2016年6月4日 星期六

RIP Prince. Stanley Kubrick's The Shining

Daily Mail
The vault 'contains enough new Prince material to release an album a month for the next decade'

'Drilled open after secretive Prince took the combination to his grave'
DAILYM.AI

2016.4.29

今天中午CNN請"Dr. Drew"評論天王歌星Prince的死因:Prince沒有感冒,而是規避正式醫藥管道,服用大量的止痛藥:鴉片劑(Opiate)---此類全美氾濫成災,如下:


(弱效鴉片類藥物(opioid):

這 類藥物直接作用於中樞神經,止痛效果快又好,但是副作用也不少,像是暈眩、呼吸抑制、腸胃活動抑制等,造成病患腹脹、便秘,還有成癮性的顧慮。所以僅建議 在急性期使用,也要盡量遵守「最短期間、最小劑量」的原則,隨時調整,以避免不必要的藥量。因此此類藥物不適宜規律給藥,一般以需要時給藥、或如前述由病 患自控式給藥,較為恰當。

鴉片類藥物(Opioid)是一類具有嗎啡作用的化學物質。它的主要用途是鎮痛。鴉片類藥物通過存在於中樞神經系統和消化系統的鴉片類受體(Opioid receptor)起作用。這些鴉片類受體能引發有益的藥物作用或藥物不良反應。
鴉片類藥物可劃分為以下幾類:
天然鴉片劑:包含在鴉片罌粟樹脂中的生物鹼,包括嗎啡和可待因。
半合成鴉片劑:用天然鴉片劑製造而成。比如氧可酮、氫可酮、海洛因等。
合成鴉片劑。比如芬太尼、哌替啶、美沙酮和右丙氧芬。
內源性鴉片肽:由人體天然產生。比如腦內啡和強啡肽。
雖然鴉片劑(Opiate)經常被作為是鴉片類藥物的同義詞,但更確切地說鴉片劑一詞應只限於天然鴉片生物鹼和它們的半合成衍生物。一些具有鴉片類藥物效力的次要的鴉片生物鹼和其他一些物質也在自然界中被發現,其中包括紫堇屬和鼠尾草屬植物中的生物鹼。在所有超過120個罌粟物種當中,只有兩個可以製造嗎啡。經發現,人體和一些動物的身體會天然產生少劑量的嗎啡和可待因。)
As opioid epidemic grows, the company that makes a medication to block the effects of an overdose says it will give a free carton of the antidote to any U.S. high school.


Freedom is sexy. But to be bound to music was even sexier than freedom. So Prince let it fill his days, and his sleepless nights

Prince Rogers Nelson, musician, died on April 21st, aged 57
ECON.ST



Po Hwa Lin
Prince 1980年代最厲害的天王,4月21日過世。還記得1984年,連續三首歌登上排行榜冠軍。
前幾週才好好搜過他的視频,常常受邀頒獎⋯⋯
https://www.youtube.com/watch?time_continue=15&v=yferQdos1oM

Prince Rogers Nelson | The Last 7 Days



Prince, an Artist Who Defied Genre, Is Dead at 57

By JON PARELES

The prolific songwriter and performer's decades of music transcended and remade funk, rock and R&B with hits like "Purple Rain" and "1999."


ABC News
RIP Prince. abcn.ws/1VIE8HQ


USA TODAY 分享了相片




WQXR 分享了 Classic FM 的相片
RIP, Prince.
Classic FM
12小時
We've lost a great virtuoso. RIP, Prince.
方祖涵
明尼蘇達雙城隊球場變成紫色,因為在這裡出生、成長的歌手王子(Prince),是百分之一百的明尼蘇達男孩。
王子在1984年出版的專輯歌曲紫雨(Purple Rain),感動了無數人,也讓他很特殊的名字,變成美國家長替男寶寶取名的選擇之一。
像是在日本跟美國職棒都留下神奇紀錄的費爾德(Cecil Fielder),在1984年生的兒子,名字就叫做Prince Fielder。雖然沒有太多親情的聯繫,父子兩個人,卻還是以大聯盟全壘打王的頭銜連結著。
紫色的球場,天空落著細雨,這張充滿詩意的照片裡,少的只有紫雨的樂聲。因為王子離開了。


The Official Site of Major League Baseball
M.MLB.COM


2016.6.4
A film, a prequel, a sequel, a documentary film and now an opera. "The Shining" lives on because it taps into something deep in the psyche

"The Shining" is a rare type of horror film: one that keeps the lights on
ECON.ST

高苦茶分享了 Homunculus House 的影片
英國 Channel 4 電視台 為了庫柏力克影展
特別拍攝宣傳片, 重現 "鬼店" 電影拍攝場景工作現場
一鏡到底 該有都有



36,594 次觀看
Homunculus House
Britain's Channel 4 created this one-take tracking shot through a recreation of THE SHINING set to promote a showing of Kubrick's films.
Most of the equipment in the clip was actually used in the filming of the original movie.


23:30 0829 2014 五
.庫伯力克的"鬼店(SHINING)"
公視 復刻經典影展 【鬼店】電影完整劇情介紹及精彩對白
電影完整劇情介紹及精彩對白

The Shining: the film that frightened me most

It wasn’t so much the axe-wielding maniac, the twins or the corridor of blood that left Peter Kimpton sleepless, but that he began to doubt his own eyes on first view of Kubrick’s classic













The dream-like opening of The Shining

All at once I am flying across a Colorado lake and mountains, with a yellow VW Beetle down below, heading towards the vast, bleak, Overlook hotel. Jack Torrance (Jack Nicholson) is calmly agreeing to be caretaker with wife Wendy and son Danny over the winter period, but everybody else is heading in the other direction. He’s grinning, and says he hopes to get some writing done. In my experience that’s already a bad sign. And alongside the splendour of the setting, there’s a blandness about the packing away, the end-of-season closing down. It’s a normality, with aura of something not right. This, and the early part of the score, really gets under your skin. There’s a powerful sense of foreboding. The combination is dream-like, inexorable, and as Stanley Kubrick undoubtedly planned, makes you feel vulnerable.













Stanley Kubrick on the set of The Shining, 1980
Would you trust this man? He’s scary enough in this shot. Stanley Kubrick on the set of The Shining, 1980. Photograph: Everett Collection/REX

There are many terrifying things in Kubrick’s horror masterpiece. There’s the rattling, stabbing, jagged violins at key moments using music from Krzysztof Penderecki’s Polymorphia. Then there’s little Danny’s imaginary friend, Tony, who lives in his finger, or mouth or wherever, and speaks in Exorcist-type robotic tones, climaxing in the REDRUM /MURDER mantra written on the bedroom door. There’s the horrible death of amiable head chef Mr Halloran, Danny’s psychic shine friend, chopped down when all he does is to drive through the snow to see if they’re alright. No! He killed Scatman Crothers, the voice of Hong Kong Fooey and occasionally on Scooby Doo. Then there’s the woman in room 237, who commits the mortal sin of turning old and rotting very quickly in the middle of a naked snog. Urrgh. Shiver! And then, after the brilliantly innovative floor-level Steadicam footage of Danny tricycling through the corridors, there’s the terrible twins. OK, Let’s play it.













Come play with us, Danny. For ever and ever.

Yet the scariest thing about The Shining is how it always plays with your perceptions. The most shocking revelation comes in the typewriter scene, where Wendy, played by Shelley Duvall, who does frightened like nobody else and is film’s answer to Edvard Munch’s The Scream, discovers that her husband has typed, over and over, nothing but reams of the same phrase: “All work and no play makes Jack a dull boy.” As she glances through, the typing also contains fleeting glimpses of the phrase mutate into “dolt boy” to “adult boy”.
But even before this catastrophic moment, Kubrick seems to have been playing subliminal games. I did not notice this until years later, but in a precursor scene in the same Colorado lounge, when Jack tells Wendy not to disturb him when he is writing, the typewriter changes from a small white model to a large grey one, and a chair in in the background disappears, reappears and disappears. The film is full of other object and hotel layout anomalies which subconsciously cause us disquiet. They simply cannot be continuity errors from a director so well known to be painstakingly meticulous. So, after Wendy’s discovery, a central scene unfurls in which Jack explains his “obligations”.













Things go a bit batty for Jack Nicholson and Shelley Duvall in The Shining.

Although there’s nothing friendly about a river of blood in a corridor, mental breakdown can be just as frightening as physical horror. Much has been said about the hidden messages in the film, that it plausibly refers to the killing of native Americans, or more obscurely the Holocaust, or perhaps even less likely, clues that Kubrick helped create false footage of the Apollo 11 moon landing. Much of this is discussed in the Rodney Ascher’s interesting 2012 documentary, Room 237
But the dialogue in the bat-swinging scene for me hits the heart of the horror, the centre of this maze of corridors, hedges and carpet patterns, and Jack’s so-called minotaur within it. Jack seems to turn on his family not because of visions or demons, but because he cannot find a proper job, a role, an identity, and balance this with ordinary family life, and adulthood. He has driven himself mad from an obsession with his contractual obligation at the Overlook hotel. The feeling is shaped by his offbeat, surreal encounters in the dining room with the ghosts of barman Lloyd and caretaker Grady. He tells his wife “I gave my word’ - and that she doesn’t understand his “responsibilities”. Here is the banality of evil from everyday life, out of drudgery, and that is key to why it’s all so frightening.
But that doesn’t deny me being absolutely terrified by such scenes as when Wendy glimpses a man dressed as a rabbit appearing to give another man a blowjob in the 1920s. The scariness, the first time, came because it happens quickly, the camera zooms as they look back at you, and because you’re not really sure what you’re seeing. I found myself doubting my own perceptions.













Was that a rabbit?

While it isn’t the actual plot climax to the film, the absolutely most chilling moment is also the funniest. I’m referring, of course, to the door-chopping scene, with Nicholson’s twisting nursery rhymes and where he improvised a phrase from the Johnny Carson show. Kubrick, living in the UK at the time, didn’t get the reference at first, and nearly cut it. It still makes me jump, even though I know what’s coming up.













Here he is, then.

The film ended. And as Jack sat frozen in the maze, I sat frozen in a cold sweat to the sofa. I didn’t sleep at all that night. My parents came home and I locked my bedroom door, but that wouldn’t have stopped Jack. And when I eventually did sleep the next night, it was far from restful then, or for several weeks. Why? Not so much due to scenes of bloody horror, but more because I wasn’t really sure what I was seeing, and it several years for me to understand why. Is this a shared experience, or was I going slightly mad?
張貼留言

網誌存檔