The Shining (1980)

In The Shining, Ray Lovejoy makes use of different elements of editing to create tension and to interpret a sense of power from one of the charcaters.

In the scene when Wendy discovers Jack’s typewriter, Lovejoy regularly uses reverse shots to make the transitions work flawlessly and to create a tense scene. By using reverse shots over and over again, the audience can interpret a lack of coherency and equilibrium to the conflict. Reverse shots are also used to make Jack seem insane, especially in the scene where a medium-range shot conveys that he is talking to himself and his imaginary conversation continues.

In the stand out scene from an editing standpoint, Wendy and Danny leave their hotel to explore a hedge maze. Their excitement then cuts to a shot of a bored Jack throwing a ball around the hotel and then walking towards a 3D model of the maze in the hotel. This is followed by a close-up of the model of the maze, complete with miniature versions, supposedly Wendy and Dan. The audience can hear Wendy and Danny talking, further creating the illusion that Jack is watching. While this continues, the scene cuts to the real versions of Wendy and Danny in the hedge maze. Subsequently, this is an example of parallel editing, as the audience may interpret that Jack is literally watching, and holding a sense of power as the other two go through the maze. You could also interpret that Jack already knows what will happen to them, which is testament to the idea of Jack being more knowledgeable of the hotel and the ghosts, compared to Dan and Wendy.

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