This was set off the basic thematic elements of Lynch's oeuvre. Psychosubconscious horror imagery involving blood, sex, and rich textures of malaise. What's different about this is that it actually goes further, into a child's realm of disturbing imagery, which can be even more disturbing because thinking of Lynch dealing with children is kind of appalling--The Straight Story aside.
I think it's probably my favorite short of his, though, considering that it so well mixes everything in animation, stop motion, and real motion, and that overall it's quite adept at forcing you to think about all those children's shows that involve alphabet songs and alphabet animations dancing around, and how a lot of that stuff can be very disconcerting and bizarre if really looked at.
Furthermore, I believe it's probably one of his best uses of sound. Lynch is a genius at making sound affect imagery beyond levels that most directors use, and while the sound in this short are much more self-conscious and much more apparent than the underlying growling of most of his work, it's a lot more effective.
--PolarisDiB
I think it's probably my favorite short of his, though, considering that it so well mixes everything in animation, stop motion, and real motion, and that overall it's quite adept at forcing you to think about all those children's shows that involve alphabet songs and alphabet animations dancing around, and how a lot of that stuff can be very disconcerting and bizarre if really looked at.
Furthermore, I believe it's probably one of his best uses of sound. Lynch is a genius at making sound affect imagery beyond levels that most directors use, and while the sound in this short are much more self-conscious and much more apparent than the underlying growling of most of his work, it's a lot more effective.
--PolarisDiB