harks teeth and the reinvention of "Plato's Cave."
             Mirrors have been a constant theme in literature and movies almost to the point of cliche, but for good reason. Rodolphe Gasche defines this philosophical conception of reflection as the moment of separation where the mind turns itself outward toward an object, but also more explicitly as the moment where this activity itself becomes the object of reflection (Gasche). Lacan defines Gasche's reflective division into three separate parts: the imaginary, the symbolic, and the real. Fred Madison doesn't know which one is which in "Lost Highway's" subconscious pool. Lacan's mirror-stage theory says that the three parts balance each other providing personal stability (Lacan).
             Gasche also points out that the term reflection or "reflectere" means literally 'to bend' or 'to turn back or backward,' as well as 'to bring back' and that the many conceptions of reflection share the optic metaphor of throwing-back light in the form of images (Gasche). When these images become skewed to the point that they are unrecognizable in time and space, the mind begins to break, losing its battle with reality. "Lost Highway" is told from Fred Madison's perspective, and the breakage of time, reality and symbolism become the movie rather than explain the condition of Madison.
             In the integration of Lacan's mirror-stage divisions of person, there is an inference of a link or path between the divisions. This path can be interpreted as Fred Madison's "Lost Highway." Buried in this broken reflectivity there is a desperate attempt to retain order, a desperate need to make the passages on the mirror-stage link and communicate properly. This is much like Gasche's statement of the symbols evoked from looking into a mirror with your mind. The mind is aware and understands its own physicality as well as gra...