Mr. Ullman shows Jack and Wendy through the Gold Room.
1. Wendy's Jungian psychological type is extraverted sensation, that is, her attitude type is one of extraversion (as opposed to introversion), and sensation is her dominant function (of the four functions defined by Jung: thinking, feeling, intuition, and sensation). Also, Kubrick depicts Wendy as being more of a feeling type than a thinking one, in order to show us how we tend to sympathize with 'emotional' people, whereas they are just as capable as anyone else of conspiring to commit, and committing, evil. Also, since Western society is biased toward the extraverted personality, we have a tendency to be suspicious of introverts; Jack is depicted in the movie as being an introvert (he is an introverted thinking type).
The reason Jack seems to be so outgoing while at the hotel's bar in the scene shown at left, is not because he is an extravert, but because he is experiencing elation due to the mood swings brought on by the mercury poisoning.
Since Jack and Wendy are Jungian opposites, Danny, their child, is already a 'union' of Jungian opposites, and the Divine Child conceived by Wendy with Danny is to be a union of all opposites. Mercurius was considered to be a union of all opposites, and as stated back in part 11, Danny, as Sol, is the masculine half of Mercurius.
2. See below.
Above left: Jack is shown throwing and catching a tennis ball by bouncing it off one of the Overlook's walls. Jack's manner of throwing the ball is reminiscent of someone throwing a baseball; the sport of baseball is considered the national pastime of America. Above right: The portion of the wall on which the ball is bouncing, is covered by American Indian artwork. This is a red herring placed by Kubrick, designed to mislead audiences into interpreting the throwing of the ball against this part of the wall, as the European settlers 'roughing up' Native Americans (recall that Jack represents the settlers). However, we know from other 'symbolism' in the movie (e.g., the mercury poisoning of Jack by Wendy), that Kubrick is, in reality, depicting a different scenario, one in which the settlers were victims of the American Indians (i.e., at the massacre at Julesberg, Colorado, mentioned in part 1 of the analysis), and that generally speaking, the Indians were responsible for their own downfall.
3. See below.
Top left: While Danny is playing with some toys in one of the Overlook's corridors, a tennis ball rolls into his area. Top right: Next, we see Danny from the back. Note that the carpet patterns are now reversed. Above left: Then, Danny from the front again, with carpet patterns still reversed. Above right: Danny stands up, and calls out to his mother, as if he thinks it is she who rolled the ball to him. Note the 'Apollo 11' rocket pattern sewn into his sweater - Danny's rising here represents, within some context, the lift-off of a rocket. Missiles and rockets blasting off are sometimes considered to be phallic symbols. As Danny begins to walk toward room 237, he is, metaphorically speaking, tentatively approaching the Guardian of the Threshold, symbolized by his father, Jack.
4. Recall that Wendy was menstruating during at least one of her sex sessions with Danny. The fact that Wendy tries to get pregnant during her period, instead of during her ovulation phase, is one indication that thinking is not her strongest psychological function.
5. See below.
As mentioned in part 4 of the analysis, in which we discussed the meaning of the movie's ending photograph, Prohibition is the term used to refer to the United States government's outlawing of alcoholic beverages, from 1920 through 1933. Note that the year of the date on the movie's closing Overlook hotel party photograph (lower right screencap above) indicates that the photo was taken, one year after the year in which the Prohibition era started; whereas, as noted earlier, the actual live party scene that we see takes place in 1934, which is one year after Prohibition ended. Noting that no one in the top two screencaps above is drinking from, or holding, a glass or bottle of liquor, wine, or etc., the picture must have been, in fact, taken during Prohibition. One reason Susan placed our Jack (who is wearing the face of Charles Grady, and who represents, in part, Susan's husband), in a photo taken in 1921, is because she wanted to 'punish' him for being an alcoholic by placing him in a metaphorical Hell, which, to an alcoholic, would be a place and time in which no alcohol is available.
Above left: The Shining's live Gold Room party scene is set in the year 1934, the first year after Prohibition ended. Above right: As described in part 4 of the analysis, when Jack takes possession of the white towel during the restroom conversation, between him and Delbert Grady, there is a 'flip' in time whereby Delbert now exists in the year 1921 (with Jack still being in 1934). Also recall that Delbert has the face of the real Jack Torrance (i.e., the original caretaker of the Overlook); the reason our Jack (who is wearing Charles Grady's face) says he saw a picture of Delbert in an article about him murdering his wife and two daughters, is because the dreamer, Susan Robertson, knew what the real Jack Torrance looked like from having earlier seen the July 4th, 1921 party photograph, in the newspaper article about the Charles Grady murders. The article must also have contained information about the history of the hotel, such as that the original caretaker's name was Jack Torrance, and that he had two daughters. The reason Delbert tells our Jack, during the restroom conversation, that he (Jack) has "always been the caretaker", is due to the fact that Jack's name (in the dream) is Jack Torrance - the name of the original caretaker.
