In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.
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Jan Švankmajer is a Czech retired film director, animator, writer, playwright and artist. He draws and makes free graphics, collage, ceramics, tactile objects and assemblages. In the early 1960s, he explored informel, which later became an important part of the visual form of his animated films. He is a leading representative of late Czech surrealism. In his film work, he created an unmistakable and quite specific style, determined primarily by a compulsively unorthodox combination of externally disparate elements. The anti-artistic nature of this process, based on collage or assemblage, functions as a meaning-making factor. The author himself claims that the intersubjective communication between him and the viewer works only through evoked associations, and his films fulfil their subversive mission only when, even in the most fantastic moments, they look like a record of reality. Some of the works he created together with his wife Eva Švankmajerová.
