literally visible through his positive/negative mirror method, but deploys the loop to display the ensnarled relationship obtaining between Eleanore, her environment, and the repressed areas of her consciousness. In terms both of form and content, therefore, the apparatus used by the installation matches the basic narrative structure. Repression is perfectly visualized as over layering, displacement and compaction, but that which has been pushed aside constantly re-appears. A different picture is introduced, one leading simultaneously to the recognition and misreading of the world, of the social, historical and authentic context similar to the mirror phase described by Jacques Lacan. The dark space staged by Stan Douglas becomes an experimental dispositif that makes visible a fictional process as well as one we call it consciousness-forming that is real and psychoanalytical. Following the title of a book by Kaja Silverman, the screen might be termed «The Threshold of the Visible World». The screen: a membrane between two worlds. Images are being projected onto both sides, and so it becomes the threshold of two parallel projections, of two visual

realms. One visual world is negative in construction, the other positive. Their relationship to each other is that of mirror-images. The mirror-image appears to be copied over the original; any human figure appears to be moving back-to-back with itself. The same twice over, one might say, or (perhaps more aptly) one variation of the same. Yet, since the screen is semitransparent, the picture planes and projection beams interpenetrate each other. One picture displaces the other, and thus alters the way it is perceived. Solarization comes into play: the bright light cast by Eleanore's torch bores into the projection playing on the screen on the other side and, due to the fact that the films are running slightly out-of-sync, duplications and overlappings of her silhouette come about. One picture is like the other's shadow. As the real coincides with the imaginary, we can visually and directly experience as a process Sigmund Freud's conception of «the uncanny.» Douglas draws up parallel worlds. By over layering the reflected world, however, he transforms it, delineating the mirrored world as infantile perception, as identification with one's own species, with the recognition of one's own person