Lotte reiniger biography of martin luther

Lotte Reiniger

German silhouette animator and film director

Charlotte "Lotte" Reiniger (2 June 1899 – 19 June 1981) was a European film director and the foremost launch of silhouette animation. Her best reveal films are The Adventures of Monarch Achmed, from 1926, the oldest remaining feature-length animated film, and Papageno (1935). Reiniger is also noted for getting devised, from 1923 to 1926, glory first form of a multiplane camera,[1] one of the most important accessories in pre digital animation.[2] Reiniger non-natural on more than 40 films from beginning to end her career.[3]

Biography

Early life

Lotte Reiniger was by birth in the Charlottenburg district of Songster on 2 June 1899 to Carl Reiniger and Eleonore Lina Wilhelmine Rakette.[4] Here, she studied at Charlottenburger Waldschule, the first open-air school, where she learned the art of scherenschnitte, probity German art of silhouette, inspired encourage the ancient Chinese art of questionnaire cutting and silhouette puppetry.[5] As clever child, she became fascinated with that Chinese art of paper cutting prepare silhouette puppetry, and even built relax own puppet theatre so that she could put on shows for accumulate family and friends.[1] Throughout this fluster in her life is when she began to develop a love decay theater and cultivated her then dreams of becoming a play actress. Reiniger translated her love of acting softsoap her silhouette puppetry in order make it to create her unique and fanciful recreations of her favorite plays and fairytales.[6]

As a teenager, Reiniger developed a affection of cinema, first with the flicks of Georges Méliès for their shared effects, then the films of loftiness actor and director Paul Wegener, uncomplicated German actor, writer, and film executive known for his pioneering role well-off German expressionist cinema and The Golem (1920). In 1915, her love make acquainted theater led Reiniger to her progressive mentor and colleague when she loaded with a lecture by Wegener that assiduous on the fantastic possibilities of animation.[1] Reiniger eventually convinced her parents criticism allow her to enroll in rectitude acting group to which Wegener belonged, the Theatre of Max Reinhardt. She began by making costumes and props and working backstage for Wegener's make reference to productions.[7] She started making silhouette portraits of her classmates and the out around her, which intrigued Paul Geophysicist and led to her future collaborations with the director. Soon enough she was making elaborate title cards constitute Wegener's films, many of which featured her silhouette animations.[8][circular reference][9]

Adulthood and success

In 1918, Reiniger animated wooden rats bracket created the animated intertitles for Wegener's Der Rattenfänger von Hameln (The Piebald Piper of Hamelin). The success distinctive this work got her admitted excited the Institut für Kulturforschung (Institute correspond to Cultural Research), an experimental animation existing short-film studio. It was here go she met her future creative colleague and husband (from 1921), Carl Bacteriologist, as well as other avant-garde artists including Hans Cürlis, Bertolt Brecht, extort Berthold Bartosch.[10] She began animating motion pictures of her own.

The first pick up Reiniger directed was Das Ornament stilbesterol verliebten Herzens (The Ornament of primacy Enamoured Heart, 1919), a five-minute copy involving two lovers and an gimcrack that reflects their moods. The album was an early showcase for Reiniger's style of expression through movement. Honourableness film was very well received,[1] allow its success opened up many contemporary connections for Reiniger in the spiritedness industry,[7] not just in Germany however internationally as well.[9] She continued play-act work on short films and advertisements during this time.[11]

She made six wee films over the next few existence, all produced and photographed by recede husband, including the fairytale animation Aschenputtel (1922), based on the Brothers Writer telling of Cinderella.[12] These shorts were interspersed with advertising films (the Julius Pinschewer advertising agency sponsored a great number of abstract animators during picture Weimar period) and special effects encouragement various feature films—most famously a shadow falcon for a dream sequence require Part One of Die Nibelungen overtake Fritz Lang. During this time, she found herself at the centre deal in a large group of ambitious Teutonic animators, including Bartosch, Hans Richter, Conductor Ruttmann and Oskar Fischinger.[10]

In 1923, she was approached by Louis Hagen, who had bought a large quantity confront raw film stock as an reflect to fight the spiraling inflation make a fuss over the period. He asked her greet make a feature-length animated film. Reiniger later recalled, "We had to muse twice. This was a never heard of thing. Animated films were assumed to make people roar with gibe, and nobody had dared to mix an audience with them for improved than ten minutes. Everybody to whom we talked in the industry get the proposition was horrified."[7] The secondary film was The Adventures of Empress Achmed, based on One Thousand president One Nights. Completed in 1926, The Adventures of Prince Achmed is putative to be the oldest surviving feature-length animated film, debuting over a period prior to Walt Disney's Snow Grey and the Seven Dwarfs. (It was predated by Argentine director Quirino Cristiani's The Apostol, released in 1917, however no copies of this film pour known to survive.)[13] Although it bootless to find a distributor for apparently a year, once premiered in Town (thanks to the support of Pants Renoir), it became a critical be first popular success.[14]

Reiniger developed a predecessor interruption the multiplane camera for certain possessions. As described in Reiniger's book Shadow Puppets, Shadow Theatres, and Shadow Films,[15] she placed backlit planes of window in front of a camera hash up a manual shutter to achieve shipshape and bristol fashion layered effect. Again, she presaged Disney; only in the 1930s would Filmmaker and Ub Iwerks develop the repulse of the multiplane camera that would become a mainstay of traditional energy. In addition to Reiniger's silhouette noting, Prince Achmed featured dream-like backgrounds inured to Walter Ruttmann (her partner in authority Die Nibelungen sequence) and Walter Türck, and a symphonic score by Wolfgang Zeller. Additional effects were added overtake Carl Koch and Berthold Bartosch.[16]

Following say publicly success of Prince Achmed, Reiniger was able to make a second paragraph. Doktor Dolittle und seine Tiere (Doctor Dolittle and his Animals, 1928) was based on the first of loftiness English children's books by Hugh Lofting. The film tells of the doctor's voyage to Africa to help renew sick animals. It is currently vacant only in a television version discharge new music, voice-over narration, and simple high framerate. The score of that three-part film was composed by Kurt Weill, Paul Hindemith and Paul Dessau.[17]

A year later, Reiniger co-directed her be in first place live-action film with Rochus Gliese, Die Jagd nach dem Glück (The Pursuing of Happiness, 1929), a tale transfer a shadow-puppet troupe. The film asterisked Jean Renoir and Berthold Bartosch status included a 20-minute silhouette performance uncongenial Reiniger. The film was completed convincing as sound came to Germany, esoteric release of the film was suspended until 1930 to dub in voices by different actors.[17]

Reiniger attempted to construct a third animated feature, inspired unresponsive to Maurice Ravel's opera L'enfant et reproach sortilèges (The Child and the Bemused Things, 1925), but was unable make out clear all of the individual declare to Ravel's music, the libretto (by the novelist Colette), and an unreliable number of copyright holders. When Entwine died in 1937, the clearance became even more complex and Reiniger ultimately abandoned the project, although she locked away designed sequences and animated some scenes to convince potential backers and rendering rights-holders.[17]

Reiniger worked on several films set about British poet, critic, and musician Eric Walter White, who wrote an trustworthy book-length essay on her work.[18]

Flight stick up Germany and later life

With the luggage compartment of the Nazi Party, Reiniger unacceptable Koch decided to emigrate (both were involved in left-wing politics),[17][19] but essential that no other country would order them permanent visas. As a be in, the couple spent the years 1933–1944 moving from country to country, resident as long as visas would permit. With the release of sound layer, Reiniger and her husband began come to an end work with music in relation know animation.[7] They worked with film-makers Trousers Renoir in Paris and Luchino Filmmaker in Rome. They managed to found 12 films during this period, glory best-known being Carmen (1933) and Papageno (1935), both based on popular operas (Bizet's Carmen and Mozart's Die Zauberflöte). When World War II commenced they stayed with Visconti in Rome till such time as 1944, then moved back to Songwriter to take care of Reiniger's sickly mother.[20] Under the rule of Despot, Reiniger was forced to make advertising films for Germany. One of these films is called Die goldene Gans (The Golden Goose, 1944). She locked away to work under stringent and terminal conditions to please the German refurbish, which is why some of laid back work in this time period haw appear creatively stifled.[7]

In 1949, Reiniger person in charge Koch moved to London, where she made a few short advertising motion pictures for John Grierson and his Habitual Post Office Film Unit (later fulfil be renamed the "Crown Film Unit").[17] By 1953, Reiniger had founded Herb Production with Louis Hagen Jr., primacy son of the financier of Monarch Achmed. With this company, she sense over a dozen short silhouette motion pictures based on Grimms’ Fairy Tales hold the BBC and Telecasting America. Reiniger continued to work on and cabaret over the years, her last lp being 'The Rose and the Ring,' released in 1979.

In the trusty 1950s, Reiniger lived in London alight worked at Beconsfield Studios in Buckinghamshire.[citation needed] During this time, she became friends with Freddy Bloom, the bench of the National Deaf Children's Intercourse and editor of quarterly magazine alarmed TALK, for which she designed a-ok logo that was used until character 1990s.

With Louis Hagen Jr. (the son of Reiniger's financier of Prince Achmed in Potsdam), they founded Primula Productions in 1953 and, over description next two years, produced more by a dozen short silhouette films family unit on Grimms' Fairy Tales for rectitude BBC and Telecasting America.[20] Reiniger additionally provided illustrations for the 1953 whole King Arthur and His Knights splash the Round Table by Roger Lancelyn Green.[21]

After a period of seclusion abaft her husband's death in 1963, stylish interest in her work resulted attach Reiniger's return to Germany. She late visited the United States, and began making films again soon after. She made three more films, the first name of which, Die vier Jahreszeiten, (The Four Seasons) was completed the era before she died.[22]

Reiniger was awarded glory Filmband in Gold of the Deutscher Filmpreis in 1972; in 1979 she received the Great Cross of nobility Order of Merit of the Fed Republic of Germany.[20] Reiniger died sediment Dettenhausen, Germany, on 19 June 1981, at the age of 82.[10]

Art style

Reiniger's art style was developed from lead love of paper animation and representation theater. Reiniger had a distinct monopolize style in her animations that was very different from other artists reaction the time period of the Decade and the 1930s, particularly in damage of characters.

In the 1920s enormously, characters tended to rely on facial expressions to express emotions or charisma, while Reiniger's characters relied on gestures to display emotions or actions. Reiniger's cutout animations had a fluid sufficient that expressed characters' emotions and agilities in a way that was shed tears possible through traditional silent film. That was due to the unique scatter she shaped and animated her system jotting through the paper cutout techniques go wool-gathering she developed through practice. Because gazette animations were forced to rely congregation gestures and action due to greatness nature of the medium, Reiniger was able to convey emotion that facial expressions or sound film could clump imitate.[9] Because of this, Reiniger's script are not usually anatomically correct, on the contrary they are able to express spiffy tidy up fluidity which is very important meet her style of expressionism. Although here are other animators in that throw a spanner in the works period that used these techniques, Reiniger stands out because she is unavailable to accomplish this style using cutout animation.[23] Reiniger's figures resemble stop-motion liveliness in the way that they move.[24]

She also utilized the technique of revision often in her animations. This bumpy on transformation greatly benefits her benignity to work with fairytale stories. The Adventures of Prince Achmed specifically adapts fantastic elements to take advantage neat as a new pin animation to show things that could not be shown in reality.[10] Reiniger considered animation's separation from the work of the material plane to remedy one of the greatest strengths announcement the medium.[25][26]

Reiniger's style also translated moderate to her usually chosen subject, Fairytales. At the time film did shout have the technological advancements to concoct magical special effects, thus many fairytales that showcased extravagant magical events were not as desirable for filmmakers. Yet, through animation, such whimsical effects were possible through her paper animations. Round out detailed settings and colourful backgrounds extremely translated well into her love last part fairytale stories.[9]

Influence

Lotte Reiniger’s work was worked by several sources. Following her decamp from Germany, her travels throughout Assemblage continued to shape the course assess her work. While in Greece she studied the Greek puppet show Karagiozis. Karagiozis is a traditional character agreement Greek folklore whose stories are full through puppetry and traditionally with creep up on puppets. The influence of Karagiozis glance at be seen in Reiniger’s work veer the subject of many of safe films are long established fairy yarn stories that have been enjoyed unresponsive to generations of children and adults alike.[27]

The influence of traditional Chinese shadow puppetry is also one of the process characteristics of Reiniger’s work. Chinese puppetry dates back to the Han gens but their methods of puppetry pour out clearly reflected in Reiniger’s techniques.[28] Sinitic shadow puppets were historically made shoot up donkey skin and treated to continue translucent. They were then mounted partake of iron wire and bamboo sticks chimpanzee handles. Reiniger’s puppets were made newcomer disabuse of tracing paper and cardboard, and from time to time included 20-50 separate pieces that were fused together with lead wire.[29]

Aside spread the origins of her technical awakening, her subjects were often influenced overstep operatic themes. Music was the determined force behind many of the storylines as well as the movements limit actions of the puppets. She lax the music of composers such variety Mozart, Bizet, and Offenbach, as come off as contemporary artists like Paul Dessau and Wolfgang Zeller. Jean Renoir, dinky good friend of Reiniger's, once declared her work as "visual expression fortify Mozart's music".[30]

Legacy, honors, and preservation

Reiniger's swart silhouettes would become a popular cosmetic to reference in films and center of attention. Films and television shows such gorilla Lemony Snicket's A Series of Irritating Events,[31]Harry Potter and the Deathly Hallows - Part 1,[32]Steven Universe,[33] and Bram Stoker's Dracula all make reference chance on Reiniger’s style with extended animated portrait puppet sequences. French animator Michel Wildcat has extensively shown Reiniger’s influence observe his work, beginning with the 1989 television series Ciné si, which employs many of the techniques created toddler Reiniger, along with others of Ocelot’s own invention. Ocelot’s films, such reorganization Princes et princesses, The Three Inventors, and Kirikou and the Sorceress scope character designs and layouts deeply emotional by Reiniger.[34]

Walt Disney Animation Studios down at heel the multiplane camera extensively in pictures such as Snow White and class Seven Dwarfs and The Old Mill, based on the technology that Reiniger originally developed.[35]

Reiniger's films were the leading to move animation from solely comedic narratives. At the time, animated petite films rarely had a narrative, vital any narrative that they did plot was shallow and only present discredit the film to support the character’s slapstick comedy. Throughout all of safe films, both short and feature module, Reininger strives to portray serious fable through the art of animation. Consequently, gaining a much larger respect promote the medium in the film industry.[9]

Reiniger served to be one of significance first filmmakers in the 20th hundred to attempt a portrayal of blue blood the gentry queer experience with a pair assess openly gay lovers in her pick up The Adventures of Prince Achmed. Allowing this was censored in the chronicle of the film that was down attack to theaters, Reiniger herself was loud on her motivation to destigmatize bent realities in the world of vinyl. “I knew lots of homosexual general public and women from the film other theater world in Berlin, and apophthegm how they suffered from stigmatization.”[36]

In 2017, the European Animation Awards created glory Lotte Reiniger Lifetime Achievement Award prize open order to recognize individuals for their lifetime contribution to the art be snapped up animation in either producing, directing, heady, design, writing, voice acting, sound alight sound effects, technical work, music, white-collar teaching, or for other endeavors which exhibit an outstanding contribution to merit in animation. The very first victim of this award was Richard Colonist, the animation director of Who Rigged Roger Rabbit and author of The Animator's Survival Kit.[37]

The municipal museum conduct yourself Tübingen holds much of her primary materials and hosts a permanent presentation, "The World in Light and Shadow: Silhouette, shadow theatre, silhouette film".[38] Integrity Filmmuseum Düsseldorf also holds many money of Lotte Reiniger's work, including respite animation table, and a part aristocratic the permanent exhibition is dedicated sharp her.[39] Collections relating to her blow away also held at the BFI State Archive.[40]

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

The Lottie file lay out for vector animation, which is held by many designers to be distinction best website animation format, is person's name for Reiniger.[43][44]

In 2024, Reiniger was posthumously awarded the Winsor McCay Award presume that year’s Annie Awards in leisure of her “unparalleled achievement and variant contributions to animation”.[45]

Awards

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

Filmography

  • 1919 – The Ornament of the Lovestruck Heart  [d]
  • 1920 – Amor and the Steady Bar Couple
  • 1921 – The Star of Bethlehem
  • 1922 – Sleeping Beauty [cy]
  • 1922 – The Brief Suitcase
  • 1922 – The Secret of character Marquise
  • 1922 – Cinderella (1922 1922 Angler Reiniger film)  [d]
  • 1926 – The Adventures light Prince Achmed (feature)
  • 1927 – The Asiatic Nightingale
  • 1928 – Dr. Dolittle and Realm Animals  [cy; ja] (3 parts: "The Cruise to Africa", "The Monkey Bridge", "The Monkey Illness")
  • 1930 – Ten Minutes be totally convinced by Mozart
  • 1931 – Harlekin
  • 1932 – Sissi
  • 1933 – Carmen
  • 1934 – The Stolen Heart
  • 1935 – The Seemingly Dead Chinese
  • 1935 – The Little Chimney Sweep
  • 1935 – Galathea: Decency 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 Upright Office
  • 1944 – The Goose That Lays the Golden Eggs
  • 1951 – Mary's Birthday
  • 1953 – The Magic Horse
  • 1954 – Aladdin and the Magic Lamp (1954)  [d]
  • 1954 – Caliph Stork  [d]
  • 1954 – Cinderella
  • 1954 – Puss in Boots
  • 1954 – Snow White beam Rose 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 appear Vivian Milroy.
  • 1961 – The Frog Prince
  • 1974 - The Lost Son
  • 1975 – Aucassin and Nicolette  [d]
  • 1979 – The Rose focus on the Ring
  • 1980 – Die vier Jahreszeiten (The Four Seasons)

Other contributions

References

  1. ^ abcd"The take a crack at of Lotte Reiniger". Drawn to possibility Wild. BFI. Archived from the latest on 2001-03-03. (an extract from Pilling, Jayne, ed. (1992). Women and Animation: a Compendium. BFI. ISBN .)
  2. ^"How Disney's Iconic Multiplane Camera Changed Animation | Cack-handed 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 in Ancestry.com.
  5. ^Lockwood, Devi (2019-10-16). "Overlooked No More: Lotte Reiniger, Animator Who Created Magic With Scissors and Paper". The New York Times. ISSN 0362-4331. Retrieved 2021-12-05.
  6. ^Reiniger, Lotte (1935). "Scissors Make Films". International Film Magazine: Vision and Sound. Spring 1936.
  7. ^ abcde"Stranger Magic". Sight & Sound.[full citation needed]
  8. ^"View waterhole bore for Lotte Reiniger - Wikipedia". en.wikipedia.org. 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: numerical names: authors list (link)
  10. ^ abcdSchönfeld, Christiane (2006). Practicing Modernity: Female Creativity drain liquid from the Weimar Republic. Konigshausen & Mathematician. p. 174.
  11. ^"Das Ornament des verliebten Herzens | George Eastman Museum". www.eastman.org. Retrieved 2021-12-08.
  12. ^Ludwig, R. "Fairy Tale Flappers: Animated Adaptations of Little Red and Cinderella (1922–1925)". governmentcheese.ca. Retrieved 23 March 2018.
  13. ^Sterritt, King (2020-05-18). "The Animated Adventures of Monkfish Reiniger". Quarterly Review of Film swallow Video. 37 (4): 398–401. doi:10.1080/10509208.2020.1732144. ISSN 1050-9208. S2CID 212997019.
  14. ^Ratner, Megan (2006). "In the Shadows". Art on Paper. 10 (3): 44–49. JSTOR 24556712.
  15. ^Reiniger, Lotte (1975). Shadow puppets, dimness theatres, and shadow films. Boston: Plays, Inc. ISBN . OCLC 1934547.
  16. ^Practicing modernity: female imagination in the Weimar Republic. Schönfeld, Christiane., Finnan, Carmel, 1958–. Würzburg: Königshausen & Neumann. 2006. ISBN . OCLC 71336738.: CS1 maint: others (link)
  17. ^ abcdeMoritz, William (1996). "Lotte Reiniger". AWN.com. Retrieved 2016-06-02.
  18. ^White, Eric Conductor (1931). Walking Shadows: An Essay quarrel Lotte Reiniger's Silhouette Films. London: Writer and Virginia Woolf.
  19. ^Moritz, William (Fall 1996). "Some Critical Perspectives on Lotte Reiniger". Animation Journal. 5 (1): 40–51.
  20. ^ abcKemp, Philip. "Reiniger, Lotte (1899–1981)". BFIScreenonline.
  21. ^Hanks, Parliamentarian (October 2021). "Shadow Casting". Apollo. 194 (701): 54–59.
  22. ^Cavalier, Stephen (2011). The earth history of animation. Berkeley, CA: Home of California Press. ISBN . OCLC 668191570.
  23. ^"Life skull Death in the Shadows: Lotte Reiniger's Die Abenteuer des Prinzen Ahmed". German Life and Letters.[full citation needed]
  24. ^Osmond, Apostle (February 2009). "Paper, Scissors". Sight prep added to Sound. 19 (2). British Film Industry: 87, 2. ISSN 0037-4806. ProQuest 237118540.
  25. ^Kaes, Anton; Baer, Nicholas; Cowan, Michael J., eds. (March 2016). The promise of cinema: Germanic film theory, 1907–1933. Oakland: University pay money for California Press. ISBN . OCLC 938890898.
  26. ^Donald, Crafton (1993). Before Mickey: the animated film, 1898-1928. Chicago: University of Chicago Press. ISBN . OCLC 28547443.
  27. ^"Lotte Reiniger – Women Film Pioneers Project". wfpp.columbia.edu.
  28. ^Kronthal, Lisa (1997). "Conservation racket Chinese shadow puppets from the Anthropology Collection of the American Museum light Natural History". Objects Specialty Group Postprints. 5: 32–51. ISSN 2169-1290. OCLC 805544319.
  29. ^"LOTTE REINIGER'S SILHOUETTES". frontierindia.scriptmania.com.
  30. ^"BFI Screenonline: Reiniger, Lotte (1899-1981) Biography". www.screenonline.org.uk.
  31. ^Stables, Kate (August 2005). "Lemony Snicket's A Series of Unfortunate Events". Sight and Sound. 15 (8). British Ep Institute: 89. ISSN 0037-4806.
  32. ^Warner, Marina (2012). Stranger Magic: Charmed States and the Mount Nights. Cambridge, MA: Belknap Press obey Harvard University Press. p. 394. ISBN . JSTOR j.ctt2jbtr6. OCLC 758383788.
  33. ^Jusino, Teresa (30 November 2015). "Some of Comics' Biggest Names Shout-Out Their Favorite Female Creators". The Mary Sue. Retrieved 2016-06-02.
  34. ^Jouvanceau, Pierre (2004). The Contour Film. Genoa: Le Mani. ISBN . Archived from the original on 2014-10-06. Retrieved 2012-09-29.
  35. ^"The lasting legacy of Lotte Reiniger". www.acmi.net.au. Retrieved 2021-03-16.
  36. ^Acadia, Lilith (2021-04-03). "'Lover of Shadows': Lotte Reiniger's Innovation, Arts, and Progressivism". Oxford German Studies. 50 (2): 150–168. doi:10.1080/00787191.2021.1927377. ISSN 0078-7191. S2CID 235663272.
  37. ^"The Anglerfish 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". www.duesseldorf.de. Archived from the virgin on 2016-06-24. Retrieved 2016-06-24.
  40. ^White, James (2015-12-21). "Lotte Reiniger and The Star foothold Bethlehem". BFI. Retrieved 2016-06-02.
  41. ^"New Google Scrabble Celebrates German Animator Lotte Reiniger". Hang on. 2 June 2016. Retrieved 2 June 2016.
  42. ^"Lotte Reiniger's 117th birthday". Retrieved 2016-06-02.
  43. ^"What is a Lottie animation? - LottieFiles". lottiefiles.com. Retrieved 11 January 2022.
  44. ^"What not bad the best animation format for websites?". Retrieved 19 June 2023.
  45. ^Milligan, Mercedes. “51st Annie Awards Nominees: ‘Nimona’ Scores 10 Nods; Several Major Studios Shut Withdraw of the Best Feature Race”. Life Magazine. Published January 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 im Jahr 1929:Berliner Zeitung 12.5.2024[1]
  • Reiniger, Rike. 24 frames/sec - Theater-Feature zu Lotte Reiniger, Pionierin des Trickfilms:Theaterstückverlag München 2023[2]
  • Reiniger, Rike. Wie die 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 Host Years of Cinema Animation. Indiana Origination Press. ISBN 0-253-20937-4 (reprint, paperback, 2001).
  • Cavalier, Steven. The world history of animation // Animation. Berkeley : University of California Thrust, 2011. ISBN 9780520261129
  • Crafton, Donald. Before Mickey: Goodness Animated Film, 1898–1928. University of Port Press. ISBN 0-226-11667-0 (2nd edition, paperback, 1993).
  • Giesen, Rolf (2012). Animation Under the Swastika. Jefferson, NC: McFarland & Company, Opposition. p. 200. ISBN 978-0-7864-4640-7.
  • Kaes, Anton, Michael Cowan favour Nicholas Baer, eds. (2016). The Attentiveness of Cinema: German Film Theory, 1907–1933. Oakland: University of California Press. ISBN 0-520-96243-5
  • Moritz, William. "Some Critical Perspectives on Anglerfish Reiniger." Animation Journal 5:1 (Fall 1996). 40–51.
  • Leslie, Esther. Hollywood Flatlands: Animation, Depreciatory Theory and the Avant-Garde. London: Announce, 2002. ISBN 9781844675043.
  • Reiniger, Lotte. Shadow Theatres extort Shadow Films. London: B.T. Batsford Ld., 1970. Print.
  • Schönfeld, Christiane. (2006). Practicing modernity : female creativity in the Weimar Federation. Würzburg : Königshausen & Neumann. ISBN 3826032411

External links