Abstract:
The essay puts the early films of Lotte Reiniger into the context of the esthetic strategies of the absolute film. These are, in turn, closely related to contemporary forms of presentation in painting. Particular attention will be given to the works of Walter Ruttmann, with whom Reiniger worked together on "The Adventures of Prince Achmed" (1926). With the focus on this cooperation, the productive interplay of the respective animation concepts will be examined. Furthermore, it is proposed that the consequential images are a result of the visual culture of the period.