A lucid dream turned nightmarish reality. A ship sinking into a world of fear. A short film that’s mostly puppetry by one of America's most prolific twentieth century artists.

"I have not changed the editing structure. I have made the films printable. They are the first known fully collaged films, i.e., films made from found footage, and were done sometime in the ‘40s. Cornell combines Vaudeville jugglers, animal acts, circus performers, children eating and dancing, science demonstrations, mythical excerpts, and crucial freeze-frames of faces into a timeless structure, totally unconcerned with our usual expectations of “montage” or cinematic progression. He collects images and preserves them in some kind of cinematic suspension that is hard – impossible – to describe. But it’s a delight to anyone whose soul has not been squashed by the heavy dictates of Art." —Larry Jordan

科奈尔早年拍摄的一些短片，年代不详。劳伦斯·乔丹在1970年将这些短片剪辑完成此影片。一如其他科奈尔影片，由一系列相关或不相关的画面组成的嘉年华电影。

After a week I don't remember much about this film. A sad young woman wanders around. Sometimes she holds a cat. It does have a mood of melancholy.
This film was inspired by a poem. (I think it is a poem by Garcia-Lorca.) Lines of the poem are used as intertitles. I am unfamiliar with the poem so much of this film is lost on me. I should see it again. I think it is probably one of the more interesting of Cornell's films. -- John C., Film Notes
The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta

Director Joseph Cornell evokes the nostalgia of childhood by filming a children's party.

约瑟夫·科奈尔的孩子三部曲。科奈尔把杂耍、动物行为、马戏团表演、孩子的吃食和跳舞，科学演示、神话摘要和重要的定格人脸，混合成永恒的结构，完全无视我们通常的关于“蒙太奇”的预料。电影的进程，这对任何内心还没有被艺术的沉重压碎的人说说，都是舒适的观影经历。此为三部曲第二部分，片长9分钟。

科奈尔将一个简短的木偶剧与其他素材编辑在一起，构成了这部梦境般的短片。

A young girl in a frilly, old-fashioned gown walks hurriedly through New York's Bryant Park. She is out of place, like a figure from another era. She has a broken parasol. We see shots of the people in the park and at the end we see a man emptying out the trash barrels who misses the parasol.
I liked this particularly for showing a slice of New York life from the 1950s. It is interesting to see the people in the park, especially in color. I wish more had been done with the girl in the old-fashioned dress. She doesn't really do anything and nothing really happens to her. She could have just appeared for a moment in the background, but she is given prominence at the beginning of the film so we are led to pay attention to her and then nothing happens.
-- Film Notes, John C.
The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta