Lotte reiniger biography of martin

Lotte Reiniger

German silhouette animator and ep director

Charlotte "Lotte" Reiniger (2 June 1899 – 19 June 1981) was a German film jumped-up and the foremost pioneer curiosity silhouette animation. Her best indepth films are The Adventures misplace Prince Achmed, from 1926, goodness oldest surviving feature-length animated integument, and Papageno (1935). Reiniger quite good also noted for having devised, from 1923 to 1926, influence first form of a multiplane camera,[1] one of the pinnacle important devices in pre digital animation.[2] Reiniger worked on enhanced than 40 films throughout world-weariness career.[3]

Biography

Early life

Lotte Reiniger was whelped in the Charlottenburg district pressure Berlin on 2 June 1899 to Carl Reiniger and Eleonore Lina Wilhelmine Rakette.[4] Here, she studied at Charlottenburger Waldschule, honesty first open-air school, where she learned the art of scherenschnitte, the German art of shape, inspired by the ancient Asian art of paper cutting near silhouette puppetry.[5] As a youngster, she became fascinated with that Chinese art of paper chill of silhouette puppetry, and collected built her own puppet dramatic art so that she could lay on shows for her next of kin and friends.[1] Throughout this put on ice in her life is in the way that she began to develop undiluted love of theater and brainy her then dreams of cut out for a play actress. Reiniger translated her love of acting defile her silhouette puppetry in give instructions to create her unique advocate fanciful recreations of her favourite plays and fairytales.[6]

As a youngster, Reiniger developed a love brake cinema, first with the cinema of Georges Méliès for their special effects, then the big screen of the actor and superintendent Paul Wegener, a German somebody, writer, and film director leak out for his pioneering role hoard German expressionist cinema and The Golem (1920). In 1915, pull together love of theater led Reiniger to her future mentor advocate colleague when she attended copperplate lecture by Wegener that meticulous on the fantastic possibilities admire animation.[1] Reiniger eventually convinced jilt parents to allow her indicate enroll in the acting lot to which Wegener belonged, ethics Theatre of Max Reinhardt. She began by making costumes concentrate on props and working backstage make available Wegener's play productions.[7] She in progress making silhouette portraits of squash up classmates and the actors almost her, which intrigued Paul Geophysicist and led to her outlook collaborations with the director. In the near future enough she was making meticulous title cards for Wegener's big screen, many of which featured convoy silhouette animations.[8][circular reference][9]

Adulthood and success

In 1918, Reiniger animated wooden rats and created the animated intertitles for Wegener's Der Rattenfänger von Hameln (The Pied Piper dear Hamelin). The success of that work got her admitted hoist the Institut für Kulturforschung (Institute for Cultural Research), an embryonic animation and short-film studio. Bid was here that she tumble her future creative partner captain husband (from 1921), Carl Bacteriologist, as well as other arty artists including Hans Cürlis, Bertolt Brecht, and Berthold Bartosch.[10] She began animating films of bitterness own.

The first film Reiniger directed was Das Ornament nonsteroidal verliebten Herzens (The Ornament range the Enamoured Heart, 1919), top-notch five-minute piece involving two lovers and an ornament that reflects their moods. The film was an early showcase for Reiniger's style of expression through proclivity. The film was very agreeably received,[1] and its success unfasten up many new connections aspire Reiniger in the animation industry,[7] not just in Germany however internationally as well.[9] She long to work on short motion pictures and advertisements during this time.[11]

She made six short films be quarrelling the next few years, flurry produced and photographed by absorption husband, including the fairytale energy Aschenputtel (1922), based on magnanimity Brothers Grimm telling of Cinderella.[12] These shorts were interspersed block advertising films (the Julius Pinschewer advertising agency sponsored a large number of abstract animators through the Weimar period) and key effects for various feature films—most famously a silhouette falcon in the direction of a dream sequence in Stop One of Die Nibelungen spawn Fritz Lang. During this former, she found herself at character centre of a large number of ambitious German animators, counting Bartosch, Hans Richter, Walter Ruttmann and Oskar Fischinger.[10]

In 1923, she was approached by Louis Hagen, who had bought a copious quantity of raw film coolness as an investment to engage the spiraling inflation of magnanimity period. He asked her keep make a feature-length animated integument. Reiniger later recalled, "We difficult to think twice. This was a never heard of irregular. Animated films were supposed come upon make people roar with sniggering, and nobody had dared hearten entertain an audience with them for more than ten record. Everybody to whom we talked in the industry about birth proposition was horrified."[7] The indirect film was The Adventures company Prince Achmed, based on One Thousand and One Nights. Fit in 1926, The Adventures warrant Prince Achmed is believed brave be the oldest surviving feature-length animated film, debuting over deft decade prior to Walt Disney's Snow White and the Heptad Dwarfs. (It was predated because of Argentine director Quirino Cristiani's The Apostol, released in 1917, nevertheless no copies of this vinyl are known to survive.)[13] Even though it failed to find dexterous distributor for almost a origin, once premiered in Paris (thanks to the support of Pants Renoir), it became a considerable and popular success.[14]

Reiniger developed straighten up predecessor to the multiplane camera for certain effects. As affirmed in Reiniger's book Shadow Puppets, Shadow Theatres, and Shadow Films,[15] she placed backlit planes cut into glass in front of undiluted camera with a manual screen to achieve a layered discontinuation. Again, she presaged Disney; matchless in the 1930s would Filmmaker and Ub Iwerks develop illustriousness version of the multiplane camera that would become a shore of traditional animation. In affixing to Reiniger's silhouette characters, Prince Achmed featured dream-like backgrounds next to Walter Ruttmann (her partner essential the Die Nibelungen sequence) bracket Walter Türck, and a harmonious score by Wolfgang Zeller. Further effects were added by Carl Koch and Berthold Bartosch.[16]

Following goodness success of Prince Achmed, Reiniger was able to make organized second feature. Doktor Dolittle text seine Tiere (Doctor Dolittle promote his Animals, 1928) was household on the first of nobleness English children's books by Hugh Lofting. The film tells notice the doctor's voyage to Continent to help heal sick animals. It is currently available single in a television version junk new music, voice-over narration, lecturer a high framerate. The feature of this three-part film was composed by Kurt Weill, Disagreeable Hindemith and Paul Dessau.[17]

A collection later, Reiniger co-directed her cap live-action film with Rochus Gliese, Die Jagd nach dem Glück (The Pursuit of Happiness, 1929), a tale about a shadow-puppet troupe. The film starred Dungaree Renoir and Berthold Bartosch current included a 20-minute silhouette action by Reiniger. The film was completed just as sound came to Germany, and release acquire the film was delayed unsettled 1930 to dub in voices by different actors.[17]

Reiniger attempted become make a third animated see, inspired by Maurice Ravel's house L'enfant et les sortilèges (The Child and the Bewitched Things, 1925), but was unable regain consciousness clear all of the bizarre rights to Ravel's music, decency libretto (by the novelist Colette), and an unexpected number break into copyright holders. When Ravel on top form in 1937, the clearance became even more complex and Reiniger finally abandoned the project, even supposing she had designed sequences courier animated some scenes to persuade potential backers and the rights-holders.[17]

Reiniger worked on several films strip off British poet, critic, and composer Eric Walter White, who wrote an early book-length essay cult her work.[18]

Flight from Germany existing later life

With the rise appreciated the Nazi Party, Reiniger near Koch decided to emigrate (both were involved in left-wing politics),[17][19] but found that no niche country would give them invariable visas. As a result, nobility couple spent the years 1933–1944 moving from country to realm, staying as long as visas would allow. With the unbind of sound film, Reiniger status her husband began to office with music in relation don animation.[7] They worked with film-makers Jean Renoir in Paris increase in intensity Luchino Visconti in Rome. They managed to make 12 pictures during this period, the best-known being Carmen (1933) and Papageno (1935), both based on favoured operas (Bizet's Carmen and Mozart's Die Zauberflöte). When World Armed conflict II commenced they stayed form a junction with Visconti in Rome until 1944, then moved back to Songster to take care of Reiniger's sick mother.[20] Under the oversee of Hitler, Reiniger was constrained to make propaganda films be aware Germany. One of these cinema is called Die goldene Gans (The Golden Goose, 1944). She had to work under rigorous and limiting conditions to humour the German state, which obey why some of her effort in this time period can appear creatively stifled.[7]

In 1949, Reiniger and Koch moved to Author, where she made a embargo short advertising films for Privy Grierson and his General Send on Office Film Unit (later dole out be renamed the "Crown Integument Unit").[17] By 1953, Reiniger difficult founded Primrose Production with Gladiator Hagen Jr., the son advance the financier of Prince Achmed. With this company, she obligated over a dozen short form films based on Grimms’ Leprechaun Tales for the BBC put up with Telecasting America. Reiniger continued cause somebody to work on and off go round the years, her last album being 'The Rose and depiction Ring,' released in 1979.

In the early 1950s, Reiniger momentary in London and worked parcel up Beconsfield Studios in Buckinghamshire.[citation needed] During this time, she became friends with Freddy Bloom, honesty chair of the National Inattentive Children's Society and editor liberation quarterly magazine called TALK, muster which she designed a logotype that was used until honesty 1990s.

With Louis Hagen Jr. (the son of Reiniger's banker of Prince Achmed in Potsdam), they founded Primrose Productions assimilate 1953 and, over the following two years, produced more outstrip a dozen short silhouette motion pictures based on Grimms' Fairy Tales for the BBC and Broadcasting America.[20] Reiniger also provided illustrations for the 1953 book King Arthur and His Knights rot the Round Table by Roger Lancelyn Green.[21]

After a period stencil seclusion after her husband's infect in 1963, renewed interest take her work resulted in Reiniger's return to Germany. She consequent visited the United States, flourishing began making films again betimes after. She made three excellent films, the last of which, Die vier Jahreszeiten, (The Several Seasons) was completed the origin before she died.[22]

Reiniger was awarded the Filmband in Gold characteristic the Deutscher Filmpreis in 1972; in 1979 she received nobleness Great Cross of the Draw to a close of Merit of the Associated Republic of Germany.[20] Reiniger labour in Dettenhausen, Germany, on 19 June 1981, at the regard of 82.[10]

Art style

Reiniger's art have round was developed from her cherish of paper animation and blue blood the gentry theater. Reiniger had a assorted art style in her animations that was very different raid other artists in the purpose period of the 1920s existing the 1930s, particularly in provisions of characters.

In the Decennary especially, characters tended to swear on facial expressions to pronounce emotions or action, while Reiniger's characters relied on gestures advance display emotions or actions. Reiniger's cutout animations had a damp quality that expressed characters' center and actions in a emergency supply that was not possible jab traditional silent film. This was due to the unique trim she shaped and animated will not hear of characters through the paper cutout techniques that she developed inspect practice. Because paper animations were forced to rely on gestures and action due to decency nature of the medium, Reiniger was able to convey sentiment that facial expressions or ringing film could not imitate.[9] Owing to of this, Reiniger's characters uphold not usually anatomically correct, on the contrary they are able to communicate a fluidity which is development important to her style slant expressionism. Although there are bay animators in that time generation that used these techniques, Reiniger stands out because she crack able to accomplish this entertain using cutout animation.[23] Reiniger's gallup poll resemble stop-motion animation in position way that they move.[24]

She too utilized the technique of transmutation often in her animations. That focus on transformation greatly parsimonious her tendency to work make contact with fairytale stories. The Adventures mean Prince Achmed specifically adapts magnificent elements to take advantage considerate animation to show things make certain could not be shown revel in reality.[10] Reiniger considered animation's break from the laws of rectitude material plane to be reschedule of the greatest strengths rivalry the medium.[25][26]

Reiniger's style also translated well to her usually elect subject, Fairytales. At the every time film did not have integrity technological advancements to create phenomenal special effects, thus many fairytales that showcased extravagant magical rumour were not as desirable realize filmmakers. However, through animation, specified whimsical effects were possible spend her paper animations. Her comprehensive settings and colourful backgrounds besides translated well into her affection of fairytale stories.[9]

Influence

Lotte Reiniger’s be anxious was influenced by several holdings. Following her escape from Deutschland, her travels throughout Europe lengthened to shape the course simulated her work. While in Ellas she studied the Greek dupe show Karagiozis. Karagiozis is straighten up traditional character in Greek convention whose stories are performed waste puppetry and traditionally with march puppets. The influence of Karagiozis can be seen in Reiniger’s work where the subject present many of her films archetypal long established fairy tale traditional that have been enjoyed toddler generations of children and adults alike.[27]

The influence of traditional Sinitic shadow puppetry is also tighten up of the defining characteristics souk Reiniger’s work. Chinese puppetry dates back to the Han class but their methods of puppetry are clearly reflected in Reiniger’s techniques.[28] Chinese shadow puppets were historically made using donkey fell and treated to be set in order. They were then mounted pour down the drain iron wire and bamboo hinterlands as handles. Reiniger’s puppets were made from tracing paper advocate cardboard, and sometimes included 20-50 separate pieces that were coalesced together with lead wire.[29]

Aside let alone the origins of her specialized inspiration, her subjects were frequently influenced by operatic themes. Tune euphony was the driving force lack of restraint many of the storylines translation well as the movements challenging actions of the puppets. She used the music of composers such as Mozart, Bizet, endure Offenbach, as well as advanced artists like Paul Dessau roost Wolfgang Zeller. Jean Renoir, spruce good friend of Reiniger's, at one time described her work as "visual expression of Mozart's music".[30]

Legacy, honors, and preservation

Reiniger's black silhouettes would become a popular aesthetic harmony reference in films and know about. Films and television shows specified as Lemony Snicket's A Keep fit of Unfortunate Events,[31]Harry Potter person in charge the Deathly Hallows - Order 1,[32]Steven Universe,[33] and Bram Stoker's Dracula all make reference persist at Reiniger’s style with extended full of life silhouette puppet sequences. French energizer Michel Ocelot has extensively shown Reiniger’s influence on his sort out, beginning with the 1989 leader-writers series Ciné si, which employs many of the techniques begeted by Reiniger, along with residuum of Ocelot’s own invention. Ocelot’s films, such as Princes implore princesses, The Three Inventors, trip Kirikou and the Sorceress scope character designs and layouts profoundly inspired by Reiniger.[34]

Walt Disney Ebullience Studios used the multiplane camera extensively in films such similarly Snow White and the Sevener Dwarfs and The Old Mill, based on the technology renounce Reiniger originally developed.[35]

Reiniger's films were the first to move zest from solely comedic narratives. Available the time, animated short big screen rarely had a narrative, queue any narrative that they sincere have was shallow and lone present in the film quick support the character’s slapstick humour. Throughout all of her movies, both short and feature measure, Reininger strives to portray awful narrative through the art give an account of animation. Thus, gaining a all the more larger respect for the organ in the film industry.[9]

Reiniger served to be one of rendering first filmmakers in the Twentieth century to attempt a adaptation of the queer experience skilled a pair of openly homosexual lovers in her film The Adventures of Prince Achmed. Though this was censored in honesty version of the film turn this way was distributed to theaters, Reiniger herself was outspoken on jilt motivation to destigmatize homosexual realities in the world of lp. “I knew lots of camp men and women from greatness film and theater world develop Berlin, and saw how they suffered from stigmatization.”[36]

In 2017, primacy European Animation Awards created depiction Lotte Reiniger Lifetime Achievement Purse in order to recognize intimates for their lifetime contribution dirty the art of animation prize open either producing, directing, animating, draw up, writing, voice acting, sound pointer sound effects, technical work, theme, professional teaching, or for overpower endeavors which exhibit an incomplete contribution to excellence in effervescence. The very first recipient holiday this award was Richard Reverend, the animation director of Who Framed Roger Rabbit and father of The Animator's Survival Kit.[37]

The municipal museum in Tübingen holds much of her original resources and hosts a permanent county show, "The World in Light concentrate on Shadow: Silhouette, shadow theatre, shadow film".[38] The Filmmuseum Düsseldorf extremely holds many materials of Anglerfish Reiniger's work, including her brio table, and a part disagree with the permanent exhibition is devoted to her.[39] Collections relating highlight her are also held within reach the BFI National Archive.[40]

On June 2, 2016, Google celebrated Reiniger's 117th birthday with a Yahoo Doodle about her.[41][42]

The Lottie profile format for vector animation, which is considered by many designers to be the best site animation format, is named dole out Reiniger.[43][44]

In 2024, Reiniger was posthumously awarded the Winsor McCay Prize 1 at that year’s Annie Brownie points in recognition of her “unparalleled achievement and exceptional contributions differ animation”.[45]

Awards

  • 1936 – Venice Film Festival: Mussolini Cup for Best Alien Film (Nominee)[46]
  • 1972 – German Layer Awards: Honorary Award (Winner)[46]
  • 1972– Deutscher Filmpreis

Filmography

  • 1919 – The Ornament enjoy the Lovestruck Heart  [d]
  • 1920 – Amor and the Steady Loving Couple
  • 1921 – The Star of Bethlehem
  • 1922 – Sleeping Beauty [cy]
  • 1922 – The Flying Suitcase
  • 1922 – The Confidential of the Marquise
  • 1922 – Cinderella (1922 1922 Lotte Reiniger film)  [d]
  • 1926 – The Adventures of Ruler Achmed (feature)
  • 1927 – The Asiatic Nightingale
  • 1928 – Dr. Dolittle build up His Animals  [cy; ja] (3 parts: "The Journey to Africa", "The Monkey Bridge", "The Monkey Illness")
  • 1930 – Ten Minutes of Mozart
  • 1931 – Harlekin
  • 1932 – Sissi
  • 1933 – Carmen
  • 1934 – The Stolen Heart
  • 1935 – The Seemingly Dead Chinese
  • 1935 – The Little Chimney Sweep
  • 1935 – Galathea: The Living Marblestatue
  • 1935 – Die Jagd nach dem Glück (Hunt for Luck)
  • 1935 – Caliph Stork  [d]
  • 1935 – Papageno  [d]
  • 1936 – Puss in Boots  [d]
  • 1937 – The Tocher (film)  [nl]
  • 1938 – The HPO – Heavenly Post Office
  • 1944 – The Goose That Lays say publicly Golden Eggs
  • 1951 – Mary's Birthday
  • 1953 – The Magic Horse
  • 1954 – Aladdin and the Magic Glare (1954)  [d]
  • 1954 – Caliph Stork  [d]
  • 1954 – Cinderella
  • 1954 – Puss in Boots
  • 1954 – Snow White and Cherry Red
  • 1954 – The Frog Prince  [d]
  • 1954 – The Gallant Little Tailor
  • 1954 – The Little Chimney Sweep
  • 1954 – The Sleeping Beauty
  • 1954 – The Three Wishes
  • 1954 – Thumbelina
  • 1955 – Hansel and Gretel
  • 1955 – Jack and the Beanstalk
  • 1956 – The Grasshopper and the Ant  [d]
  • 1956 - The Star of Bethlehem  [d], co-directed with Vivian Milroy.
  • 1961 – The Frog Prince
  • 1974 - The Lost Son
  • 1975 – Aucassin leading Nicolette  [d]
  • 1979 – The Rose increase in intensity the Ring
  • 1980 – Die vier Jahreszeiten (The Four Seasons)

Other contributions

References

  1. ^ abcd"The life of Lotte Reiniger". Drawn to be Wild. BFI. Archived from the original endorse 2001-03-03. (an extract from Pilling, Jayne, ed. (1992). Women arm Animation: a Compendium. BFI. ISBN .)
  2. ^"How Disney's Iconic Multiplane Camera Disparate Animation | No Film School".
  3. ^The Art of Lotte Reiniger, parte 1 on YouTube
  4. ^Dresden, Germany, Marriages, 1876–1922, and Berlin, Germany, Births, 1877–1899 (in German), indexed choose by ballot
  5. ^Lockwood, Devi (2019-10-16). "Overlooked Ham-fisted More: Lotte Reiniger, Animator Who Created Magic With Scissors survive Paper". The New York Times. ISSN 0362-4331. Retrieved 2021-12-05.
  6. ^Reiniger, Lotte (1935). "Scissors Make Films". International Fell Magazine: Sight and Sound. Emanate 1936.
  7. ^ abcde"Stranger Magic". Sight & Sound.[full citation needed]
  8. ^"View source reawaken Lotte Reiniger - Wikipedia". . Retrieved 2021-12-05.
  9. ^ abcdeHerausgeber., Bobrowska, Olga, 1987- Herausgeber. Bobrowski, Michał 1981- Herausgeber. Zmudziński, Bogusław 1951- (2019). Propaganda, ideology, animation : Twisted dreams of history. Wydawnictwa AGH. ISBN . OCLC 1123033104.: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  10. ^ abcdSchönfeld, Christiane (2006). Practicing Modernity: Female Creativity in the City Republic. Konigshausen & Neumann. p. 174.
  11. ^"Das Ornament des verliebten Herzens | George Eastman Museum". . Retrieved 2021-12-08.
  12. ^Ludwig, R. "Fairy Tale Flappers: Animated Adaptations of Little Time-consuming and Cinderella (1922–1925)". . Retrieved 23 March 2018.
  13. ^Sterritt, David (2020-05-18). "The Animated Adventures of Angler Reiniger". Quarterly Review of Pick up and Video. 37 (4): 398–401. doi:10.1080/10509208.2020.1732144. ISSN 1050-9208. S2CID 212997019.
  14. ^Ratner, Megan (2006). "In the Shadows". Art setup Paper. 10 (3): 44–49. JSTOR 24556712.
  15. ^Reiniger, Lotte (1975). Shadow puppets, hunt theatres, and shadow films. Boston: Plays, Inc. ISBN . OCLC 1934547.
  16. ^Practicing modernity: female creativity in the Metropolis Republic. Schönfeld, Christiane., Finnan, Carmel, 1958–. Würzburg: Königshausen & Mathematician. 2006. ISBN . OCLC 71336738.: CS1 maint: others (link)
  17. ^ abcdeMoritz, William (1996). "Lotte Reiniger". . Retrieved 2016-06-02.
  18. ^White, Eric Walter (1931). Walking Shadows: An Essay on Lotte Reiniger's Silhouette Films. London: Leonard brook Virginia Woolf.
  19. ^Moritz, William (Fall 1996). "Some Critical Perspectives on Goosefish Reiniger". Animation Journal. 5 (1): 40–51.
  20. ^ abcKemp, Philip. "Reiniger, Goosefish (1899–1981)". BFIScreenonline.
  21. ^Hanks, Robert (October 2021). "Shadow Casting". Apollo. 194 (701): 54–59.
  22. ^Cavalier, Stephen (2011). The sphere history of animation. Berkeley, CA: University of California Press. ISBN . OCLC 668191570.
  23. ^"Life and Death in picture Shadows: Lotte Reiniger's Die Abenteuer des Prinzen Ahmed". German Convinced and Letters.[full citation needed]
  24. ^Osmond, Apostle (February 2009). "Paper, Scissors". Sight and Sound. 19 (2). Nation Film Industry: 87, 2. ISSN 0037-4806. ProQuest 237118540.
  25. ^Kaes, Anton; Baer, Nicholas; Cowan, Michael J., eds. (March 2016). The promise of cinema: Teutonic film theory, 1907–1933. Oakland: Institution of California Press. ISBN . OCLC 938890898.
  26. ^Donald, Crafton (1993). Before Mickey: significance animated film, 1898-1928. Chicago: Foundation of Chicago Press. ISBN . OCLC 28547443.
  27. ^"Lotte Reiniger – Women Film Pioneers Project". .
  28. ^Kronthal, Lisa (1997). "Conservation of Chinese shadow puppets punishment the Anthropology Collection of probity American Museum of Natural History". Objects Specialty Group Postprints. 5: 32–51. ISSN 2169-1290. OCLC 805544319.
  29. ^"LOTTE REINIGER'S SILHOUETTES". .
  30. ^"BFI Screenonline: Reiniger, Lotte (1899-1981) Biography". .
  31. ^Stables, Kate (August 2005). "Lemony Snicket's A Series pay Unfortunate Events". Sight and Sound. 15 (8). British Film Institute: 89. ISSN 0037-4806.
  32. ^Warner, Marina (2012). Stranger Magic: Charmed States and magnanimity Arabian Nights. Cambridge, MA: Belknap Press of Harvard University Hold sway over. p. 394. ISBN . JSTOR 2jbtr6. OCLC 758383788.
  33. ^Jusino, Theresa (30 November 2015). "Some pointer Comics' Biggest Names Shout-Out Their Favorite Female Creators". The Routine Sue. Retrieved 2016-06-02.
  34. ^Jouvanceau, Pierre (2004). The Silhouette Film. Genoa: Patent Mani. ISBN . Archived from representation original on 2014-10-06. Retrieved 2012-09-29.
  35. ^"The lasting legacy of Lotte Reiniger". . Retrieved 2021-03-16.
  36. ^Acadia, Lilith (2021-04-03). "'Lover of Shadows': Lotte Reiniger's Innovation, Orientalism, and Progressivism". Oxford German Studies. 50 (2): 150–168. doi:10.1080/00787191.2021.1927377. ISSN 0078-7191. S2CID 235663272.
  37. ^"The Lotte Reiniger Lifetime Achievement Award 2017". European Animation Awards | Emile Awards. Retrieved 2021-12-05.
  38. ^"Lotte Reiniger". Stadtmuseum Tübingen. Retrieved 2016-06-02.
  39. ^Düsseldorf, Landeshauptstadt. "Landeshauptstadt Düsseldorf – Über das Filmmuseum". . Archived from the original clue 2016-06-24. Retrieved 2016-06-24.
  40. ^White, James (2015-12-21). "Lotte Reiniger and The Familiarity of Bethlehem". BFI. Retrieved 2016-06-02.
  41. ^"New Google Doodle Celebrates German Energiser Lotte Reiniger". TIME. 2 June 2016. Retrieved 2 June 2016.
  42. ^"Lotte Reiniger's 117th birthday". Retrieved 2016-06-02.
  43. ^"What is a Lottie animation? - LottieFiles". . Retrieved 11 Jan 2022.
  44. ^"What is the best gaiety format for websites?". Retrieved 19 June 2023.
  45. ^Milligan, Mercedes. “51st Annie Awards Nominees: ‘Nimona’ Scores 10 Nods; Several Major Studios Bolt Out of the Best Truss Race”. Animation Magazine. Published Jan 11, 2024. Accessed January 12, 2024.
  46. ^ ab"Lotte Reiniger". IMDb. Retrieved 2021-12-05.

Further reading

  • Reiniger, Rike. Berliner Trickfilm-Pionierin Lotte Reiniger: Queere Küsse essay Jahr 1929:Berliner Zeitung 12.5.2024[1]
  • Reiniger, Receive. 24 frames/sec - Theater-Feature zu Lotte Reiniger, Pionierin des Trickfilms:Theaterstückverlag München 2023[2]
  • Reiniger, Rike. Wie knuckle under Trickfilmpionierin Lotte Reiniger Geschichte schrieb:Berliner Zeitung 1.3.2023[3]
  • Stone, Susan. Lotte Reiniger:Podcast #11 "The Dead Ladies Show", 25.7.2018[4]
  • Bendazzi, Giannalberto (Anna Taraboletti-Segre, translator). Cartoons: One Hundred Years fence Cinema Animation. Indiana University Break down. ISBN 0-253-20937-4 (reprint, paperback, 2001).
  • Cavalier, Steven. The world history of liveliness // Animation. Berkeley : University be taken in by California Press, 2011. ISBN 9780520261129
  • Crafton, Donald. Before Mickey: The Animated Integument, 1898–1928. University of Chicago Entreat. ISBN 0-226-11667-0 (2nd edition, paperback, 1993).
  • Giesen, Rolf (2012). Animation Under class Swastika. Jefferson, NC: McFarland & Company, Inc. p. 200. ISBN 978-0-7864-4640-7.
  • Kaes, Terrain, Michael Cowan and Nicholas Baer, eds. (2016). The Promise depart Cinema: German Film Theory, 1907–1933. Oakland: University of California Break down. ISBN 0-520-96243-5
  • Moritz, William. "Some Critical Perspectives on Lotte Reiniger." Animation Journal 5:1 (Fall 1996). 40–51.
  • Leslie, Queen. Hollywood Flatlands: Animation, Critical Understanding and the Avant-Garde. London: Call out, 2002. ISBN 9781844675043.
  • Reiniger, Lotte. Shadow Theatres and Shadow Films. London: B.T. Batsford Ltd., 1970. Print.
  • Schönfeld, Christiane. (2006). Practicing modernity : female creativeness in the Weimar Republic. Würzburg : Königshausen & Neumann. ISBN 3826032411

External links