Dimensions of Dialogue

The mix of creepy animation and clear - precise message is the main virtue of this not ordinary animation , reflecting impressive rich animation, fair requisitorium and the great use of ordinary materials and clay for remind old truths , too easy to ignore but defining us. Short, impossibility of dialogue in three admirable . examples.

These short films were very visually appealing, as you watch pieces of food and clay be formed to the audiences own interpretation. It must of taken days to create a film purely made up of objects, which in every detail you can see in it's impressive flow to the animation of the film. I really enjoyed the interaction between the two clay humans and the message they were trying to make through the interaction of both because it can be taken in many different ways, which is the purpose of art; to make one think outside of the box. Jan Svankmajer's "Dimensions of Dialogue" was created in 1982, and was composed of three short films in which were purely animation. I liked how different it was to many other films in the 1980s and it really set itself apart from many of the other films out there at that moment in time.

This is one of those films that is so filled with substance, one can't possibly absorb it all in one sitting. Even though it lasts only twelve minutes, one would have to cut it into about forty parts and comment on each. It is about communication, not just verbal, but in what we represent to each other. The claymation techniques are priceless, showing all sorts of cultural interactions. It must have been an amazingly grueling task to present all of this.

It was with a little uncertainty that I approached my first animated short film from Jan Svankmajer. When it comes to surrealism, he is considered to be one of the greatest, which is from whence my first misgiving came: I'm really not much of a fan of surrealism. Whilst I can admire the craftsmanship that went into creating a given film, I prefer a slightly more literal approach to film-making; to put it simply, I'm completely incapable of deciding whether a film is a surrealist masterpiece, or if it's just going out of its way to be weird. In Svankmajer's case, I'm willing to give him the benefit of the doubt.

The 12-minute long 'Moznosti dialogu / Dimensions of Dialogue' is divided into three distinct sections, entitled, respectively: "exhaustive discussion," "passionate discourse" and "factual conversation." In the first, a collection of heads – created in the style of Giuseppe Arcimboldo's paintings – sequentially devour each other and regurgitate the remains, eventually eliminating all variation and reducing the population to numerous copies of the single bland human. In the second, a clay couple dissolve into each other during the act of love, before quarreling over a remnant of leftover clay (suggestive of a child, most likely) and tearing each other into a frenzied pulp. In the third section, two elderly male clay heads protrude a selection of ordinary objects from their mouths (toothbrush and toothpaste; bread and spread; pencil and sharpener; shoe and shoelaces), eventually using them in every possible combination and withering themselves to fragments.

The stop-motion animation of 'Dimensions of Dialogue' is undoubtedly done very well, and the "exhaustive discussion" section has an iconic feel to it that has often been imitated. It was, however, quite repetitive, and there's only so many times that you can watch a Arcimboldo head devour another and spew forth its fragments before your interest starts to waver. The second section moves forward quite quickly, and, using the clay man and women, Svankmajer was able to convey very effectively the rage that each person was feeling, as they tore into each other's flesh with their fingernails. The third section, not unlike the first, repeated itself, I thought, one too many times, and I didn't think that so many reiterations were necessary to drive home the filmmaker's message. However, if I were to watch this film again, it would certainly be for the remarkable visuals, and I can say little to fault the wonderfully vibrant stop-motion animation.

The grotesque charm of this trio of short films is hard to beat. They each work separately but gain a lot from being seen together.

They convey in a language of images profound truths in a lively, eerie, unpretentious way. There is always something neat to look at and went away from this just feeling full, the way you do after a good meal, not needing anymore.