things are repeated within the image, in full dimensions, which seem as real as so-called reality, until interacted with on our material level. Basically, you are everywhere already, experiencing everything on an informational level. Most of us 'normal' humans spend the VAST majority of brain processing-power filtering, deleting and reinterpreting incoming information. People such as autistics, psychics and highly creative minds are fairly dysfunctional because they do not sort the info in standard ways that mainstream society agrees upon. This variance creates a potential for success but also one for violence, as the unique person cannot assimilate the normal frequencies used and broadcast by the majority of people (and other entities) around themselves. (Violence is the refusal to have compassion for another's POV).
If you accept the above, it stands to reason that highly unique people would want to be around others of their own kind, both to reduce the psychic pain and to forgive the variance from normal (non-violent) behavior. Also, one would not appreciate having to constantly explain how they see what is not there, which is actually MORE there than the so called RL experience. These are hard concepts to explain or accept, as most of us deal with a watered-down interpretation of RL, most of the time. But we all have GLIMPSES of the holographic potential, that instance of when time and XYZ dimensional potential allows us to know what can be done by only us, IF we reject all other inputs. Remember when Jack says, with disdain and sarcasm, "Well Wendy, what do YOU think should be done!?" In fact, his break from reality is not that, he is joining reality as those entities reveal its potential, but he must accept the painful transition. The last caregiver takes his family along. On some very disturbing level, this may not be as wrong as we normals would say, and of course we all agree on this view that Jack goes insane.
So Jack is Jack, another clue that he is seeing the holographic nature of his existence unfiltered. Jack Torrance may understand that he is Jack Nicholson in some other interpretation, and that he is being watched by you in that realm, but it is no more real than saying he is now working at a haunted hotel. He cannot explain this feeling to himself very well, and to function normally he can only take micro-glances at this other realm. The distortion causes underlying tension, ultimately anger. But there are other realms that want to make themselves real to him, to become RL for Mr Torrance. The ghosts in the hotel are no less real than you are reading this YouTube post that is TL;DR. Those entities do not accept your version of reality, and they enjoy themselves in a repeated loop of parties, drinking, sex and violence. To attain this high-society status they have rejected the peasant interpretation of whatever life they were born into. They committed a violent break from that reality, and cannot or will not return.
Jack / Jack is/was/will be one who is able to make that choice. Is it a good one? No, not from your viewing POV. But Jack is inviting you, just as the bartender and caretaker invited him back. The more entities that share a reality, the more it is real and satisfying, and likely the less violence one needs to maintain its cohesion. Jack tries to be compassionate, as does the other caretaker. But they conclude that their families are better off living with them in an eternal loop, which requires a violent reset about every 50 RL years. Jack sees a glimpse of you, and you are a threat to his choices, and a possible entity that may want to join him.
He sees the potential, he sees you.
@vincentpricecb
This is a stunning video essay, I mean that so sincerely, the attention to detail, the work that has went into presenting it and, most especially, your humility regarding this hugely important find is really impressive and inspiring. I'm afraid I have no significant opinions to add as to what it might mean, I think my best guess would be to agree with your idea it was Kubrick trying to imperceptibly disturb the audience with the almost subliminal threats to themselves as audience members, William Friedkin done something vaguely similar in The Exorcist with creepy images only lasting a few frames but it was a bit cruder than what Kubrick is doing in your analysis.
There is a cheap contrarian in all of us and I did wonder whilst I was watching your essay if these glances at the camera happened in lots of films and we just don't spot them, if it was just a natural consequence of head and shoulders shots when the actor is moving their head to look in a different direction, some of the examples you use last literally a fraction of a second, I wondered if, with you incredible eye for detail, you had looked for it happening in other films which wouldn't be as intricately planned as a Kubrick film? An obvious counter argument for this is how deliberate some of the looks are when they're pointed out to you, the obviously deliberate one when Jack is stalking away angrily from Wendy (your slow motion footage of this is somehow even more alarming) and Kubrick being shown to ask Jack to find a way of looking down at the camera when he's been locked up by Wendy
So for what it's worth I think you're 100% correct in this and I think it's a major discovery, I think it's on a level of finding the reason for the Mona Lisa's smile, it's one of the most studied films in history and by finding this detail you've added significant understanding to a cultural artefact. I honestly think you should be awarded for this, it's a hugely impressive discovery. Thanks
Edit: Didn't read all the comments before I gave my input so I can see my middle paragraph point has been addressed
@filippoulivieri
Wow thank you! I am really happy you liked the video so much, and I am very grateful for your very kind words. I have no doubts that other actors may do this in other films, but I am quite certain it doesn't happen in any other film by Kubrick. It can be a tic of Jack Nicholson, because as someone else has pointed out he does a very similar thin in The Departed. But again, it's not in a systemic, organic and omnipresent way as you can see in The Shining. So I still think that there is something meaningful here. It doesn't even matter that it is intentional or not, on second thought: the sheer number of it is enough to give it importance, as far as hermeneutics goes, so it's a detail that can be interpreted within the context of film, and perhaps should. Again thank you very much!
@benlingle3761
Lame. Nothing new in this video's thesis, plus, the reason Jack Nicholson looks right at the camera (breaks "fourth wall") is because Stanley Kubrick whispers loudly "shone" off-screen, about 30-40 times, before the 63 minute mark--
Lower the bass on your sound system, raise the treble and you can hear Stanley do this every time a character does this, until Scatman "Benjamin" Crothers does the same, about the 29th time...
Clearly, he's priming the audience, but to say or theorize anything beyond that is saneless!
BTW: Happy Birthday to Chuck Barris & Curtis Mayfield (RP too...) Anderson Cooper, Rafael Nadal, Benjamin Lingle and Tony Curtis (also, RP)!
@dombrandon3018
@@benlingle3761 Mmm, sounds a little like you're theorizing just as much as the next man, or has Kubric stated he specifically did it to prime the audience?
If not, is it not fair enough that other theories are thrown in the pot or is yours the only one that's not saneless?
@benlingle3761
@@dombrandon3018 It's in the British version of the documentary his daughter filmed--
@apollozed7827
Shortly before making The Shining, Kubrick was studying the effects of subliminal images. The fact that Nicholson is making eye contact for just a frame or two is likely a way to subliminally unsettled the audience. In fact, the entire design of the movie's set was created to make no sense all to unsettle the audience without them consciously knowing why they were creeped out. This fits with Kubrick's innovative approach to horror.
@shaggycan
This an underrated fact. I think all the stuff people keep finding, is due to this exact thing; he tried to see how many tiny threads he could try and hide in plain sight. Not because those things were particularly important, but just to see how many he could do.
@13thcentury
More likely, Jack does this in other movies.
@chasecarter8848
Thank you, I came here specifically to say what you said. The subconscious catches the look but consciously all the viewer experiences is more of that unnatural unsettling feeling that pervades the film, and as you said so well, fits well with the impossible architecture and other unsettling but not consciously recognized details.
@MattExzy
Seeing these freeze frame examples gives me a whole lot of chills down my spine, and I've watched this movie several times over the years. Having already seen it, I shouldn't have the spine chills but it is incredibly unsettling.