James O. Incandenza: a filmography
The figure of Death (Heath) presides over the front entrance of a carnival sideshow whose spectators watch performers undergo unspeakable degradations so grotesquely compelling that the spectators’ eyes become larger and larger until the spectators themselves are transformed into gigantic eyeballs in chairs
Context
The Cage films run the length of Himself's career — Cage, Cage II, Cage III—Free Show, and the unfinished Cage IV—Web and Cage V—Infinite Jim — and they name the family's native condition: enclosure, and the passion for hiddenness Hal traces in 179. Cage III is where the enclosure turns fatal and the frame shows its teeth: Death herself presides over the sideshow's entrance, and the spectators, watching compelling degradation, swell into "gigantic eyeballs in chairs" — consumed by their own attention. That is the Entertainment's mechanism drafted years early, and it is filed under Cage: the household's ideology of concealment and the artwork that kills by holding the eye are the same apparatus, a family that lives behind veils producing a cartridge that traps the viewer inside his own looking.