Abstract Commonly known as non-places or stopping places, hotels create their own sense of domesticity and seclusion, simultaneously invoking an uncanny screen presence due to their non-contradictory nature. Likewise, this article builds on the theory of an architectural uncanny and weirdness to analyze how Chantal Akerman’s Hôtel Monterey and Pat O’Neill’s The Decay of Fiction delineate interior spaces to evoke an (un)homely domesticity and (un)belonging human presence. In particular, to prioritize the hotel architecture, Akerman relies on a partial and fragmentary representation of interiors, whose larger picture is always beyond spectators’ vision, and O’Neill’s creates an engrossing tension between haptic visuality and optical perception, which gives rise to the fetishism of decay. Consequently, while Hôtel Monterey’s indoor architecture presents a spectacle of largely mute, impenetrable spaces with no or little human interaction, The Decay of Fiction’s domestic spaces form a permeable layer through which shadowy figures continuously enact their fictional roles.

中文翻译：

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不属于的居民，不再存在的住宅：实验纪录片中的酒店室内设计和（不合时宜的）家庭生活

摘要 通常被称为非场所或停留场所，酒店创造了自己的居家感和隐居感，同时由于其非矛盾性而引发了一种不可思议的屏幕存在感。同样，本文以建筑的诡异和怪异理论为基础，分析尚塔尔·阿克曼 (Chantal Akerman) 的蒙特雷酒店 (Hôtel Monterey) 和帕特·奥尼尔 (Pat O'Neill) 的《小说的衰败》(The Decay of Fiction) 如何描绘室内空间，以唤起（不）温馨的家庭生活和（不）属于人类的存在。特别是，为了优先考虑酒店建筑，阿克曼依赖于内部的局部和零碎表现，其更大的画面总是超出观众的视野，而奥尼尔在触觉视觉和光学感知之间创造了一种引人入胜的张力，从而产生了腐朽的拜物教。最后，