ABSTRACT
This chapter explores the interaction between Other and home across a range of differing visual representations. These will offer the structure for our frameworks of analysis: the apertures of the home, the storeys and the objects. In the latter, Fred (Bill Pullman) and Renee (Patricia Arquette) receive a series of videotapes, the first of which fuzzily depicts the outside of their home. Before turning to the dollhouse, the chapter also explores the confluence of home and identity a little further, as well as the lingering presence of the Other. It focuses on the architecture of the home itself: 'the built and the unrealized, the real and the represented'. It is no accident that the terrifyingly abrupt door to the panic room is hidden behind a mirror. The chapter discloses the image of the home 'as functioning like an externalised mind screen on which both personal and collective desires can be transformed and reconfigured'.
