Porcelain sculptures have long been revered for their delicate beauty and intricate craftsmanship, but their presence in avant-garde film and animation adds a surreal and often unsettling dimension to their allure. One of the most striking examples is the work of Czech surrealist filmmaker Jan Švankmajer, whose short film *Dimensions of Dialogue* (1982) features grotesque yet mesmerizing porcelain figures that morph and disintegrate, symbolizing the breakdown of human communication. The film’s use of ceramic art blurs the line between the tangible and the uncanny, leaving a lasting impression on viewers.

Another notable instance is the animated short *The Sandman* (1991) by Paul Berry, which employs porcelain dolls to create a haunting atmosphere. The doll’s fragile, lifeless appearance contrasts sharply with its sinister movements, embodying the film’s themes of childhood fear and manipulation. The porcelain aesthetic here amplifies the eerie tone, making it a standout in stop-motion animation.

In the realm of experimental animation, the works of the Quay Brothers often incorporate porcelain-like figurines, as seen in *Street of Crocodiles* (1986). Their puppets, though not always made of porcelain, emulate its cold, brittle quality, enhancing the films’ dreamlike and often nightmarish visuals.

These examples demonstrate how porcelain sculptures in avant-garde media transcend mere decoration, becoming powerful symbols of fragility, transformation, and the uncanny. Their presence challenges viewers to reconsider the boundaries of art and animation.