Wide and unvaried shots of the stages set so often play into his construction of cinema, and soon enough markers or landmarks of his interior landscapes begin to emerge as focal points (in their outlying - the literal garnishing of the frame), embedded in a "sequence system," counted on to recur. The props that populate his sets' interior designs begin to take on a symbolic life, begin to become cues of an interior life of the characters they emerge to represent, or, more believably, simply become allegorical markers of the geographies of the human drama, giving material immediacy to the pressing emotional landscapes that exist alongside the material, physical one (this is practically the entire idea behind The Funhouse, props of all things commenting on the folly and irony all around human existence - making their presence known through recurrence). It is geographic idée fixe... the sedimentary layers of an unraveled cinematic denuded space... Hooper's visuo-grammatical monomania... and the idea of film being as presentational as theater, set design retaining its expressive abilities across the mediums.
In these consecutive Poltergeist scenes, the lamp at the left of the stage, a fixture positively floral in being - a burst of otherworldly efflorescence, boasting its bluebell-shape shades - is given prominence through the wide landscape shot and a strict series of narrowing perspectives on it.
Its suggestive presence is emphasized early on with the most extreme perspective on it used initially. It sits besides the irascible, personally slighted Steven. I can go on to say its Lily of the Valley glass pieces are an overt suggestion of such flowers' religious connotations, the propitious shape of heavenly tears or church bells juxtaposed alongside the skeptical Steven. More to my liking, I proclaim this manufactured product, made for wholesale - modeled after blossoms sometimes called "Angel's Trumpets" - toots Steven's own horn, sharing 50% of Steven's frame, supporting him and his disconsolate secularism, drinking buddy and representational mirror now of his emotional position of resistance in the landscape. In the wider shots, the lamp exists, trying to steal attention away from Tangina or the heavenly staircase. It is in fact (that is, not in fact...) a fellow secular landmark like Steven, combating the otherworldly with its otherworldly beauty, made of factory glass.
Funny how it is Steven who seems aglow in vibrant shades of ectoplasmic light - his resistance has now become the segregated world of fantasy, in relation to the now-banal supernatural that is now their "ordinary."
Landscape soon shifts away from the fixtures and adapts to the moving elements of it (that is to say, the people). Stripping itself finally away from the wide shot of the array of furniture, lamps, and recording equipment, Hooper now reconfigures to a landscape of bodies, which is simply another landscape that must define itself via recurring elements.
These recurring elements of landscape are simply the three moving persons, whom we see recur by their merging into Diane Freeling's previously-perpendicular-to-them plane, as fine an establishment of geographic marking and landscaping as the above use of the ideologically dualistic lamp.