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possible through traditional silent film. This was due the unique way she shaped and animated her characters through the paper cutout techniques that she developed through practice. Because paper animations were forced to rely on gestures and action due to the nature of the medium, Reiniger was able to convey emotion that facial expressions or sound film could not imitate. Because of this, Reiniger's characters are not usually anatomically correct, but they are able to express a fluidity which is very important to her style of expressionism. Although there are other animators in that time period that used these techniques, Reiniger stands out because she is able to accomplish this style using cutout animation. Reiniger's figures resemble
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285:, 1919), a 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 movement. The film was very well received, and its success opened up many new connections for Reiniger in the animation industry, not just in Germany but internationally as well. She continued to work on short films and advertisements during this time.
623:(later to be renamed the "Crown Film Unit"). By 1953, Reiniger had founded Primrose Production with Louis Hagen Jr., the son of the financier of Prince Achmed. With this company, she made over a dozen short silhouette films based on Grimms’ Fairy Tales for the BBC and Telecasting America. Reiniger continued to work on and off over the years, her last film being 'The Rose and the Ring,' released in 1979.
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243:. She began by making costumes and props and working backstage for Wegener's play productions. She started making silhouette portraits of her classmates and the actors around her, which intrigued Paul Wegener and led to her future collaborations with the director. Soon enough she was making elaborate title cards for Wegener's films, many of which featured her silhouette animations.
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543:), but found that no other country would give them permanent visas. As a result, the couple spent the years 1933–1944 moving from country to country, staying as long as visas would allow. With the release of sound film, Reiniger and her husband began to work with music in relation to animation. They worked with film-makers
239:(1920). In 1915, her love of theater led Reiniger to her future mentor and colleague when she attended a lecture by Wegener that focused on the fantastic possibilities of animation. Reiniger eventually convinced her parents to allow her to enroll in the acting group to which Wegener belonged, the Theatre of
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In the 1920s especially, characters tended to rely on facial expressions to express emotions or action, while
Reiniger's characters relied on gestures to display emotions or actions. Reiniger's cutout animations had a fluid quality that expressed characters' emotions and actions in a way that was not
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of silhouette puppetry, and even built her own puppet theatre so that she could put on shows for her family and friends. Throughout this time in her life is when she began to develop a love of theater and cultivated her then dreams of becoming a play actress. Reiniger translated her love of acting to
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in order to recognize individual's for their lifetime contribution to the art of animation in either producing, directing, animating, design, writing, voice acting, sound and sound effects, technical work, music, professional teaching, or for other endeavors which exhibit an outstanding contribution
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The influence of traditional
Chinese shadow puppetry is also one of the defining characteristics of Reiniger’s work. Chinese puppetry dates back to the Han dynasty but their methods of puppetry are clearly reflected in Reiniger’s techniques. Chinese shadow puppets were historically made using donkey
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Lotte
Reiniger’s work was influenced by several sources. Following her escape from Germany, her travels throughout Europe continued to shape the course of her work. While in Greece she studied the Greek puppet show Karagiozis. Karagiozis is a traditional character in Greek folklore whose stories are
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as an investment to fight the spiraling inflation of the period. He asked her to make a feature-length animated film. Reiniger later recalled, "We had to think twice. This was a never heard of thing. Animated films were supposed to make people roar with laughter, and nobody had dared to entertain an
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holds much of her original materials and hosts a permanent exhibition, "The World in Light and Shadow: Silhouette, shadow theatre, silhouette film". The
Filmmuseum Düsseldorf also holds many materials of Lotte Reiniger's work, including her animation table, and a part of the permanent exhibition is
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Aside from the origins of her technical inspiration, her subjects were often influenced by operatic themes. Music was the driving force behind many of the storylines as well as the movements and actions of the puppets. She used the music of composers such as Mozart, Bizet, and
Offenbach, as well as
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Although this was censored in the version of the film that was distributed to theaters, Reiniger herself was outspoken on her motivation to destigmatize homosexual realities in the world of film. “I knew lots of homosexual men and women from the film and theater world in Berlin, and saw how they
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Reiniger's films were the first to move animation from solely comedic narratives. At the time, animated short films rarely had a narrative, and any narrative that they did have was shallow and only present in the film to support the character’s slapstick comedy. Throughout all of her films, both
503:, 1929), a tale about a shadow-puppet troupe. The film starred Jean Renoir and Berthold Bartosch and included a 20-minute silhouette performance by Reiniger. The film was completed just as sound came to Germany, and release of the film was delayed until 1930 to dub in voices by different actors.
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Reiniger's style also translated well to her usually chosen subject, Fairytales. At the time film did not have the technological advancements to create magical special effects, thus many fairytales that showcased extravagant magical events were not as desirable for filmmakers. However, through
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performed through puppetry and traditionally with shadow puppets. The influence of
Karagiozis can be seen in Reiniger’s work where the subject of many of her films are long established fairy tale stories that have been enjoyed by generations of children and adults alike.
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Reiniger's art style was developed from her love of paper animation and the theater. Reiniger had a distinct art style in her animations that was very different from other artists in the time period of the 1920s and the 1930s, particularly in terms of characters.
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After a period of seclusion after her husband's death in 1963, renewed interest in her work resulted in
Reiniger's return to Germany. She later visited the United States, and began making films again soon after. She made three more films, the last of which,
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skin and treated to be translucent. They were then mounted using iron wire and bamboo sticks as handles. Reiniger’s puppets were made from tracing paper and cardboard, and sometimes included 20-50 separate pieces that were fused together with lead wire.
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specifically adapts fantastic elements to take advantage of animation to show things that could not be shown in reality. Reiniger considered animation's separation from the laws of the material plane to be one of the greatest strengths of the medium.
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In the early 1950s, Reiniger lived in London and worked at
Beconsfield Studios in Buckinghamshire. During this time, she became friends with Freddy Bloom, the chair of the National Deaf Children's Society and editor of quarterly magazine called
262:). The success of this work got her admitted into the Institut für Kulturforschung (Institute for Cultural Research), an experimental animation and short-film studio. It was here that she met her future creative partner and husband (from 1921),
478:. The film tells of the doctor's voyage to Africa to help heal sick animals. It is currently available only in a television version with new music, voice-over narration, and a high framerate. The score of this three-part film was composed by
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commenced they stayed with
Visconti in Rome until 1944, then moved back to Berlin to take care of Reiniger's sick mother. Under the rule of Hitler, Reiniger was forced to make propaganda films for Germany. One of these films is called
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animation, such whimsical effects were possible through her paper animations. Her detailed settings and colourful backgrounds also translated well into her love of fairytale stories.
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short and feature length, Reininger strives to portray serious narrative through the art of animation. Thus, gaining a much larger respect for the medium in the film industry.
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she placed backlit planes of glass in front of a camera with a manual shutter to achieve a layered effect. Again, she presaged Disney; only in the 1930s would Disney and
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contemporary artists like Paul Dessau and
Wolfgang Zeller. Jean Renoir, a good friend of Reiniger's, once described her work as "visual expression of Mozart's music".
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She also utilized the technique of metamorphosis often in her animations. This focus on transformation greatly benefits her tendency to work with fairytale stories.
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audience with them for more than ten minutes. Everybody to whom we talked in the industry about the proposition was horrified." The resulting film was
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Schönfeld, Christiane. (2006). Practicing modernity : female creativity in the Weimar Republic. Würzburg : Königshausen & Neumann.
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in Potsdam), they founded Primrose Productions in 1953 and, over the next two years, produced more than a dozen short silhouette films based on
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Reiniger worked on several films with British poet, critic, and musician Eric Walter White, who wrote an early book-length essay on her work.
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file format for vector animation, which is considered by many designers to be the best website animation format, is named for Reiniger.
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She made six short films over the next few years, all produced and photographed by her husband, including the fairytale animation
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Reiniger's black silhouettes would become a popular aesthetic to reference in films and art. Films and television shows such as
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Herausgeber., Bobrowska, Olga, 1987- Herausgeber. Bobrowski, Michał 1981- Herausgeber. Zmudziński, Bogusław 1951- (2019).
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her silhouette puppetry in order to create her unique and fanciful recreations of her favorite plays and fairytales.
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Dresden, Germany, Marriages, 1876–1922, and Berlin, Germany, Births, 1877–1899 (in German), indexed in Ancestry.com.
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district of Berlin on 2 June 1899 to Carl Reiniger and Eleonore Lina Wilhelmine Rakette. Here, she studied at
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51st Annie Awards Nominees: ‘Nimona’ Scores 10 Nods; Several Major Studios Shut Out of the Best Feature Race
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all make reference to Reiniger’s style with extended animated silhouette puppet sequences. French animator
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is believed to be the oldest surviving feature-length animated film, debuting over a decade prior to
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Reiniger served to be one of the first filmmakers in the 20th century to attempt a portrayal of the
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has extensively shown Reiniger’s influence on his work, beginning with the 1989 television series
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in recognition of her “unparalleled achievement and exceptional contributions to animation”.
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In 1949, Reiniger and Koch moved to London, where she made a few short advertising films for
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In 1918, Reiniger animated wooden rats and created the animated intertitles for Wegener's
180:(1935). Reiniger is also noted for having devised, from 1923 to 1926, the first form of a
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1367:"Overlooked No More: Lotte Reiniger, Animator Who Created Magic With Scissors and Paper"
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http://resources.culturalheritage.org/wp-content/uploads/sites/8/2015/02/osg005-03.pdf
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1577:"Fairy Tale Flappers: Animated Adaptations of Little Red and Cinderella (1922–1925)"
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In 1923, she was approached by Louis Hagen, who had bought a large quantity of raw
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A year later, Reiniger co-directed her first live-action film with Rochus Gliese,
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2276:"'Lover of Shadows': Lotte Reiniger's Innovation, Orientalism, and Progressivism"
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Stables, Kate (August 2005). "Lemony Snicket's A Series of Unfortunate Events".
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and Telecasting America. Reiniger also provided illustrations for the 1953 book
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in Rome. They managed to make 12 films during this period, the best-known being
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1326:"How Disney's Iconic Multiplane Camera Changed Animation | No Film School"
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2509:”. Animation Magazine. Published January 11, 2024. Accessed January 12, 2024.
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Moritz, William (Fall 1996). "Some Critical Perspectives on Lotte Reiniger".
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1004:(3 parts: "The Journey to Africa", "The Monkey Bridge", "The Monkey Illness")
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develop the version of the multiplane camera that would become a mainstay of
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24 frames/sec - Theater-Feature zu Lotte Reiniger, Pionierin des Trickfilms:
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As a teenager, Reiniger developed a love of cinema, first with the films of
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Commanders Crosses of the Order of Merit of the Federal Republic of Germany
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1936 – Venice Film Festival: Mussolini Cup for Best Foreign Film (Nominee)
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A plaque commemorating Reiniger at her former home on Knesebeckstraße in
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2185:"Some of Comics' Biggest Names Shout-Out Their Favorite Female Creators"
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Berliner Trickfilm-Pionierin Lotte Reiniger: Queere Küsse im Jahr 1929:
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to excellence in animation. The very first recipient of this award was
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3003:"Berlin: Wie die Trickfilmpionierin Lotte Reiniger Geschichte schrieb"
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Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde.
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On June 2, 2016, Google celebrated Reiniger's 117th birthday with a
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showcase character designs and layouts deeply inspired by Reiniger.
456:. Additional effects were added by Carl Koch and Berthold Bartosch.
176:, from 1926, the oldest surviving feature-length animated film, and
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Kaes, Anton; Baer, Nicholas; Cowan, Michael J., eds. (March 2016).
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dedicated to her. Collections relating to her are also held at the
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474:, 1928) was based on the first of the English children's books by
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Moritz, William. "Some Critical Perspectives on Lotte Reiniger."
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Reiniger attempted to make a third animated feature, inspired by
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Propaganda, ideology, animation : Twisted dreams of history
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539:, Reiniger and Koch decided to emigrate (both were involved in
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Walking Shadows: An Essay on Lotte Reiniger's Silhouette Films
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Practicing modernity: female creativity in the Weimar Republic
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Practicing Modernity: Female Creativity in the Weimar Republic
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266:, as well as other avant-garde artists including Hans Cürlis,
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Bendazzi, Giannalberto (Anna Taraboletti-Segre, translator).
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Wie die Trickfilmpionierin Lotte Reiniger Geschichte schrieb:
2419:"New Google Doodle Celebrates German Animator Lotte Reiniger"
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1552:"Das Ornament des verliebten Herzens | George Eastman Museum"
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for which she designed a logo that was used until the 1990s.
213:. As a child, she became fascinated with this Chinese art of
2646:. Jefferson, NC: McFarland & Company, Inc. p. 200.
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Kaes, Anton, Michael Cowan and Nicholas Baer, eds. (2016).
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205:, the first open-air school, where she learned the art of
2093:"BFI Screenonline: Reiniger, Lotte (1899-1981) Biography"
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With Louis Hagen Jr. (the son of Reiniger's financier of
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used the multiplane camera extensively in films such as
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Berkeley : University of California Press, 2011.
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The Promise of Cinema: German Film Theory, 1907–1933.
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Stranger Magic: Charmed States and the Arabian Nights
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in 1972; in 1979 she received the Great Cross of the
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sequence) and Walter Türck, and a symphonic score by
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for certain effects. As described in Reiniger's book
2322:"The Lotte Reiniger Lifetime Achievement Award 2017"
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The promise of cinema: German film theory, 1907–1933
2368:"Landeshauptstadt Düsseldorf – Über das Filmmuseum"
860:In 2017, the European Animation Awards created the
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440:. In addition to Reiniger's silhouette characters,
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930:1972 – German Film Awards: Honorary Award (Winner)
430:Shadow Puppets, Shadow Theatres, and Shadow Films,
2486:"What is the best animation format for websites?"
1907:"Life and Death in the Shadows: Lotte Reiniger's
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1681:Shadow puppets, shadow theatres, and shadow films
689:Order of Merit of the Federal Republic of Germany
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1878:. Berkeley, CA: University of California Press.
1855:Hanks, Robert (October 2021). "Shadow Casting".
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2600:Cartoons: One Hundred Years of Cinema Animation
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910:In 2024, Reiniger was posthumously awarded the
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2046:"Lotte Reiniger – Women Film Pioneers Project"
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651:King Arthur and His Knights of the Round Table
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778:Harry Potter and the Deathly Hallows - Part 1
421:), it became a critical and popular success.
2615:The world history of animation // Animation.
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1444:"View source for Lotte Reiniger - Knowledge"
1404:International Film Magazine: Sight and Sound
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463:Reiniger was able to make a second feature.
16:German silhouette animator and film director
2629:Before Mickey: The Animated Film, 1898–1928
2461:"What is a Lottie animation? - LottieFiles"
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2014:Before Mickey: the animated film, 1898-1928
1603:"The Animated Adventures of Lotte Reiniger"
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2398:"Lotte Reiniger and The Star of Bethlehem"
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1997:: CS1 maint: location missing publisher (
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162:(2 June 1899 – 19 June 1981) was a German
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2661:Oakland: University of California Press.
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862:Lotte Reiniger Lifetime Achievement Award
2697:London: B.T. Batsford Ltd., 1970. Print.
2326:European Animation Awards | Emile Awards
2016:. Chicago: University of Chicago Press.
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1650:Ratner, Megan (2006). "In the Shadows".
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1219:Die vier Jahreszeiten (The Four Seasons)
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2251:"The lasting legacy of Lotte Reiniger"
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945:The Ornament of the Lovestruck Heart
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2733:Essay on Reiniger by William Moritz
2183:Jusino, Teresa (30 November 2015).
1938:(2). British Film Industry: 87, 2.
1093:The Goose That Lays the Golden Eggs
444:featured dream-like backgrounds by
283:The Ornament of the Enamoured Heart
279:Das Ornament des verliebten Herzens
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2741:at the Women Film Pioneers website
2593:Podcast #11 "The Dead Ladies Show"
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1607:Quarterly Review of Film and Video
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1340:The Art of Lotte Reiniger, parte 1
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531:Flight from Germany and later life
518:The Child and the Bewitched Things
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2695:Shadow Theatres and Shadow Films.
2441:"Lotte Reiniger's 117th birthday"
2118:(8). British Film Institute: 89.
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1301:Women and Animation: a Compendium
1051:Galathea: The Living Marblestatue
951:Amor and the Steady Loving Couple
848:experience with a pair of openly
1926:Osmond, Andrew (February 2009).
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854:The Adventures of Prince Achmed.
753:Legacy, honors, and preservation
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2639:(2nd edition, paperback, 1993).
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725:The Adventures of Prince Achmed
465:Doktor Dolittle und seine Tiere
401:Snow White and the Seven Dwarfs
392:The Adventures of Prince Achmed
380:The Adventures of Prince Achmed
365:The Adventures of Prince Achmed
362:Reiniger's first feature film,
197:Lotte Reiniger was born in the
173:The Adventures of Prince Achmed
125:The Adventures of Prince Achmed
3078:German animated film producers
3068:German animated film directors
3027:florianduijsens (2018-07-25).
2727:"Lotte Reiniger's Silhouettes"
2366:Düsseldorf, Landeshauptstadt.
2075:"LOTTE REINIGER'S SILHOUETTES"
1876:The world history of animation
1601:Sterritt, David (2020-05-18).
1536:Schönfeld, Christiane (2006).
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1087:The HPO – Heavenly Post Office
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3073:Women animated film directors
3029:"Podcast #11: Lotte Reiniger"
2292:10.1080/00787191.2021.1927377
2274:Acadia, Lilith (2021-04-03).
2079:frontierindia.scriptmania.com
1835:"Reiniger, Lotte (1899–1981)"
1620:10.1080/10509208.2020.1732144
1365:Lockwood, Devi (2019-10-16).
1263:
823:Walt Disney Animation Studios
621:General Post Office Film Unit
192:
2644:Animation Under the Swastika
2602:. Indiana University Press.
1299:Pilling, Jayne, ed. (1992).
1285:"The life of Lotte Reiniger"
1002:Dr. Dolittle and His Animals
869:, the animation director of
735:
698:
187:
166:and the foremost pioneer of
7:
3093:German women film directors
2610:(reprint, paperback, 2001).
2396:White, James (2015-12-21).
2208:Jouvanceau, Pierre (2004).
1794:White, Eric Walter (1931).
1153:The Grasshopper and the Ant
878:The Animator's Survival Kit
720:in the way that they move.
387:One Thousand and One Nights
253:Der Rattenfänger von Hameln
203:Charlottenburger Waldschule
170:. Her best known films are
10:
3129:
3088:Film directors from Berlin
2729:by Abhijit Ghosh Dasitidar
2570:Theaterstückverlag München
1874:Cavalier, Stephen (2011).
1111:Aladdin and the Magic Lamp
1039:The Seemingly Dead Chinese
975:The Secret of the Marquise
513:L'enfant et les sortilèges
2899:
2873:
2847:
2821:
2795:
1147:The Gallant Little Tailor
933:1972– Deutscher Filmpreis
921:
816:Kirikou and the Sorceress
677:Reiniger was awarded the
459:Following the success of
139:
117:
109:
95:
73:
40:
28:
21:
2012:Donald, Crafton (1993).
1769:Moritz, William (1996).
1677:Reiniger, Lotte (1975).
1398:Reiniger, Lotte (1935).
1159:The Little Chimney Sweep
1045:The Little Chimney Sweep
884:The municipal museum in
501:The Pursuit of Happiness
3009:(in German). 2023-03-01
2960:(in German). 2024-05-12
2675:5:1 (Fall 1996). 40–51.
2097:www.screenonline.org.uk
1913:German Life and Letters
1253:Girl of the Golden West
1135:Snow White and Rose Red
1081:The Tocher. Film Ballet
996:The Chinese Nightingale
872:Who Framed Roger Rabbit
609:public information film
496:Die Jagd nach dem Glück
132:Girl of the Golden West
3108:German women animators
2983:theaterstueckverlag.de
2735:(includes filmography)
2348:. Stadtmuseum Tübingen
1745:: CS1 maint: others (
1685:. Boston: Plays, Inc.
1207:Aucassin and Nicolette
1189:Jack and the Beanstalk
766:
712:
679:
674:
664:Die vier Jahreszeiten,
612:
586:
413:released in 1917, but
369:
304:
3098:Stop motion animators
2682:London: Verso, 2002.
2642:Giesen, Rolf (2012).
2505:Milligan, Mercedes. “
2280:Oxford German Studies
1400:"Scissors Make Films"
1213:The Rose and the Ring
1009:Ten Minutes of Mozart
957:The Star of Bethlehem
806:Princes et princesses
790:Bram Stoker's Dracula
760:
718:stop-motion animation
710:
672:
603:
535:With the rise of the
438:traditional animation
390:. Completed in 1926,
361:
311:(1922), based on the
299:
259:Pied Piper of Hamelin
247:Adulthood and success
3033:The Dead Ladies Show
2979:"Theaterstückverlag"
1287:. Drawn to be Wild.
891:BFI National Archive
656:Roger Lancelyn Green
448:(her partner in the
168:silhouette animation
3113:Women film pioneers
2739:Profile of Reiniger
2421:. TIME. 2 June 2016
2211:The Silhouette Film
1581:governmentcheese.ca
1482:. Wydawnictwa AGH.
1225:Other contributions
1165:The Sleeping Beauty
969:The Flying Suitcase
852:lovers in her film
811:The Three Inventors
691:. Reiniger died in
685:Deutscher Filmpreis
641:Grimms' Fairy Tales
211:silhouette puppetry
100:Silhouette animator
2788:Winsor McCay Award
2613:Cavalier, Steven.
2372:www.duesseldorf.de
1426:"Stranger Magic".
1371:The New York Times
912:Winsor McCay Award
767:
713:
675:
613:
541:left-wing politics
370:
305:
45:Charlotte Reiniger
2942:
2941:
2693:Reiniger, Lotte.
2673:Animation Journal
2652:978-0-7864-4640-7
2627:Crafton, Donald.
2050:wfpp.columbia.edu
1928:"Paper, Scissors"
1811:Animation Journal
1489:978-83-66016-81-1
1429:Sight & Sound
1297:(an extract from
1183:Hansel and Gretel
601:
426:multiplane camera
407:Quirino Cristiani
359:
297:
272:Berthold Bartosch
182:multiplane camera
149:
148:
110:Years active
3120:
3103:German animators
3043:
3042:
3040:
3039:
3024:
3018:
3017:
3015:
3014:
3007:Berliner Zeitung
2999:
2993:
2992:
2990:
2989:
2975:
2969:
2968:
2966:
2965:
2958:Berliner Zeitung
2950:
2834:Lillian Schwartz
2781:
2774:
2767:
2758:
2757:
2753:
2745:"Lotte Reiniger"
2678:Leslie, Esther.
2583:Berliner Zeitung
2557:Berliner Zeitung
2537:
2536:
2534:
2533:
2523:"Lotte Reiniger"
2519:
2510:
2503:
2497:
2496:
2494:
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2476:
2475:
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2428:
2426:
2415:
2409:
2408:
2406:
2405:
2393:
2387:
2386:
2384:
2383:
2374:. Archived from
2363:
2357:
2356:
2354:
2353:
2346:"Lotte Reiniger"
2342:
2336:
2335:
2333:
2332:
2318:
2312:
2311:
2271:
2265:
2264:
2262:
2261:
2247:
2241:
2240:
2238:
2237:
2228:. Archived from
2205:
2199:
2198:
2196:
2195:
2180:
2174:
2173:
2134:
2128:
2127:
2107:
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2100:
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2071:
2065:
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2003:
2002:
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1955:
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1830:
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1782:
1781:
1771:"Lotte Reiniger"
1766:
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1454:
1448:en.wikipedia.org
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1356:
1353:
1347:
1341:
1336:
1330:
1329:
1322:
1316:
1314:
1296:
1291:. Archived from
1281:
1247:animation scenes
1171:The Three Wishes
1033:The Stolen Heart
867:Richard Williams
682:
680:Filmband in Gold
673:Reiniger in 1970
602:
589:
587:Die goldene Gans
549:Luchino Visconti
360:
343:Oskar Fischinger
298:
120:
80:
54:
52:
35:Reiniger in 1939
33:
19:
18:
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2951:
2947:
2943:
2938:
2895:
2869:
2865:Craig McCracken
2843:
2829:Ruben A. Aquino
2817:
2791:
2785:
2751:
2714:
2590:Lotte Reiniger:
2546:
2544:Further reading
2541:
2540:
2531:
2529:
2521:
2520:
2513:
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2500:
2490:
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2469:
2467:
2465:lottiefiles.com
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2257:
2255:www.acmi.net.au
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2202:
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2112:Sight and Sound
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2010:
2006:
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1963:
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1932:Sight and Sound
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1556:www.eastman.org
1550:
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1350:
1339:
1337:
1333:
1324:
1323:
1319:
1311:
1283:
1282:
1271:
1266:
1233:Chasing Fortune
1227:
1195:The Frog Prince
1141:The Frog Prince
1105:The Magic Horse
1099:Mary's Birthday
963:Sleeping Beauty
940:
924:
914:at that year’s
784:Steven Universe
763:Berlin, Germany
755:
738:
701:
605:Mary's Birthday
593:
576:Die Zauberflöte
533:
472:and his Animals
470:Doctor Dolittle
454:Wolfgang Zeller
446:Walter Ruttmann
348:
339:Walter Ruttmann
288:
249:
227:special effects
207:scherenschnitte
195:
190:
129:
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91:
82:
78:
69:
56:
50:
48:
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36:
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5:
3126:
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3019:
2994:
2970:
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2936:
2931:
2926:
2921:
2916:
2911:
2906:
2900:
2897:
2896:
2894:
2893:
2888:
2883:
2881:Lotte Reiniger
2877:
2875:
2871:
2870:
2868:
2867:
2862:
2860:Evelyn Lambart
2857:
2851:
2849:
2845:
2844:
2842:
2841:
2836:
2831:
2825:
2823:
2819:
2818:
2816:
2815:
2813:Bruce W. Smith
2810:
2808:Sue C. Nichols
2805:
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2784:
2783:
2776:
2769:
2761:
2755:
2754:
2742:
2736:
2730:
2724:
2718:Lotte Reiniger
2713:
2712:External links
2710:
2709:
2708:
2698:
2691:
2676:
2669:
2655:
2640:
2625:
2611:
2596:
2588:Stone, Susan.
2586:
2576:Reiniger, Rike
2573:
2563:Reiniger, Rike
2560:
2550:Reiniger, Rike
2545:
2542:
2539:
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2498:
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2358:
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2286:(2): 150–168.
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2138:Warner, Marina
2129:
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2084:
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2004:
1976:978-0520962439
1975:
1957:
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1833:Kemp, Philip.
1820:
1801:
1786:
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1642:
1613:(4): 398–401.
1593:
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1409:
1406:. Spring 1936.
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1295:on 2001-03-03.
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920:
875:and author of
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751:
737:
734:
700:
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532:
529:
484:Paul Hindemith
461:Prince Achmed,
450:Die Nibelungen
326:Die Nibelungen
313:Brothers Grimm
268:Bertolt Brecht
248:
245:
223:Georges Méliès
199:Charlottenburg
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81:(aged 82)
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63:Charlottenburg
57:
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38:
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34:
26:
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23:Lotte Reiniger
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2904:Complete list
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2378:on 2016-06-24
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1652:Art on Paper
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119:Notable work
89:West Germany
85:Dettenhausen
79:(1981-06-19)
77:19 June 1981
3063:1981 deaths
3058:1899 births
2855:Pete Docter
2752:(in French)
2595:, 25.7.2018
2218:: Le Mani.
2162:j.ctt2jbtr6
1969:. Oakland.
1817:(1): 40–51.
1575:Ludwig, R.
1242:Silhouettes
938:Filmography
900:about her.
611:by Reiniger
555:(1933) and
545:Jean Renoir
488:Paul Dessau
419:Jean Renoir
396:Walt Disney
315:telling of
55:2 June 1899
3052:Categories
3038:2023-11-02
3013:2023-11-02
2988:2023-11-02
2964:2024-05-13
2891:Marcy Page
2803:Willie Ito
2706:3826032411
2532:2021-12-05
2470:11 January
2446:2016-06-02
2404:2016-06-02
2382:2016-06-24
2352:2016-06-02
2331:2021-12-05
2260:2021-03-16
2236:2012-09-29
2194:2016-06-02
2023:0226116670
1780:2016-06-02
1724:3826032411
1692:0823801985
1561:2021-12-08
1498:1123033104
1453:2021-12-05
1384:2021-12-05
1264:References
1177:Thumbelina
1123:Cinderella
981:Cinderella
607:(1951), a
537:Nazi Party
480:Kurt Weill
374:film stock
331:Fritz Lang
317:Cinderella
301:Cinderella
225:for their
193:Early life
51:1899-06-02
2559:12.5.2024
2308:235663272
2300:0078-7191
2170:758383788
2124:0037-4806
1993:cite book
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1952:237118540
1944:0037-4806
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1741:cite book
1637:212997019
1629:1050-9208
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1379:0362-4331
1259:co-writer
1237:co-writer
991:(feature)
736:Influence
699:Art style
510:'s opera
434:Ub Iwerks
384:based on
264:Carl Koch
236:The Golem
188:Biography
152:Charlotte
144:Carl Koch
113:1918–1979
2585:1.3.2023
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1948:ProQuest
1733:71336738
1664:24556712
1586:23 March
1199:1974 -
1069:Papageno
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886:Tübingen
644:for the
619:and his
579:). When
557:Papageno
178:Papageno
160:Reiniger
2790:(2020s)
2491:19 June
1775:AWN.com
1701:1934547
1345:YouTube
1303:. BFI.
1250:1942 –
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1230:1930 –
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2158:JSTOR
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