The film begins with methodical descriptions of one-dimensional, two-dimensional, and three-dimensional space. It then looks at a two-dimensional world inhabited by flat mice. It imagines how a human, from the third dimension could interact with that world. It then suggests how beings from a fourth dimension might interact with us. Next the film posits time as a fourth dimension, with scenes to aid comprehension. An off-screen narrator, graphs, and clever photography provide explanations and illustrations. The film asks viewers to use their imaginations.
The film begins with methodical descriptions of one-dimensional, two-dimensional, and three-dimensional space. It then looks at a two-dimensional world inhabited by flat mice. It imagines how a human, from the third dimension could interact with that world. It then suggests how beings from a fourth dimension might interact with us. Next the film posits time as a fourth dimension, with scenes to aid comprehension. An off-screen narrator, graphs, and clever photography provide explanations and illustrations. The film asks viewers to use their imaginations.
1936-12-31
6.3
A vacationing entomologist suffers extreme physical and psychological trauma after being taken captive by the residents of a poor seaside village and made to live with a woman whose life task is shoveling sand for them.
The entire film is divided into four consecutive chosen approaches—the fourth section devoted to a reiteration and extension of the original material. Preserved by the Academy Film Archive in 1999.
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