The paradigm of the hero and the villain in The Shining Kubrick's film The Shining is a loose adaptation of King's novel with different implications and themes. Comparing Kubrick's variations on theme and plot to King's, the conclusions drawn from both the novel and the film are more significant. One of the most important differences is how the hero and villain paradigm is presented and how it influences the source of anxiety in both versions. By choosing to emphasize different areas of the story, artists manipulate the audience's view of how the protagonist fits into the hero and villain spectrum. In his novel, King uses long descriptive passages to build Jack's character. Knowing Jack's past and his thoughts allows readers to empathize with him and attribute his monstrous actions to external forces. The psychological battle between Jack and the Overlook helps establish Jack as a failed hero and the Overlook as the antagonist or external force of evil. In contrast, Kubrick's adaptation, which ignores most of Jack's nuances, makes it easier for audiences to distance themselves from Jack and see him as a villain. Comparing King and Kubrick's portrayal of Jack shows that tension can arise from internal or external conflict. King's conflict focuses on Jack's quest to battle his internal demons so that the reader becomes very invested in Jack's success. Jack's descent into madness is met with anxiety as the reader struggles to see if it is possible for him to return to reality. In Kubrick's version the audience is distant from Jack and expects him to commit a horrible crime. Tension builds as the audience waits to see if Wendy and Danny can realize the danger they are in and escape in time.... middle of paper... I won't let you. fuck it” (The Shining). Considering Jack's portrayal in the film, it's no surprise that Jack tries to kill his family. The anxiety doesn't come from Jack going crazy and trying to succumb to the hotel's desires because that's implied from the beginning. Instead, the public's anxiety arises from when Jack will finally try to commit the crimes. In the final chapters of the film, Kubrick places the days of the week in bold white letters to break up scenes. By dividing scenes in this way, Kubrick uses time as a catalyst for anxiety. All of these elements together create anxiety as the audience waits for Wendy and Danny to realize Jack's intentions before it's too late. Works Cited King, Stephen. The Shining One. New York: Pocket Books, 1977. Print.The Shining. Director Kubrick Stanley. 1980. Network. Warner Pictures, 1980.