Survey of Animation: Project 3 (Parts 1 and 2)

Storyboards: (Part 2)

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Stop Motion Animation Essay (Part 1)

Animator Lotte Reiniger used stop motion to bring to life two-dimensional puppets and achieved a silhouette-style neither live-action nor traditional animation can accomplish. Throughout a majority of her films, she used a multi-plane camera and tin puppets to create a unique, stop motion animation with an almost realistic appearance and meticulous attention to detail with movement, as well as the intricacy of her puppets. In The Adventures of Prince Achmed, Reiniger used beautifully ornate colored backgrounds in addition with her tin cut outs, where each movement was created by slightly moving each limb of her puppets and other objects each new frame. In all of her stop motion films, her Asian-art style silhouette puppetry and gives off the sense of a “fairytale” feeling to those who watch her films. Reiniger would often hand craft her puppets by cutting out characters and backgrounds simply out of lead and cardboard. Using a multi-plane camera, she was able to give two-dimensional objects an almost three-dimensional feel. Using layers upon layers of different cut-outs, she was able to craft backgrounds that often included plants, trees, and even water by using soap and painting directly onto the glass of the camera. Her characters, largely inspired by Asian cultural influences, were designed so that they all had moving appendages so that it would be easier to create movement per frame. Arms, legs, and joints were delicately crafted and moved each frame to show movement. Similarly to Prince Achmed, her animated piece Aschenputtel (Cinderella) used the same shadow puppet technique, use of colored backgrounds, and was also shot with a multiplane camera and many of her other films as well. Lotte Reiniger made the use of shadow puppets and cut out animation her style and was often cited as a pioneer of silhouette animation. Eventually, she would go on to inspire the world with her strangely beautiful technique.

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