“A threshold always points in two directions, because it is simultaneously connects and separates – a border can be crossed precisely because a division always implies spatial proximity.” (Elsaesser & Hagener, 2009).
Doors throughout cinema can be more than just an objected used to walk in and out of. It can be a tool that can evoke an emotional response from the audience, such as suspense in horror/thriller films for what is behind the door that they must face, for example in the classic film The Shining (1980).
In the iconic scene where Jack is using an axe to break down the door, whilst Wendy is waiting on the other side in fear for her life. The door is a symbol for what is to come from the other side once it is opened and creates suspense for the audience.
Not only that, in sci-fi films a door may represent a gateway into a completely different universe, as shown in films such as The Chronicles of Narnia (2005).
The door represents the difference between one world, which is deemed as reality, where the rules and “social norms” are completely different in comparison to the world, behind the other side of the door.
The door is the separation between the two worlds, not only literally but also figuratively.
This is also seen throughout the film Monsters, Inc. (2001) as the monsters use the different doors as portals into little children’s bedrooms in order to scare them in order to power the city.
The doors seen throughout the film juxtaposes the two different worlds behind each side.
But, a door does not always have to be something that is overlooked as apart of the location of a scene; it can be used in many ways & can become an iconic part of the film.
For example in the film The Hobbit (2012), the bright green door has become significant, and therefor has become a tourist attraction in itself. People travel to New Zealand and visit the famous landmark to take photographs in front of the door, which people are then able to recognize the film it is from and think about the movie moments when it is seen in the film.
Reference:
Elsaesser, T, Hagener, M, 2009, “Cinema as Door – Screen and Threshold”, ‘Film Theory: An Introduction Through the Senses’, p.37
Screen & Sound 