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The Multiple Marginalization of Lotte Reiniger and the Adventures Of Nationality, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926) by K. Vivian Taylor A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Victor Peppard, Ph.D. Jerry Ball, Ph.D. Date of Approval: March 31, 2011 Keywords: film history, animation studies, Disney myth, Lotte Reiniger, literary adaptation © Copyright 2011, K. Vivian Taylor DEDICATION For Joni Bernbaum and Judi McBride, who taught me that justice doesn't come from a courtroom, but it sure helps. For Margit and Dr. Sipiora, who fought the good fight. For Dr. Ball and Cyndy, who inspired me to study English. For my parents, Whiz and Karen, who taught me the meaning of dedication. For Hannah and Kirsten, who are the future. ACKNOWLEDGEMENTS I am grateful to my committee members, who undoubtedly had other things to do but helped me anyway. I would like to thank Dr. Noga Wizansky at the Institute for European Studies for providing me with research from the Reiniger archives in Tübingen. I am grateful to Dr. Thomas Elsaesser at the University of Amsterdam for his quick response about a Reiniger discrepancy in his book, Weimar Cinema and After. I am also thankful for Margit Grieb's German Expressionism film course, which introduced me to the films of Lotte Reiniger. Lastly, without Lee Davidson, I would never made it through this program. TABLE OF CONTENTS LIST OF TABLES ............................................................................................................. iii ABSTRACT ....................................................................................................................... iv CHAPTER ONE—OVERVIEW .........................................................................................1 Weimar Culture and Germanness ............................................................................5 Femaleness .............................................................................................................10 Animation and Animators ......................................................................................12 The Disney Myth ...................................................................................................16 Methodology and Chapter Summaries...................................................................17 CHAPTER TWO—THE NEGATIVE IMPACT OF NATIONAL IDENTITY ON THE DISCOURSE POSITION OF LOTTE REINIGER AND PRINCE ACHMED (1926) .........................................................................................................21 Modern Mass Culture ............................................................................................22 The Marginalization of German Film ....................................................................24 Expressionism ........................................................................................................30 Other Visual Styles ................................................................................................34 Affiliation and Discourse Position .........................................................................38 Experimentalism ....................................................................................................42 Fragmentation ........................................................................................................48 Conclusion .............................................................................................................53 CHAPTER THREE—GENDER, LOTTE REINIGER, AND THE ADVENTURES OF PRINCE ACHMED............................................................................................... 56 The New Woman and Real Women ......................................................................59 Exceptions ..............................................................................................................61 Women and Animation ..........................................................................................66 Conclusion .............................................................................................................73 CHAPTER FOUR—GENRE: ANIMATION AS CULTURAL MARGINALIA ............75 What is Animation? ...............................................................................................77 Animation and Film ...............................................................................................79 Prince Achmed and the Conventions of Animation ...............................................82 Primacy ..................................................................................................................92 The Disney Myth ...................................................................................................95 Debunking the Disney Myth ................................................................................110 Conclusion ...........................................................................................................112 i CHAPTER FIVE—CONCLUSION ................................................................................116 BIBLIOGRAPHY ............................................................................................................122 APPENDIX I— LOTTE REINIGER'S BIO-FILMOGRAPHY ....................................142 APPENDIX II— ANNOTATED BIBLIOGRAPHY OF PUBLISHED WRITINGS BY LOTTE REINIGER ..................................................148 ii LIST OF TABLES Table 1. A Representative Sampling of Sources That Incorrectly Credit Disney with Production of the First Full-Length Animated Film .................................99 Table 2. A Representative Sampling of Sources That Incorrectly Credit Disney with Invention and Application of the Multiplane Camera .....................................100 iii ABSTRACT Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated feature film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated feature film, The Adventures of Prince Achmed (1926). Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and film theories. iv My first chapter demonstrates inconsistencies concerning the development of the animated film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated feature film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German film industry. I argue that (German) national identity negatively impacted her and the film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balázs, and Arnheim. An analysis of the film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German film. Anti-German v sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview
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