It was the fourth film in a row to use a wealth of borrowed music as the score. Within Kubrick’s output, The Shining marked Kubrick’s eleventh feature film. In this way, we may observe where the score followed trends and where it subverted them, and we may also come to greater clarity as to why this film has garnered such a revered place in popular culture. I will focus on two of these: the score’s place within Kubrick’s oeuvre, and its position among the landscape of contemporary film scores - horror scores in particular. As this article reappraises the score of The Shining, 40 years on, we have an opportunity to view this film and its music from multiple perspectives. It is time enough to see overall trends and important shifts, and it provides an excellent vantage point from which one can contextualise a single score within a larger picture. Four decades is a short time in the grand scheme of all history, but in the realm of film music, it is a significant span.
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