Gately, the wraith, and the figurants (Film and Optics)
Other terms and words Gately knows he doesn’t know from a divot in the sod now come crashing through his head with the same ghastly intrusive force, e.g. ACCIACCATURA and ALEMBIC, LATRODECTUS MACTANS and NEUTRAL DENSITY POINT, CHIAROSCURO and PROPRIOCEPTION and TESTUDO and ANNULATE and BRICOLAGE and CATALEPT and GERRYMANDER and SCOPOPHILIA and LAERTES—and all of a sudden it occurs to Gately the aforethought EXTRUDING, STRIGIL and LEXICAL themselves—and LORDOSIS and IMPOST and SINISTRAL and MENISCUS and CHRONAXY and POOR YORICK and LUCULUS and CERISE MONTCLAIR and then DE SICA NEO-REAL CRANE DOLLY and CIRCUMAMBIENTFOUNDDRAMALEVIRATEMARRIAGE and then more lexical terms and words speeding up to chipmunkish and then HELIATED and then all the way up to a sound like a mosquito on speed
Context
The wraith identifies himself before he ever mentions filmmaking — by vocabulary. The words forced into Gately's brain-voice (starting with PIROUETTE, "a sort of lexical rape") are JOI's working lexicon: lens and filter terms (MENISCUS, NEUTRAL DENSITY POINT), his lighting fetish (CHIAROSCURO, and HELIATED — the optics coinage, as written here, where the theme's other raws use halation/halated), his production companies (LATRODECTUS MACTANS, POOR YORICK), his genre (FOUND DRAMA, fused inside CIRCUMAMBIENTFOUNDDRAMALEVIRATEMARRIAGE), his equipment (DE SICA NEO-REAL CRANE DOLLY), and the theme's own master-word for pathological watching (SCOPOPHILIA). The auteur's optics career arrives in Gately's head as raw uncomprehended language — the filmography compressed to a word-list and injected into the one major character who's never seen a single Incandenza film.