DE 1923-1926) si, b&w, tinted, 35mm (orig. Lotte Reiniger. : Horst Hans Sieber (Charlotte Koch-Reiniger [sic] DE 1934/1935) sd, b&w, 35mm (orig length 1240 ft.).
Der Verlorene Schatten. : Paul Wegener, Lyda Salmonova, Werner Schott, Greta Schröder, si, b&w, 35mm, 5758 ft. Archive: Bundesarchiv-Filmarchiv (35mm, 5794 ft.), Deutsches Filminstitut (16mm print of US distribution version: The Lost Shadow, 2034 ft.). ---Annotated script: Mustafa. : Carl Koch, contrib. length 463 ft. ). She fell in love with silhouette puppet animation and it was the love affair that lasted her entire life. Directed by Lotte Reiniger. Archive: Bundesarchiv-Filmarchiv (35mm, 853 ft. & 1257 ft. & 16mm), BFI National Archive, Deutsches Filminstitut, Danske Filminstitut, Filmmuseum Landeshauptstadt Düsseldorf, Huntley Film Archives.
: Carl Koch, contrib. München: Lipp, 1979. She also made animated silhouette sequences as well as shadow play sequences included in Die Schöne Prinzessin von China/The Beautiful Princess of China (1917) and Der Verlorene Schatten/The Lost Shadow (1920). Dir./sc.
In a similar vein, many of her black and white works are widely seen and applauded while her equally impressive work in color made in Britain is ignored, forgotten, or lost.
Films with statues, figurines & humanoid constructs animated by fanciful means rather than modern human engineering. This is because the credits as they appear in the titles of her films are usually incomplete. For example, in 1933, Reiniger made a shadow play sequence for G.W. Contrary to generally held beliefs, however, the treatment of the material is more suited to adult than to child audiences. Omaggio a Lotte Reiniger. Dir./sc./anm. Report this film, dana danger 6,596 films 2,791 77 Edit. Deutsches Filminstitut. : Alex Strasser, Lotte Reiniger, anm. : Mozart, mus. length 4147 ft.). : Lotte Reiniger (UK 1960) si, b&w, 35mm, approx. : Offenbach, mus.arr. Papageno. Dir./sc./anm. arr. : Patricia Martin, mus.
Films 856; Followers 127; Follow List. : Lotte Reiniger, prod. Lotte Reiniger, portrait. : Lotte Reiniger, contrib. : Freddie Phillips (Primrose Productions for Evangelical Bible Society UK 1974) sd, col., 16mm, approx. British Film Institute. In addition, she occasionally gave public lectures on the animation process and experimental film history.
Among her circle of friends in 1920s Berlin were such well-known artists as Walther Ruttmann, who contributed to Die Abenteuer des Prinzen Achmed, and playwright Bertolt Brecht.
: Lotte Reiniger, prod. prod: Gordon Martin, contrib. “The Films of Lotte Reiniger.” Film Culture 9 (1956): 20. Nevertheless, attention has been focused on the films produced and re-released by the British Primrose Productions in the 1950s. length 1420 ft.).
Film materials made available for research purposes only—for example, reduction printed 16mm copies, or 35mm duplicate prints, several printing generations removed from the camera negative—are not comprehensively listed here.
[Filmed shadowplay]. Soon, without Renoir, Koch and Reiniger worked jointly on two live-action features, the opera-themed Tosca, which premiered in January 1941, and then the western La Signora dell’ Ovest.
: Lotte Reiniger & Carl Koch, mus.
Der Graf von Carabas/Der Gestiefelte Kater/Puss in Boots. Das Gestohlene Herz. ------. Lotte Reiniger made over sixty films, of which eleven are considered lost and fifty to have survived. mgr: Carl Koch, contrib.
New York, NY: Columbia University Libraries, 2016.
Archive: BFI National Archive, Deutsches Filminstitut (long and short version), Deutsche Kinemathek (1152 ft.), Filmmuseum Landeshauptstadt Düsseldorf. [Reworking of Der Graf von Carabas from 1934/1935]. : Andrew Huggett (Gordon Martin and Assoc. Cox, mus. : Carl Koch, Louis Hagen, Vivian Milroy, mus. : Benjamin Britten (General Post Office Film Unit UK 1937/1938) sd, b&w, 35mm (orig. Classical music dictated the movements of the shadow figures, and she used the music of Mozart, Bizet, and Offenbach, but also collaborated with contemporaries such as Wolfgang Zeller, Paul Dessau, and Benjamin Britten, as well as her friends Eric Walter White and Peter Gellhorn. Dir./sc./anm: Lotte Reiniger, prod. : Gibbons, Händel, Pepusch, mus. The Frog Prince/Der Froschkönig. : Lotte Reiniger, cam. : Peter Gellhorn (Primrose Productions UK 1956) sd, col., 35mm, 1650 ft. Archive: BFI National Archive, Deutsches Filminstitut, Bonner Kinemathek (16mm). : Carl Koch, Louis Hagen, Vivian Milroy, mus. Heddenhausen), Deutsches Filminstitut (Primrose 1950s re-release version with new track by Peter Gellhorn, 942 ft.), BFI National Archive, Filmmuseum Landeshauptstadt Düsseldorf. Torino: Laboratorio Lanterna Magica, 1982. DVD (Stadtmuseum Tübingen Germany 2006) (includes DVD booklet published by Stadtmuseum Tübingen), Lotte Reiniger Collection. (35mm image materials unedited, 1706 ft. & edited 35mm silent version, 1086 ft.). : Lotte Reiniger, Lucchino Visconti (Scalera Film S.p.a. : Carl Koch (Reinigerfilm/Institut für Kulturforschung e.V. The Lost Son/Der Verlorene Sohn. A Night in a Harem/The Seraglio. It was compiled with the aim of locating surviving film materials relevant to the status of each film. In September 1943, on account of the worsening war-time situation in Italy—which had declared war on Germany on October 13, 1943—Reiniger and Koch were advised by the embassy to leave without delay. IMDb : Lotte Reiniger, prod. (“designed by”): Lotte Reiniger, prod. The study of the documents that Reininger left behind indicates that she was an accomplished artist working in ink as well as watercolor, as well as a writer and a poet. DVD (Absolut Medien GmbH Germany 2007), Märchen und Fabeln. : Carl Koch cam. Der Scheintote Chinese [from outtakes of Die Abenteuer des Prinzen Achmed]. Die Goldene Gans. Cambridge, Mass: MIT Press, 1982.
Archive: BFI National Archive, Deutsches Filminstitut, Bundesarchiv-Filmarchiv (1739 ft. vs. “fragment”), EYE Filmmuseum (Dutch release, titled Een Avontuur van Don Juan, 745 ft.), Filmmuseum Landeshauptstadt Düsseldorf.
: Lotte Reiniger, cam: Gustav Stiefel, Wilhelm Lehne (Charlotte Koch-Reiniger DE 1932) si, b&w, 35mm (orig. Jack and the Beanstalk. Lotte Reinigers schönste Filme.
Lotte Reiniger. Before the end of 1939, Lotte had already completed her only Italian solo short, a film of Donizetti’s opera “L’Elisir d’Amore.” All three Italian film works were commissioned productions of Scalera Film S.p.a., Rome.
: Freddie Phillips (Primrose Productions UK 1953/1954) sd, b&w, 35mm, 1293 ft. Archive: Deutsches Filminstitut.
: Paul Wegener, spec.
: Lotte Reiniger, prod. Dir./sc./anm: Lotte Reiniger, prod. Hurst, Heike.
Mary's Birthday. Snow-White and Rose-Red/Schneeweisschen und Rosenrot.
Reiniger’s filmed play emulated Séraphin’s style and was thus an homage to the roots of European shadow play. arr. arr. Sleeping Beauty/Dornröschen. Zehn Minuten Mozart. The popular Greek puppet show tradition of Karagiozis became a significant influence on Reininger’s work, supplementing her knowledge of ancient Eastern and Oriental performance traditions.
[Adaptation/recreation using motifs and sequences from Die Abenteuer des Prinzen Achmed].
Simmons, John R. “She Made First Cartoon Feature.” Films and Filming (December 1955): 24. Following Die Abenteuer des Prinzen Achmed, Comenius-Film produced four more Reiniger films: The three-part Doktor Dolittle series, based on Hugh Lofting’s stories, and Die Jagd nach dem Glück/The Hunt for Luck (1930), a live-action feature co-directed by Reiniger, Koch, and Gliese with Renoir and Catherine Hessling in major parts. Crafton, Donald.
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