A virtual model of the complex decor of Manderley castle is mounted, using photograms from Hitchcock’s film Rebecca (1940). The fictional space of Manderley castle never physically existed ; it was shot in studio using painted set backgrounds or architectural models. Nonetheless, this space
is intimately experienced by each viewer, both by
the act of viewing and by the mental reconstruction of reflection and projection. This vast labyrinth of frames from the film reel appears as if it were a castle of cards, which oscillates between an uncertain illusion of space and the artificiality of
a two-dimensional filmic world.