This article reviews the techniques and Expressionist plot devices used to create the characters' emotions and stylized sets. Of note is the detail about the characters and the silhouettes. The silhouettes are intricate and include specific corporal detail about the hands and eyes. Even an imaginary camera is created as Reiniger uses panoramic shots, long shots, close-ups, different camera angles, and even special effects. She would later make other films such as Carmen, Papageno, Dr. Dolittle and His Animal. The article particularly discusses the Island of Wak Wak; it is as exotic, or perhaps more so, as the main city, with shots including a great amount of fantastical detail. The tropical rain forest on Wak Wak has twisted trees and outspread fronds that resemble the twisted limbs and outspread fingers of the characters. Finally, the climactic battle is filled with complex action and jagged-shaped, fantastical monsters being diced by Prince Achmed. Even the scene where Aladdin and the witch are summoning the genie, the lighting is innovative and unique for a shadow play.

The article is relevant to the thesis in its detail of the Expressionist devices and the techniques used in the film. The mid-1920s, when Reiniger made her film, were in the heart of the German Expressionist movement. Reiniger had learned from and with some of the influential Expressionist directors, so it was no surprise that Prince Achmed would have so many Expressionist techniques. Expressionism was appropriate for the plot as well since it dealt with an exotic Middle Eastern tale filled with magic and fantasy.

Vera, Noel. "The Adventures of Prince Achmed: one of the greatest animated features ever made." BusinessWorld. June 26, 2001, Pg. 22.

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.

Thesis: While Disney films are animated to be effectively realistic and in three dimensions, the silhouette film is two-dimensional, stylized, and mutable; this enhances the film's Expressionist nature. Furthermore, Reiniger's film experiments with techniques that would later be refined and used by Disney and other animators and filmmakers. Therefore, Lotte Reiniger's Adventures of Prince Achmed (1926) influenced Hollywood, specifically the genre of animation and the Disney company, through its Expressionist style and its technological advances.