That's something that's certainly philosophically debatable. Maybe we could call it an unwilling collaboration. I don't think The Shining could have existed without the dynamic of both King and Kubrick's contributions, and sometimes the most fruitful art comes from conflict.
I think as soon as literary source material is adapted for the screen it has to change in certain fundamental ways and become something totally new. I personally attribute the rift in this case, mainly, to King not having a very sophisticated sense of metaphysics of film, while Kubrick is an absolute master when it comes to understanding how film can communicate with the unconscious directly in ways unique to the medium, beyond mere narrative, which is King's whole domain. I relate to Kubrick hard on this. IMO he was right to use the novel as a springboard to make the film he wanted to make, and to liberally cut and add whatever necessary.
Film is its own art form, and, just as painting in my view is most effective when it owns its innate qualities, rather than struggling to be photography for example, film is at its best when it is not trying to merely translate literature. I'd like to imagine if Kubrick's Shining had been made later in King's career, his assessment might not have been so stubbornly obfuscated by pride or indignity or whatever was going on there.
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