My gram from the beginning of the movie was the curtain on one of the windows. As the movie progressed, i was enchanted by how the curtain ended up having symbolic significances on various levels.
Judy Garland sings a song about her interesting neighbor from behind her curtain. The thin translucent layer of cloth is a powerful separator of the two realms- her home and the neighbor's home, where the object of her attention lives. Just like the mobius strip, the curtain is separating two worlds which we know will finally come to be one.
After the farewell party for her brother, Judy Garland wants to spend time alone with the guy she likes. She is not brave enough to make a move until he walks out of the house and they are separated by the mesh door. As soon as he is on the other side of the door, she realizes that if she doesn't do something now, it will be too late. The thin mesh suddenly created the other realm by separating them. This gave her the urgency to make her move and invite him in to help her turn off the lights.
Judy Garland sings a song about her interesting neighbor from behind her curtain. The thin translucent layer of cloth is a powerful separator of the two realms- her home and the neighbor's home, where the object of her attention lives. Just like the mobius strip, the curtain is separating two worlds which we know will finally come to be one.
After the farewell party for her brother, Judy Garland wants to spend time alone with the guy she likes. She is not brave enough to make a move until he walks out of the house and they are separated by the mesh door. As soon as he is on the other side of the door, she realizes that if she doesn't do something now, it will be too late. The thin mesh suddenly created the other realm by separating them. This gave her the urgency to make her move and invite him in to help her turn off the lights.
The selection of the curtain (and it's variants, including the door screen) function nicely as a means of tracking those aspects of modern identity charted by Hegel through his notion of the Concrete University. The scenes you allude to actually seem to take pains to structure the couple as opposite lines or edges awaiting a short-circuit. This is not to say the filmmakers were deliberately working in a "Hegelian" manner (or that they were thinking directly about this kind of structure), but that their staging of the musical relationship structure reflects the same concerns. The next question would involve the film's possible manifestations of the element of "retroactive oversight" (i.e. the ant's subsequent realization that at some point it made a crossing that was never visibly manifest in its own "here and now"). This is a mind bender.... But the beauty of your gram is that it provides points of entry, places where we can simply take in the film's concrete details and wait for connections to rise to the surface (rather than hunting deliberately for correlations to the Mobius strip).
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CS