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This essay includes a quote from The Shining wherein a racist term is used to demonstrate a dramatic shift in the narrative. 

The Shining is the most exciting and complex narrative motion picture in existence. The Shining lives on. The very two words of the title uttered by human breath ooze warmth. The sibilance of the syllables attack because of the film’s iconography: Jack, the ax, the hotel, the Big Wheel, REDRUM, the blood pouring out of the elevator, the white bathroom door being broken down, climaxing in “Here’s Johnny!”, from the moving opening shot on the water in Glacier National Park to the last ghostly blue titles on black, THE END. In between is spectral subject matter, and like the other Kubrick films, 2001: A Space Odyssey and Eyes Wide Shut, it touches something raw, something we often can’t help keep hidden—our fear of death. It isn’t timeless because its time will never come; it’s timeless because it will always be ahead of time. Yet Kubrick told Jack Nicholson, “In reality, this is an optimistic picture…in some way this movie is about ghosts…anything that says there’s anything after death is an optimistic story.” More… “Shining On”

Greg Gerke’s work has appeared in Tin House, Film Quarterly, The Kenyon Review, and other publications. See What I See, a book of essays, and, Especially the Bad Things, stories, will both published by Splice in the Autumn of 2019.

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It’s a bit specialized, admittedly. Nonetheless, Ben Davis’s Repertory Movie Theaters of New York City: Havens for Revivals, Indies and the Avant-Garde, 1960-1994 delivers exactly what the title promises. If you were ever dying to know what sort of programming choices distinguished the Carnegie Hall Cinema from the Bleecker Street Cinema in the 1970s, this is the book for you. But it might also be the book for you if you ever fell in love with movies and had a favorite theater or two, whether in New York or any small city or college town, to nourish that love. When I moved to New York in 1978, I fell so hard for movies that Davis’s book (hereafter RMTNYC) reads more like a lost diary from my youth than the erudite, exhaustively researched study that it is. Accordingly, what follows is less a review of the book than of my life. How can I talk about the Thalia without mentioning the movie-mad debates I had with the girl I loved and my best friend on our way to and from the screenings there? At the time, we were all grad students at Columbia, but the real education we got was in the theaters and the streets. More… Singin’ in the Rain for the 68th Time”

Stephen Akey is the author of the memoirs College and Library. A collection of his essays, Culture Fever, was published in January.

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One day in the summer of 1896, Maxim Gorky’s mind was blown. Gorky was attending a Russian fair and had gone to visit an exhibit by a couple of Frenchmen known as the Lumiére Brothers. Sitting in a darkened room, Gorky saw what seemed to him a photograph of the streets of Paris projected onto a large screen. It was a nice photograph, but Gorky was not particularly impressed. He’d seen plenty of photographs before. Then the damn thing began to flicker and come to life. This was something new.

Gorky watched what was happening on the screen in deepening amazement. He wrote about the experience a couple of days later:

Carriages coming from somewhere in the perspective of the picture are moving straight at you, into the darkness in which you sit; somewhere from afar people appear and loom larger as they come closer to you; in the foreground… More…