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Tragedy

The Shining: Kubrick’s unheimliche manoeuvre

How do you…fill your days?’
My editor was looking at me with a hint of concern, in a cafe on Portland Street. She was worried I was losing my edge. It had been almost a year since my first book had come out, and still I hadn’t started working on another. Well, I thought to myself. Kubrick didn’t rush his projects. 12 years between his penultimate and final movie. Besides, how could I explain to her or anyone that I’d spent the last four days somewhere else entirely, perhaps in another dimension, also known as the Overlook Hotel.

But I’m getting ahead of myself. It all started on Tuesday.

On Tuesday evening, I watched a film called Room 237. It introduces us to some of the online obsessives who, in the last few years, have put forward complex and often very sophisticated readings of Kubrick’s horror-masterpiece of 1980, The Shining. We hear from six critics, each putting forward a different master-theory of the film: that it’s about the Indian genocide, or the Jewish holocaust, or the faking of the moon landing. Some of the theories are more credible than others, but the film certainly convinces you that Kubrick is playing some strange semantic games.

There’s the question, for example, of whether the ghosts in the hotel are real or just a reflection of Jack’s inner demons. He only ever sees the ghosts when there are mirrors around. Who is the management of the hotel, the higher powers driving him to kill his wife and child? There’s also the weird ending, with the photo of Jack from a party at the hotel in 1921. He is told that he’s ‘always’ been the caretaker. Has he been reincarnated? And who in damnation is that guy in the bear suit?

Then there are the little details that have driven online theorists crazy with speculation. The film is full of continuity errors – furniture appearing then disappearing, photos on the wall changing arrangements. The first scene in the hotel takes place in a room which appears to have an impossible window (see the map below) – as if the hotel’s architecture doesn’t make sense, like a building in a dream. These hints of hidden meanings and codes have driven people to construct theories bringing together every single detail in the film, from typos on the pages Jack writes (‘all work and no play makes Jack a dull boy’) to the cartoon figures on Danny’s bedroom door. Everything becomes soaked with hidden significance.

Re-activating Animism

One way to understand the film is as an exploration of how we have an emotional need to find hidden meanings, as Sigmund Freud discussed in his essay, Das Unheimliche, or The Uncanny. Kubrick and his co-writer Diane Johnson repeatedly read and discussed this essay while writing the script for The Shining.

In his essay, Freud begins by exploring the etymology of the German word unheimliche, the opposite of heimliche which means ‘homely’ or ‘familiar’. He suggests that the uncanny is the fear we feel when the homely is made strange and frightening to us. Freud then explores some of the plot-devices with which Gothic writers produce this feeling in us  – ghosts, dopplegangers, telepathy, curses, apparitions in mirrors, inanimate objects coming to life, events from the past repeated, numbers repeated, symbols and patterns repeated, all of which produce the over-riding sense of “something fateful and unescapable”. Freud suggests that these Gothic plot-devices work on us emotionally because they reconnect us to our pre-modern animist beliefs. The uncanny, he writes, connects us to

the old animistic conception of the universe, which was characterized by the idea that the world was peopled by the spirits of human beings, and by the narcissistic over-estimation of subjective mental processes (such as the belief in the omnipotence of thoughts…the carefully proportioned distribution of magical powers)…It would seem as though each one of us has been through a phase of individual development corresponding to that animistic stage of primitive man, that none of us has traversed it without preserving certain traces which can be re-activated.

Romantic literature attempted to keep alive this old animist paradigm within the scientific-industrial age, and succeeded for a while, but gradually such beliefs came to seem more and more childish to us, and were pushed to the margins of our culture, into nursery rhymes and fairy tales, and then into the ‘low art’ of fantasy, horror, science fiction and comic book culture. Modern men and women duck into the low dives of ‘trash culture’ to re-activate their primitive belief in the spirit-world.

Kubrick recognised this cultural-religious function in sci-fi (he explored animist-religious ideas in 2001: Space Odyssey) and in horror-fantasy. He rang up Stephen King at 7am one morning, in their first conversation, and launched in with ‘I think stories of the supernatural are always optimistic, don’t you?’ King, perplexed, asked ‘why do you think that?’ ‘Because supernatural stories all posit the basic suggestion that we survive death.’ They appeal, he later said, to our ‘longing for immortality’. They also posit the suggestion that there is some higher pattern, some secret dimension, to our banal material existence, which is also perhaps an optimistic idea, even if the secret dimension turns out to be Evil.

Engineering the Uncanny

What Kubrick does in The Shining, and what David Lynch does in his works, is masterfully re-activate these animistic traces and engineer a sense of the uncanny. (Kubrick made the crew watch Lynch’s Eraserhead before making The Shining to give a sense of the mood he wanted to evoke, while Lynch’s Twin Peaks is clearly influenced in turn by The Shining). Take Kubrick’s repetition of certain numbers. Freud noted:

we of course attach no importance to the event when we give up a coat and get a cloakroom ticket with the number, say, 62; or when we find that our cabin on board ship is numbered 62. But the impression is altered…if we come across the number 62 several times in a single day, or if we begin to notice that everything which has a number – addresses, hotel-rooms, compartments in railway-trains – always has the same one, or one which at least contains the same figures. We do feel this to be ‘uncanny’, and unless a man is utterly hardened and proof against the lure of superstition he will be tempted to ascribe a secret meaning to this obstinate recurrence of a number…

Kubrick seized on this idea for The Shining. The cover of his edition of Stephen King’s novel is covered with scrawls of him trying to work out ways to use the number 217, which in King’s novel is the hotel-room where Danny and Jack see a witch (it’s changed to the number 237 in the film).

Kubrick’s copy of Stephen King’s The Shining

Kubrick repeats the number 42 throughout the film – on Danny’s shirt, on the number-plate of Hallorann’s car. When Danny and his mum are watching TV, it’s showing a film called The Summer of 42. The numbers 2, 3 and 7 when multiplied together make 42. The stools in the bar where Jack meets the ghostly barman are arranged in a group of four and a group of two. And so on.

Kubrick also plays with mirrors, twins, dopplegangers and doubling to suggest hidden connections between figures – Danny is connected by telepathy to Hallorann, Jack is haunted by the ghost of the previous caretaker Grady, or maybe he is the previous caretaker. David Lynch did the same sort of thing in Twin Peaks – Laura is doubled with her evil doppleganger from the Red Room, and also with her cousin Maddy. Her father Leland is also Bob, who appears when he looks in mirrors. In the Red Room, the giant is doubled with the dwarf, who speaks in reverse in a sort of mirror-language, just as Danny does when he chants Red Rum. Both Kubrick and Lynch also use garish carpet patterns to suggest hidden patterns in reality (they should have opened a store together: Uncanny Carpets).

 

 

 

 

 

The Uncertainty of the Uncanny

At the heart of the uncanny is a confusion of the self and its boundaries. The philosopher Charles Taylor suggests that in the modern secular age we all have ‘buffered selves’ that are walled off from nature and from each other. In the animistic age, we had ‘porous selves’, selves without firm boundaries, invisibly connected to each other by thoughts, energies, elective affinities, and also connected to the spirit-world, capable of being invaded by  benevolent or malevolent spirits. In the modern world, we are autonomous agents trying to figure out what to do in an indifferent universe. In the animist world, we are the creatures of the Fates, threads in some cosmic pattern of Good and Evil.

The uncanny is a particularly modern emotion, however, because it rests on an ambiguity and uncertainty about whether there is a natural or a supernatural explanation for the eeriness of the atmosphere. The Bible is not an uncanny work because it is very clear that all the supernatural events are the work of God or the Devil. There is no ambiguity. The Shining is an uncanny work because there is this uncertainty. This is what initially drew Kubrick to King’s novel. The ghosts appear at the corner of our eye, at the margins of our modern rational consciousness.  The events in the Overlook Hotel could be explained in secular Freudian terms as fantasies emanating from the hidden violence in the Torrance family – Jack’s murderous anger and Danny’s Oedipal rage. The Shining could simply be a story of male domestic violence against women and children. Likewise, Twin Peaks could simply be a drama about an incestuous family.

Kubrick complicates matters further by introducing a political level of significance. The violence in the film could also point to the historical violence of white Americans against Indians (the hotel is on an Indian burial-ground and there are Indian symbols around the hotel) or African slaves, or the Nazis against the Jews (42 was the year Hitler began the Genocide). Or the film could simply be a story of how the political elite (the hotel management and its powerful guests) use stooges like Jack for their state-sponsored mass murders – look, in the final photo, how Jack’s hand seems to be held up by the rich people around him. He is their  puppet, their errand-boy.

Can we escape the past?

Is The Shining really an optimistic film, as Kubrick suggested all horror stories are? On one reading, the film could suggest humans are trapped in cycles of violence, frozen in sin like Jack at the end of the film,  doomed to repeat our crimes over and over. On the other hand, Danny and his mother escape the Overlook Hotel. Danny is not lost in the maze – he retraces his steps and gets out. Perhaps we too can escape history.

Perhaps the film suggests that we’re at risk when we overlook things, when we forget the crimes of the past – like Dilbert Grady apparently forgetting that he killed his wife and children. Art holds a mirror up and show us our dark side, reminding us to take care, showing us a way out of the maze like Ariadne’s thread or Perseus’ mirror-shield.  Kubrick said: “There’s something inherently wrong with the human personality. There’s an evil side to it. One of the things that horror stories can do is to show us the archetypes of the unconscious: we can see the dark side without having to confront it directly.”

Or perhaps that is too neat and utilitarian an explanation of art’s power, and art is in fact more dangerous than that. The uncanny, after all, is a dangerous emotion. Once activated, how can we be sure it will stay within the bounds of art and not spill out into reality? How can we be sure we will not ourselves be possessed by the old belief-system and find ourselves back in the demon-haunted world we thought we had left behind?

Kubrick wrote: “Freud said that the uncanny is the only feeling which is more powerfully experienced in art than in life. If [horror] required any justification, I should think this alone would serve as its credentials.”  For better or for worse, we crave the uncanny. We have a deep emotional need for patterns of meaning and intimations of immortality. Freud would say that was the vestige of our primitive self, Jung would say it was our true self seeking its Maker.

Either way, modern life does not that satisfy this emotional need for the uncanny, so we turn to art, and to The Shining. We try to decipher Kubrick’s intentions as if he was God, and every detail of His creation is a clue to His meaning. Like lost souls, the acolytes haunt the Kubrick archives at the University of Arts London, which I imagine as a vast warehouse containing an almost infinite number of crates. And in one of those crates, perhaps, lies the key.

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In other news:

John Gray is our next guest at the London Philosophy Club, on April 9. You can sign up here.

How useful would randomised controlled trials be in public policy, in areas like education for example? The debate rages on the internet, as Michael Gove dismisses ‘bad academics’ for blocking evidence-based policies, while some academics suggesting there are risks to thinking everything can be quickly solved by an RCT. Rebekah Higgit summaries the debate and provides lots of useful links here, while Evgeny Morozov warns of the risk of ‘solutionism’ in public policy, in his new book reviewed here.

Teenagers used to define themselves by whether they liked Blur or Oasis. Now they define themselves by whether they own Mac or Samsung, argues this piece. And, to prove how chic geekdom has become, Owen Wilson and Vince Vaughn’s new film sees them become hapless interns at Google. Sounds…pretty dire!

I’m working on an article looking at five years of Improved Access for Psychological Therapies (IAPT), the British government’s flagship mental health policy which has brought CBT to the masses. Here is a good blog by a therapist looking at the data coming out of IAPT. And here’s a good new article in Philosophy, Psychiatry and Psychology looking at the limits of evidence-based medicine in psychiatry (behind a pay wall alas).

A philosopher and psychologist debated whether psychology was a science or an art on Radio 3’s Nightwaves this week. The debate then rumbled on for days on Twitter…for all I know it’s still going. The discussion is 34 minutes in here.

Some new books. My friend Tom Chatfield from the School of Life has a new book out called Netymology, a dictionary for tech language. Another friend, Tom Butler-Bowden, has a new book out called 50 Philosophy Classics – I’ll publish an interview with him soon. I’m still reading David Esterly’s book about wood-carving and philosophy  – it’s really brilliant. I admire David a great deal.

Finally, here’s a Tumblr that made me laugh a lot this week – a collection of lousy book covers from the world of fantasy fiction. Enjoy, and see you next week.

Jules

Scrubbing up religion to make it fit for polite society

I had the pleasure of meeting Jonathan Haidt on Monday at the RSA. Haidt, as you all know, wrote The Happiness Hypothesis, which really inspired me. I gave him a copy of my new book, so if you see it in a bin near the Strand, it’s yours! Haidt’s own new book is called The Righteous Mind: Why Good People are Divided by Religion and Politics.

It’s a very interesting and quite ideas-packed book. A lot of ‘intelligent non-fiction’, particularly in psychology, can be easily boiled down to a 10-minute TED talk (indeed many books should have stayed as TED talks), but Haidt’s book – shock horror! – has more than one idea in it. It talks about the emotions beneath different political ideologies, how our brains generate sacred values, and how religions help societies to cohere and bond.

It’s this last idea that Haidt discusses in his very slick TED talk on religion and ecstasy (I love the animated slides – it’s lecture-as-movie-experience). His talk begins with William James, and a brief look at revelatory ecstatic experiences – those moments where, as Haidt puts it, a door seems to open in our heads, and we are suddenly lifted from the profane to the sacred. Haidt talks about how such revelatory experiences can involuntarily happen to us (we are seized by forces, as the young Wordsworth feels himself to be), or we can voluntarily engineer them by taking psychedelic drugs, as shamans did (or do).

Then Haidt moves, quite rapidly, to a social or Durkheimian explanation of religion. Sacred values, he says, give societies something to cohere around, to coalesce around. They help us bond, and help our societies endure and resist external shocks. He shows us the fascinating work by the anthropologists Richard Sosis and Eric Bressler, who studied American communes in the 19th century, and found that the religious communes which demanded a lot more from their members survived far longer than the secular communes which demanded less (see the graph below).

So, and this is Haidt’s main point, perhaps there’s an evolutionary purpose to religions. Perhaps they evolved at a certain period in human evolution, around 10,000 years ago, to help human tribes to cohere and cooperate, making them more adaptive and resilient. They are the product, he suggests, of ‘group selection’ – apparently a rather controversial idea in biology. You can be an atheist, as he is, and still have respect for the sacred and its socially adaptive function. ‘

And you don’t need the supernatural for a sense of the sacred’, he insists. ‘You could get it from your country, or from nature.’ Well, maybe, though I’d suggest if people get really worked up about their country, there’s probably a bit of the supernatural mixed in – think of how American nationalism is often mixed in with a sense of manifest destiny.

Haidt is certainly right that religions can bond societies together and help give them a collective sense of meaning, and that this can help them respond to shocks and threats. Others have also argued this recently – from the philosopher Charles Taylor to Robert Wright to Alain De Botton. At a time of riots and revolutions, it’s unsurprising that liberals suddenly start talking about how religions create social stability, as Edmund Burke and William Wilberforce did after the French Revolution.

But I think the Darwinian social function theory of religion leaves something out. It leaves out the phenomena that Haidt begins his TED talk with – the sheer strangeness of revelatory and ecstatic experiences. In such moments, humans feel invaded by external powers, filled with the holy spirit, possessed, overwhelmed. There is something extremely wild, psychotic even, about some religious phenomena, and I think both Haidt and De Botton, in their eagerness to rehabilitate religion for a polite secular bourgeois audience, leave some of that wildness out.

Haidt presents a nice evolutionary story: at a certain stage of evolution, humans came up with religion to help our tribes cohere. But the story is weirder than that. At a certain stage in evolution, humans became conscious, and felt bombarded by messages from gods and angels. We tripped into consciousness, and this must have been both an awesome and a completely terrifying experience. It seems to me that William James appreciated the savage rawness and weirdness of the revelatory experience. Haidt does to some extent, but not sufficiently. (That’s St Theresa on the right, by the way, getting slapped around by some angel. Take that Theresa!)

I put this to Haidt, and he began by saying that James was a depressive recluse, so was focused very much on the individual aspects of religious experience rather than the social. Fair enough, though a bit harsh on James. Haidt then suggested that homo sapiens believed the universe was full of spirits as a side-effect of evolving a theory of mind. It was very adaptive to be able to infer other humans’ intentions, and as a result, we started to infer intentions everywhere – the sky thunders because God is angry etc (this is a theory known as the Hyper-Active Agency Detection Device, which Jesse Bering ably explored in his book The God Instinct).

But, again, I don’t think this adequately explains revelatory experience. The experience of hearing voices, seeing visions, feeling suddenly filled with the holy spirit etc is simply far more powerful and immediate than inferring divine agency when you hear some thunder. It’s a feeling of being actively invaded and overpowered by an external agency. Such experiences can certainly be socially cohesive, but they can also be highly socially disturbing. They are weird, uncanny, abnormal, frightening. The people who experience them are, traditionally, weird, frightening figures, half in the tribe and half out of it (half in the profane world and half in the sacred, as Mircea Eliade put it in his study of shamanism). They might be revered by their tribe and followed. Or they might be executed for being demonically possessed.

Haidt emphasizes the social cohesion role of the sacred, and seems to suggest our Enlightenment cultures need a bit more of the sacred in our lives and societies. But the sacred is notoriously hard to manage, politically, as King Pentheus knew (he’s the hero of Euripides’ Bacchae, who tries to ban the ecstatic cult of Dionysus. He even tries to imprison Dionysus, but the god of ecstasy escapes and sends Pentheus into madness. He ends up getting ripped apart by the maenads). What I admire about ancient Athens in the fifth century BC is its ability to balance the rationalist with the irrational and daemonic: Socrates and Sophocles, two sides of the human personality balancing each other out. But our Enlightenment societies have far more difficulty in seeing any value in the ecstatic, the revelatory or the daemonic. It simply terrifies us. It’s too weird, too uncivic, too impolite.

The last generation to be genuinely OK with revelatory experiences was the civil war generation of Oliver Cromwell, the Quakers and John Milton. In some ways, you could read Milton’s Samson Agonistes as the swan-song for revelatory experience in western culture. Samson sits in jail, wondering why God isn’t sending him any more messages. Well – we’re all wondering that now Samson. Why aren’t we getting any messages? What’s up with our reception! After the prophetic violence of Milton’s generation, England settled down to a calmer and more polite culture that was very suspicious of religious ‘enthusiasm’. And with good reason: the ‘voice of God’ often told people to kill, as God tells Samson to do. Such experiences have to be controlled and even banished in a multicultural rational commercial society. (Check out this excellent video of Stanley Fish discussing the inherent weirdness and illiberal savagery of Samson Agonistes, by the way).

Soren Kierkegaard was right, I think, to insist on the strangeness and irrationality of religious experience in his 1842 book Fear and Trembling. Kierkegaard was surrounded by 19th century Deists and Hegelians trying to turn religion into something nice, polite, rational and civic (as Haidt and De Botton are trying to do today). And he responds, forget all that – religion is God telling Abraham to kill his son, and Abraham agreeing.

Religions certainly fulfill an important social role. But they also grow out of the fact that, as a species, we sometimes feel invaded and possessed by external forces. Religions make sense of such experiences and give them a structure and meaning. And perhaps they give us a way to tell the good messages from the bad ones – the pro-social from the anti-social. We could try and come up with an explanation for these experiences of receiving messages from beyond.

There are two possible explanations, it seems to me. Firstly, western science’s explanation: the feeling of being invaded by spiritual forces is a deluded by-product of human consciousness. I’m absolutely fine with that explanation. Secondly, perhaps there really are external beings ‘out there’ in the multi-verse, which communicate with humans and inhabit them. Perhaps some of them can be good for the host and their society, and others bad for them. Perhaps it’s all a question of letting the right one in.

I know such speculations are somewhat beyond the pale of polite rationalist Enlightenment discourse. Nonetheless, this is how humans have, for the last 10,000 years, understood their experiences of the daemonic (daemon means a messenger, and eudaimonia, by the way, means ‘having a good daemon within’ – tell that to the Office of National Statistics the next time they come round to measure your eudaimonia). It’s how most of the human species still understands such experiences. So I think it should be acceptable to at least entertain such a thesis, without being labelled insane.

That’s not to say that religions are all correct and true – they couldn’t be. But it would suggest that religions grow out of actual interactions with non-human intelligences. Such a theory doesn’t have to make any claims about the identity of these beings – if there is one God communicating with us, or many gods, or no gods at all, simply other intelligences, mortal or immortal, who can communicate with us through revelations. These are all possibilities. It simply suggests that the reason humans came to believe that other intelligences send them messages is because they actually do. I’m going to call this the animist theory of religions.

I certainly don’t mean to attack the Enlightenment and all its achievements, and to welcome in some sort of degenerative age of magic like that of late antiquity. I personally don’t like talk of ‘malevolent demons’, because it seems to me to open the door to all kinds of unhealthy superstitions (nicely illustrated by the famous ‘sleep of reason’ drawing, on the right). But I wonder if we should at least entertain the hypothesis that revelatory experiences genuinely are communications with other beings in the multiverse – some benevolent, some perhaps malevolent.

Skeptics, at this point, will charge me with being an utter loon, and will insist that science’s great achievement was to free us from all our spooky fears of being in what the astronomer Carl Sagan called a ‘demon-haunted world’. But Sagan himself thought higher beings might be trying to communicate with humans, and imagined such a possibility in his book and film, Contact. Aliens, angels – same same, but different?

Well, maybe speculations about where such messages come from are pointless, unprovable either way, and we should ask more pragmatically what people do with such experiences, to what social uses they put them, and how we can hold them to rational account (unlike Kierkegaard, I think we must hold revelations to rational account and try to make sense of them). But if you’ve had such experiences, as much of the population have, I’m sure one can’t help but wonder…where did that come from?

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Here are some interesting other links for newsletter subscribers:

Here’s Angie Hobbs robustly defending philosophy’s ability to teach us how to live.

Here’s Mark Williamson of Action for Happiness talking about the ‘Sachs effect’ – or what Jeffrey Sachs’ support for national happiness measurements means for the ideology of happiness.

One thing that amuses me about happiness economists is that they tell us that constantly comparing ourselves to others makes us less happy, but their own international rankings of country happiness leads us to do just that. Here, for example, is a journalist in Malaysia worrying about his country being less happy than Singapore (but at least it’s happier than Thailand).

This chap from Nesta thinks the arts and humanities should be more willing to measure their impact scientifically. I’m fine with that, as long as social scientists are happy to express their theories through dance. Wait…they are happy to do that! Check out all the YouTube entries for ‘dance your PhD’, like this. OK you crazy scientists, we’ll try.Here’s an Economist piece on the drive to make academic journals open access.

Two pieces showing the harshness of our cultural and media attitudes to female celebrities’ bodies (and hence the harshness of our attitudes to women in general). First, the actress Ashley Judd responds to the media / internet abuse over her ‘puffy face’. And then, a nasty time-lapse video appears on YouTube showing Lindsay Lohan’s face ageing. The New Republic suggests it shows the corruption of celebrity. Well, maybe, I think it also shows how vicious we can be to women. Everyone has some bad photos of them, right? We don’t subject male celebrities to this sort of body-policing.

Ilona Boniwell, who teaches a masters in Positive Psychology at University of East London, is one of the people behind this Personal Well-Being Centre, which has devised a ‘well-being curriculum’ for schools, and which also does free (or very cheap) ‘psychology in the pub‘ sessions. Cool! I shall go to one to discuss my daemon obsession.

Finally, here’s my favourite philosopher, footballer Joey Barton, on Lucian Freud, trans-genderism, body-consciousness and other stuff. ‘I’m body-aware, not body-conscious’, sighs Joey. Do I see the beginning of a floppy wrist for football’s hard-man?

See you next week,

Jules