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General Reiniger Repair Effekt VideoDer General aktiv 5 Auswählen, um nach Bewertungen mit 1 Stern zu Casino 1. Bitte bitte unbedingt vor Ort auch anbieten!! Pfeil nach links. The film starred Jean Renoir Studentenfutter 1 Kg Berthold Bartosch and included a minute silhouette performance by Reiniger. In Mr. Previous Dismiss Replay Leave feedback. Try again.
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View applications. Each arm and leg was a separate piece joined to the body by wire hinges. Reiniger produced the emotional effects she sought by moving the cutouts slightly with her fingers.
By placing a strong light below the glass animation table, she made the black cutout figures highly visible while the same light made wire hinges disappear.
A wire attachment in the camera moved the film one frame at a time, as Reiniger delicately altered the position of her figures.
Reiniger's skill in this art became renowned. One of the key scenes in Prince Achmed exemplifies the complex results of her efforts.
In it two characters, the good witch and the sorcerer, are battling for a magic lamp. As the fight proceeds, the two figures change into different animals, and their struggle conclude with each throwing flames at the other.
In later years, one of her young collaborators, animator Pat Martin, described how "the beauty of the outcome" disguised the tedious, skilled labor that went into the finished product.
The film's plot came from The Arabian Nights, and, like the Disney films that appeared a decade later, it was designed for children.
Prince Achmed , described by Gwendolyn Foster as "one of the most innovative early animation films in history," brought together Reiniger's mastery of silhouette animation and the techniques of Asian shadow plays.
Shadow plays in countries like India, China, and Thailand were traditionally used to tell a story by means of movable figures made of non-transparent material whose images were projected on a screen.
They had first appeared in Europe in the 17th century. With the help of Berthold Bartosch, Reiniger injected images of waves to accompany a sea journey in the plot.
She added depth to much of the film by making separate negatives of figures she and her collaborators had created, then combining them to compose a single image.
For example, Bartosch's ability to pierce a piece of cardboard, to move it gradually for a series of photographs, and then to superimpose one shot over another, created what Eric Walter White described as "a sky of stars moving slowly … in different directions and at different speeds.
Weeks of tedious preparation were needed for many of the more complicated portions of the film. Despite its imaginative and stunning effects, some critics at the time found the film too long for an animated piece, but others called it "almost faultless," an achievement filled with "spirit and grace.
Reiniger largely abandoned such lengthy films after completing Prince Achmed. In the late s, now committed to making shorter animated works, she created three Dr.
Doolittle films. The second Doolittle film contained one of Reiniger's most famous sequences: the forming of the monkey bridge. As Eric White, a longtime student of her work, writes, this portion of the film, with its complex acrobatics, shows how "Lotte Reiniger articulates her figures with such perfect justice and reasonable fantasy that the illusion is never broken.
She had mixed success, however, in maintaining the circle of talented animators who had worked with her between and Bartosch was a key collaborator in the Dr.
Doolittle films, producing the illusion of a snowstorm and, as in Prince Achmed , a seascape. His partnership with Reiniger lasted for nearly a decade.
On the other hand, Ruttmann, also Reiniger's key collaborator, gave up animation and turned to documentary filmmaking. Reiniger's attempt in at a live-action, full-length production, Running after Luck, failed, but she was able to salvage a two-reel animated segment of the film that could stand alone.
She is an artist and her work would be as good if instead of working with film she had been a painter or a musician. The advent of sound in films gave Reiniger new challenges for her skills.
She now created a number of works featuring a musical background. Mozart's The Magic Flute was the musical centerpiece for Reiniger's Papageno, with the visual images designed to accompany the operatic score.
Similarly, Carmen was an animated play composed to match the tunes of Bizet's opera. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website.
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