The dimensions of a movie screen, the framing of a shot, and the motion or raise en scene it contains within that shot, all combine to make the screen a sort of monolith that can rehearse not just our myth of origin but the way all perception requires a prior enframement that permits a particular unconcealment, which registers a propriative event, which demarcates a point "before" that can be traced backwards and an "after" that can be traced forwards.
Both Kubrick and Heidegger, in their different ways, locate the primary problem of technology not in this or that invention but in the mode of thought that arises from the enframement that allows and sustains this particular form of unconcealment.
When a hammer breaks, according to Heidegger, its presence as material reasserts itself, but not purely: it simultaneously appears as something that needs to be "fixed" so that it can resume its usefulness as an object of function and cease to be a somewhat disturbing object resisting equipmentality and thereby putting pressure on the enframement that permits our mode of thinking, and, by extension, of being.
And yet a broken wine glass is clearly on the same continuum as a broken hammer: it will generate--through the breakage that strips it of its function--an unease about all there is about "being" uncontained in the enframement of the propriative event--primarily the fact of our own mortality.
In fact, the complete absence of traditional architectural devices--moldings, door enframements
, floor patternings, and so on--render the space too undifferentiated and confusing.