Accomplice!, the blizzard, and the Weston house (pp. 957–958)
Peterson-allusions notwithstanding, I wondered about some hazy connection between this passion for hiddenness and the fact that Himself had made so many films titled Cage, and that the amateur player he became so attached to was the veiled girl, Orin’s love. […] The image was complete and sharply focused but seemed stilted, as if composed.
Context
The lecture's last move: Hal turns the auteur-criticism on his own family in real time, connecting Avril's "passion for hiddenness" (the affairs' concealment) to the Cage titles and to the veiled girl — hiddenness as the through-line of the filmography's obsessions, proposed by the son while the mother's current lover breathes in the doorway. Then the scene's final shot: Hal's imagined tableau of the Moms and Wayne arrives "complete and sharply focused but… stilted, as if composed" — even his intrusive images come back as JOI compositions, wooden-actored and over-framed. The narrator has become a viewer of his own imagination; there is no unmediated seeing left in the scene (this last generalization inferred from the run of media-figured perception extracted above).