No.36
No.36 is a single shot of Jack typing away, alone, within The Colorado Lounge. Because of the bird’s eye view (from the vantage point of the staircase), we see how much The Colorado Lounge is an expansive display of semiotic information.
American History/Culture
The Native American patterning in the rugs speaks to how white America absorbed the culture of the Native Americans for decoration.
The block of black and white photos, signifiers for the wealthy white America and foreshadowing No.53 and No.91
Having a bear skin rug and the chandeliers formed from bear traps reiterated the same energy as the black and white photos / Native American patterns: predator & prey within the same space.
The sand painting is in red, white, and blue
Domestic abuse
Jack resents his family and choses work even to his own detriment. The constant working foreshadows All Work and No Play.
The Maze
Doubling:
The row of seats and rugs on the left side feel like copied and pasted living room sets.
The doubling of The Elevators, the double doors that are styled like the elevator. Having two sets of Elevators makes sense, but having the set of double doors mirror the styling of the elevators is a design choice.
Color as Saturation
The rugs go from red and black to neutral brown and tans.
Cabin Fever
Jack is shown isolated, working. If this is the excuse used to explain Jack’s behavior, it’s as least self imposed.
Ghost Story
The confluence of the story told in No.5, the scrapbook shown (without any context) in No.31, there is an assumption made that the hotel is possessing Jack into a work-driven stupor. The argument loses water when you start to trace back what Jack’s work becomes.
The camera is set up on the staircase of The Colorado Lounge, in a bird’s eye view shot. It gives a detailed and expansive look at the entire space, if only for a short moment.
The Colorado Lounge
Jack
Continued from No.33 is Grygory Ligeti’s Lontano