Take this one with "The Club of the Laid Off", and one can see that Barta had a lot of disturbed fascination with consumerism and the turn Czechoslavakia took in the late 70s/early 80s.
The animation wins here. Barta makes a sort of mini-narrative out of what are for the most part primary shapes, circles, triangles, and squares. These shapes serve as dials, advertisements, buildings, meters, food, and of course discs. From a displaced first-person perspective the world is animated through the disc-jockey's eyes.
However, even with the stripped-down animation, the drug-addiction commentary, and the awesome music, really the main thing that interests me in this short is how Barta animated the water in the sink. I know that that's a very small part of his much larger concerns, but it was the only part of the animation that looked really inventive and original. The rest of it looks a lot like what would eventually become commercials for the very things that Barta is criticizing.
--PolarisDiB
The animation wins here. Barta makes a sort of mini-narrative out of what are for the most part primary shapes, circles, triangles, and squares. These shapes serve as dials, advertisements, buildings, meters, food, and of course discs. From a displaced first-person perspective the world is animated through the disc-jockey's eyes.
However, even with the stripped-down animation, the drug-addiction commentary, and the awesome music, really the main thing that interests me in this short is how Barta animated the water in the sink. I know that that's a very small part of his much larger concerns, but it was the only part of the animation that looked really inventive and original. The rest of it looks a lot like what would eventually become commercials for the very things that Barta is criticizing.
--PolarisDiB