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Wegener introduced Reiniger to a circle of young artists who had formed a studio to produce animated works, one of whom was Carl Koch, Reiniger's future husband.
Reiniger and her colleagues became important innovators in the technique of animation, creating their own tools such as a special animation stand with different planes upon which to place silhouettes of various sizes, allowing them to film complex scenes with different figures in the foreground and background.
The Adventures of Prince Achmed, which Reiniger finished in after three years of devoted labor, is considered by most film historians to be the first full-length animated film.
Described by Cecile Starr as "a tale of sorcery and splendor, a kidnapped princess, a magic horse, and friendly and monstrous creatures," the film was financed by a German banker, Louis Hagen, who had been impressed by Reiniger's early work.
As Reiniger recalled in , Hagen's plan for a full-length picture in silhouettes at first raised a wave of skepticism in her and in the filmmakers whom she consulted.
Undaunted by the task and unencumbered by close ties to the existing film industry, Reiniger decided to accept the assignment. Other leading figures in experimental movie making, who likewise felt themselves outside the ranks of established filmmakers, accepted her invitation to join in the project.
These included Koch, whom she had married in , and such luminaries as Walter Ruttmann and Berthold Bartosch. Notes film historian Ally Acker , this talented crew drew on "a compendium of experimental techniques.
Ruttmann, after four years of service in World War I , had given up a painting career to enter the field of animation, and in he had taken the novel step of screening an abstract animated film for a general audience.
Their combined ability to create realistic backgrounds augmented Reiniger's talent for producing lifelike figures. The film was made in a garage studio at Hagen's home in the Berlin suburb of Potsdam.
Decades later, Reiniger still remembered the low roof in the attic studio and the need to place the glass plate for the silhouettes close to the floor in order to situate the camera above it.
To move her figures, she had to kneel on the seat of an old automobile. Prince Achmed was filmed on five reels and ran for more than an hour.
It required more than , photographs to produce its effects, each second of film containing 24 separate shots. Reiniger had to study the actual movement of people and animals in order to produce seemingly natural movement on the part of her artificial creations.
She cut out her figures freehand, making smaller and larger versions of the same figure for use in close-ups or more distant shots.
Backgrounds were produced by using layers of tissue paper. Her cutouts were made from black cardboard and thin lead. 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.
Reiniger continues to attend horror conventions around the world. In it was revealed that Reiniger is the "Prince of Ghor ", a province in western Afghanistan.
Reiniger's great, great, great grandfather, Josiah Harlan [ citation needed ] , was the first American to set foot in Afghanistan.
Harlan was granted sovereignty in perpetuity, for himself and his descendants, by Refee Beg , in exchange for military support. The Hazara leaders, of whom the most prominent was Refee Beg, offered to send tribute if Harlan would unite them in the struggle against the raiding Uzbek warlords.
The agreement made included Harlan being made hereditary paramount ruler and advocate. The British arriving later negotiated with the Emperor for the departure and loss of temporal power of Harlan.
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