This article details some of the technological and creational aspects of Reiniger's film. First it points out how Reiniger drew her ideas for films from fairy tales and legends, which is no different for Prince Achmed (from 1001 Arabian Nights). Furthermore its use of tinting allows there to be toned backgrounds for the black silhouettes. Furthermore, Reiniger had designed an early form of multi-plane camera, which gives a 3D-effect by separating foregrounds and backgrounds into different layers. Finally, for complex movements, they had to be built from 25 to 50 pieces, all joined together with fine lead wire, showing the amount of detail that was afforded to each scene.

The article is relevant to the thesis because these techniques, each in their own way, were later used by other filmmakers both in Hollywood and in Europe. Reiniger in particular went on to work on several other puppet shows or shadow plays. The influence of Reiniger's film is particularly noted in the use of the multi-plane camera. Furthermore, the movement is fluid, and the sense of near and far is simply achieved by bringing the many transparent backdrops closer or further from the lens and the light source. As seen in class, Disney used this to create the three-dimensional animation as seen in Bambi.

Rahman, Zora. "German silhouette film meets Indonesian 'wayang'," JAKARTA POST. December 20, 2002.

This article analyzes the use of silhouettes and shadows in plays and film and the relevant history regarding Chinese shadow plays. The article primarily references Shadows (1922), a film that features the "familiar visual patterns, performance styles, and chiaroscuro lighting effects associated with German Expressionist films." Once again it is noted how the shadow play techniques were used to reveal hidden fears and desires and heighten the supernatural elements of their films. In China, some of the earliest films featuring Chinese figures focused on the "mutable, strange body and featured tricks that defied physical limitations" much like the Expressionists and animators were trying to achieve with their fantasy realms.

The article is relevant to the thesis because Reiniger's use of silhouette animation was vital to future films. She would go on to collaborate with other directors to make scenes of shadow plays for other films. The lighting and detail of her silhouettes conveyed the sense of fantasy in the film. The article also points out how the "emphasis on shadow plays and silhouettes is important for a film stressing faith in images." The body language of all the characters, for example in the scene where Achmed is kissing the five servant girls and they begin fighting, is so detailed that the shadows seem to take a life of their own.

Maurice, Alice. "What the Shadow Knows: Race, Image, and Meaning in Shadows (1922)" Cinema Journal. 47, Number 3, Spring 2008.

This detailed press kit includes an excerpt from Lotte Reiniger's own article "Scissors make films," discussing her work with silhouette animation, a synopsis of the film and a plethora of detail regarding the technology and experimental techniques employed in the film. The kit notes the expressive movement of Reiniger's silhouettes, probably learned at Reinhardt's school and through her work in silent film. Also of note was the selection of the piece as Expressionist. Fairy tales and fables would inspire Disney, too. The Arabian Nights were so fantastic, with flying horses, demons and mutable forms, that animation would be an appropriate medium, particularly aided by Expressionism. The kit also documents some social aspects relevant to the film. Post-WWI inflation deflated the value of German currency so making a film was not very expensive and such an epic project was not as great a burden. 

The document is relevant to the thesis because it details the technology and Expressionist styles that would later become associated with other Hollywood (particularly Disney) films. The experimental techniques are now commonplace, but back then, working on animating waves or twinkling stars as Bertold Bartosch did was a technological feat. A decade later, Disney would employ these techniques in their animated films. Reiniger's film was certainly more abstract than the features Disney would make, but the ideological context of the film was consistent with Expressionism. Furthermore, the use of Zeller's score created rhythmic, surreal movement- another hallmark of German Expressionism.

Pidhajny, Carl. "The Adventures of Prince Achmed Press Kit." Milestone Film, 2001.