A Chaotic Geometry
This chapter discusses how the unrelated sequences in Kubrick’s film adaptations are, on the one hand, inserted in symmetrical syuzhet structures, in which the end mirrors the beginning, and/or in plots are strongly ordered into parts. The geometry of the plot construction is often emphasized by sequences that evoke one another and by superbly composed images, but this order is usually disrupted by a play of cross-references among sequences and images through the mise-en-scène and the montage. This subterranean aesthetic play of cross-references, which seems to disrupt the symmetrical, ordered superstructure, is symbolized by the image of the maze, as in The Shining, and by sequences shot with a handheld camera or a Steadicam that follow the characters’ sinuous and/or syncopated movements.
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