【动画】乐天reiniger {转：还要谢谢象牙塔}

由William莫里兹 Lotte Reiniger, when mentioned at all, is most often brushed off in a single sentence noting that she apparently made a feature-length silhouette film in 1926, The Adventures of Prince Achmed; but since that was in Germany, and silhouettes aren't cartoons, Disney still invented the feature-length animated film with Snow White. Anyone who has seen Prince Achmed wouldn't be convinced by this reasoning, but, alas, only a tiny fraction of the people who see Snow White ever get to see any Reiniger film at all.乐天reiniger ，当提到在所有，是最常见的雾小康在一个单句注意到她，显然取得了一项功能，长度人影电影在1926年，冒险王子achmed ，但因为这是在德国，和系列中是没有的漫画，迪士尼仍发明的特征长度动画电影与白雪公主，任何人看到了王子achmed不会信服这个道理，但很可惜，只有一小部分的人，看到白雪公主以往任何时候都得到看不到有任何reiniger电影在所有。 Few of her nearly 70 films are readily available--and almost none of them in excellent prints; when Reiniger fled Germany to England in the 1930s, she was not able to bring her original negatives with her, so most modern prints are copies of copies, which have lost much of the fine detail, especially in backgrounds.数她的近70个电影是现成的-几乎没有，他们在出色的打印;时r einiger逃离德国到英国在2 0世纪3 0年代，她不能把她的原底片与她，所以最现代的版画是副本的副本，已失去大部分的细节，尤其是在背景。 Portrait of Lotte Reiniger, Berlin 1918 画像，乐天reiniger ，柏林1918 Courtesy of William Mortiz 礼貌威廉mortiz More than just noting that Reiniger's Prince Achmed, begun in 1923 and released in 1926, was a pioneer feature-length animated film, one must proclaim that it is a brilliant feature, a wonderful film full of charming comedy, lyrical romance, vigorous and exciting battles, eerie magic, and truly sinister, frightening evil.不止注意到reiniger的王子achmed ，开始于1923年发表在1926年，是一个先驱特征长度动画电影，我们必须宣布这是一个辉煌的功能，精彩的电影，充满迷人的喜剧，抒情浪漫，活力，令人兴奋的战斗，怪诞神奇，真正的险恶用心，可怕的邪恶。 Our current prints of Prince Achmed were "restored" in 1954 with a new (rather kitschy) musical score by Freddie Phillips, which means that the images move faster than they should (18 frames-per-second silent speed versus 24 frames-per-second sound speed).我们目前的版画王子achmed被“恢复”在1954年与一个新的（而不是kitschy ）音乐评分由弗雷迪菲利普斯，这意味着图像移动速度比他们应（ 18帧每秒的速度沉默银两24帧每次第二音速） 。 The original symphonic score by Wolfgang Zeller, one of the great film composers, more correctly supports the drama with a thrilling grandeur, exciting suspense and lush romanticism.原来的交响评分由沃尔夫冈策勒尔，一位伟大的电影作曲家，更正确地支持戏剧与扣人心弦宏伟，令人振奋的悬念和郁郁葱葱的浪漫主义。 Furthermore, although the "restoration" reestablished the tints of the original, much of the fine background detail in most scenes is lost.此外，虽然“复辟”重新确立了色彩的原始，很多优良的背景，详细在大多数的场景是丢失。 (Original nitrate prints are available in Europe, so let's hope that a more authentic restoration becomes available soon.) （原硝酸盐版画是在欧洲上市，让我们的希望一个更真实的恢复变得很快提供） 。 The Adventures of Prince Achmed, 1926 冒险王子achmed ， 1926 Courtesy of William Mortiz 礼貌威廉mortiz In addition to Prince Achmed, Lotte Reiniger made a second feature, Dr.在除了王子achmed ，乐天reiniger作出了第二个特征， 博士 Dolittle, released in 1928 (unfortunately just as the sound film began to triumph), with a musical score by Paul Dessau, Kurt Weill and Paul Hindemith. dolittle ，发表在1928年（可惜，正如健全的电影开始的胜利） ，与一出音乐剧评分由保罗德绍，库尔特威尔和保罗欣德米特。 Following Hugh Lofting's 1920 book, The Story of Dr.以下休放样的1920本书，故事博士 Dolittle, it tells of the good Doctor's voyage to Africa to help heal sick animals. dolittle ，它告诉的好医生的航行到非洲帮助医治病畜。 Again, it is currently available only in a television version with new music, voice-over narration and the images playing too fast.再次，它目前只适用于在一个电视版与新的音乐，旁白和图像播放太快了。 The Adventures of Prince Achmed 冒险王子achmed Courtesy of William Mortiz 礼貌威廉mortiz Lotte Reiniger actually worked on a third feature as well.乐天reiniger实际工作就第三功能，以及。 She loved Maurice Ravel's 1925 opera L'Enfant et les Sortilèges (The Boy and the Bewitched Things), which tells of a naughty child who ruins his schoolbooks and toys, hurts his pets, breaks dishes and furniture and despoils the garden--but all the things he has damaged come to life and accuse him until he repents.她喜欢拉威尔的1925歌剧儿童等就业辅导组sortilèges （该名男童和邪的东西） ，讲述了一个顽皮的孩子，他的废墟教科书和玩具，伤害他的宠物，休息菜以及家具和despoils的花园-但所有的事情，他已损坏来的生活，并指责他，直到他忏悔。 Both Colette's text (the "china" tea set speak the mock Chinese of "Hong Kong, Mah Jong" while the torn arithmetic book sings fragments of math problems) and Ravel's diverse music (from mock 18th-century shepherdesses, to jazzy fox trots to cat yawls to a symphony of garden sounds) are magical.双方科莱特的案文（ “中国”茶设置发言模拟中国的“香港，马来酸酐钟” ，而蹂躏的算术书唱片段的数学问题）和拉威尔的多样的音乐（从模拟18世纪的shepherdesses ，爵士乐之狐trots ，以猫yawls一个交响乐团，花园的声音）的神奇。 Lotte tried for seven years to get the rights to the piece--a complex and expensive matter, since Ravel's music, Colette's libretto and the particular musical performance (singers, orchestra, etc.) had to be cleared separately.乐天试图为七年来取得的权利，向一块-一个复杂和昂贵的问题，因为拉威尔的音乐，科莱特的l ibretto和表现，尤其是音乐（歌手，乐团等）都必须清除分开。 When Ravel died in 1937 the clearance became even more complex, and Lotte finally abandoned the project, although she had designed sequences and animated some scenes to convince potential backers and the rights-holders.当拉威尔死亡，在1937年的清关变得更加复杂，和乐天最终放弃了该项目，虽然她设计的序列和动画的一些场景来说服潜在的支持者和权利持有人。 In 1929 Lotte Reiniger had also directed a live-action feature, The Pursuit of Happiness, which involves people who run a shadow-puppet theater in a carnival--and starred Jean Renoir and Bertold Bartosch; unfortunately, it was begun as a silent film, and the attempt to add voices afterward proved disastrous.在1929年，乐天reiniger还针对一个活生生的行动功能， 追求幸福的，其中涉及的人来说，一个影子-木偶艺术剧团在嘉年华-和星让雷诺阿和b ertoldb artosch;不幸的是，它开始作为一种无声的电影，和试图把新增的声音，事后证明是灾难性的。 A Very Thankful Public 非常感谢市民 In addition to her feature projects, Lotte animated dozens of shorts for children, and a few delightful advertising films.此外，她功能的项目，乐天动画几十个短裤，儿童，和几个愉快的广告片。 In a 1969 interview with Walter Schobert (of the Deutsches Film museum in Frankfurt), Reiniger said "I love working for children, because they are a very critical and very thankful public."在1969年采访沃尔特朔贝特（德国电影博物馆在法兰克福） ， reiniger说， “我爱工作，为儿童，因为他们是一个非常关键的和非常感谢市民” 。 She has rewarded her youthful audience with challenging interpretations of classic fairy tales, new stories and some operatic motifs--all of which played successfully in cinemas and on television in the early years before ratings and commercial demands made children's TV a branch of the toy industry.她回报她的青春，观众与富有挑战性的诠释经典童话故事，新故事和一些戏曲图案-所有这些方面发挥成功在电影院和电视上在最初几年前，收视率和商业提出的要求，儿童的电视的一个分支，玩具业。 Lotte also performed with live shadow-puppet performances in England, and wrote a definitive book about Silhouettes.乐天也表现与生活的阴影-木偶表演，在英格兰，写下了一个明确的图书约系列。 First trick-table (Berlin, 1920) 第一招-表（柏林， 1920 ） Courtesy of William Mortiz 礼貌威廉mortiz Lotte Reiniger herself is the prime genius behind all of her films.乐天reiniger自己是总理的天才背后的她的所有电影。 She had an astonishing facility with cutting--holding the scissors still in her right hand, and manipulating the paper at lightning speed with her left hand so that the cut always went in the right direction.她以惊人的设施与切割-持剪刀，仍然在她的右手，和操纵的文件在闪电的速度与她的左手，使削减总是到了正确的方向。 She drew the storyboards and devised the plots and characters, which were closely linked.她提请故事，并制订了剧情和人物，这是紧密相连的。 If a figure needed to make some complex or supple movement, it would have to be built from 25 or 50 separate pieces, then joined together with fine lead wire--as in the famous Falcon that Walter Ruttmann used to make Kriemhilde's dream sequence for Fritz Lang's 1924 feature Niebelungen. If a character needed to appear in close-up, a separate, larger model of the head and shoulders would have to be built--as well, possibly, as larger background details to stand behind it.如果一个数字，需要作出一些复杂的或补充的运动，它必须建立在来自25个或50个单独件，然后一起与罚款引线-在著名的猎鹰说，沃尔特r uttmann用来制造k riemhilde的梦想序列弗里茨郎咸平的1924功能尼伯龙根，如果一个字符需要出现在近摄，一个单独的，较大的模型，头部，肩部，便须兴建的-以及，可能的话，作为大背景的细节站在背后。 But Lotte worked always with her husband, Carl Koch, who usually ran the camera.但乐天的工作始终与她的丈夫，卡尔科赫，他们通常冉相机。 For the large projects like Prince Achmed she had a staff of five: Carl for camera, Alexander Kardan to check the exposure sheets, Walter Türck who arranged the backgrounds, and two special-effects men, Walter Ruttmann and Bertold Bartosch; the latter two were animators in their own right, who were able to continue their own careers thanks to the help Lotte gave them with this extra employment.为大型工程项目一样， 王子achmed她有一个工作人员5 ：卡尔相机，亚历山大kardan检查暴露床单，沃尔特türck安排的背景，和两个特别效果的男子，沃尔特ruttmann和bertold bartosch ;后者2人漫画家在自己的权利，他们可以继续他们自己的事业感谢帮助乐天给了他们与这额外的就业机会。 Even if the prints are not in the best shape, it is worth trying to see as many of her films as you can, for Lotte endowed every tale with enchanting touches and droll social commentaries.即使是打印而不是在最佳状态，这是值得尝试看看，因为她的许多电影，您可以在乐天赋予每一个故事，与迷人的触及和droll社会评论。 The earlier films seem better to me. Carmen (available in the US through New York's Museum of Modern Art), gives a feminist reappraisal of the opera's plot, making Carmen a capable and self-sufficient woman, smarter and stronger than the men who pursue her.早前电影似乎不如我。 卡门 （可在美国通过纽约的现代艺术博物馆） ，给出了女权主义的重新评估歌剧的阴谋，使卡门一个有能力和自给自足的女子，聪明，更强，比男性追求她。 The later films often have color backgrounds (being originally designed for television in England), the most easily available of them probably the National Film Board of Canada's Aucassin and Nicolette; the film follows a medieval tale of young lovers separated--and needless to say, it's Nicolette who is brave and clever enough to get them back together again.后来的电影往往有彩色背景（被原先设计的电视在英格兰） ，最容易获得，他们可能是国家电影局加拿大的aucassin和nicolette ;电影如下一座中世纪的故事，年轻恋人的分离-不用说，它的nicolette谁是勇敢和聪明，足以让他们重新统一起来。 Lotte Reiniger: A Biographical Note & Filmography 乐天reiniger ：简历及创作年表 Although not Jewish, Carl Koch and Lotte Reiniger were closely identified with leftist politics (Bert Brecht counted them among their good friends) and deplored the rise of Nazism.虽然不是犹太人，卡尔科赫和乐天reiniger密切确定与左派政治（布莱希特（ Bert指望他们之间的好朋友）和痛惜的崛起纳粹主义。 They immediately tried to leave Germany in 1933, but were not able to get emigration visas into France, England or other European countries.他们立即设法离开德国在1933年，但无法取得移民签证进入法国，英国或其他欧洲国家。 Lotte worked on a Pabst film in France in 1933, but had to return to Germany, where she made six more films, between frequent "vacations" to England, Greece and other places in search of asylum.乐天工作的一帕布斯特电影在法国在1933年，但已返回德国，在那里她作出了6更多的电影，之间的频繁“休假” ，英格兰，希腊和其他地方的搜索庇护。 In 1936, Carl and Lotte resolved to leave Germany for good, even if it meant a transient existence, which it did.在1936年，卡尔和乐天决心离开德国前往良好，即使这意味着短暂的存在，它没有。 Jean Renoir employed Carl in Paris, while Lotte found some backing for silhouette films in England--but both had to leave the country where they were every few months and re-enter on a new tourist visa, sometimes only meeting in the terminals at Dover and Calais.让雷诺阿聘用卡尔在巴黎，而乐天发现了一些支持人影电影在英格兰-但都不得不离开该国，他们每隔几个月，并重新输入一个新的旅游签证，有时仅在会议的码头，在英国多佛尔港和加莱。 Carl Koch at camera, Walter Turck animating above, 卡尔科赫在相机，沃尔特图尔克动画以上， Alexander Kardan with exposure sheet and Lotte Reiniger moving silhouettes. 亚历山大kardan暴露资产负债表和乐天reiniger运动系列。 Courtesy of William Mortiz 礼貌威廉mortiz With the beginning of the war, Renoir arranged to take them to Italy, where he was contracted to direct a feature, which he soon turned over to Carl when he decided to return to France to salvage some of his father's paintings (and eventually fled to the US).与战争开始时，雷诺阿安排他们带到意大利，在那里他签订合同，直接的一个特点，这是他尽快转交给卡尔时，他决定返回法国，打捞一些他父亲的画（并最终逃到美国） 。 Carl and Lotte worked on three features and a silhouette animation in Italy before they were evacuated to Germany when the allied armies invaded Italy and the German forces began to retreat in 1944.卡尔和乐天工作的三个特点和一个人影动画在意大利之前，他们被疏散到德国时，盟军入侵意大利和德国军队开始撤退，在1944年。 Even during the blitz on Berlin (in addition to caring for her aged mother and Carl, who suffered from "shell shock"), Lotte was forced to work on a silhouette film, which was finished after the war by the newly founded East German DEFA studios.即使是在突击对柏林（在除了照顾她岁的母亲和卡尔，因“空壳休克” ） ，乐天被迫工作，人影电影，这是结束战争结束后由新成立的东德的发工作室。 Carl and Lotte finally managed to emigrate to England in 1949.卡尔和乐天终于设法移民到英格兰在1949年。 All films listed in the following list , unless otherwise noted, are short silhouette animations by Lotte Reiniger. 所有电影上市在以下列表中，除非另有说明，是短期的人影动画由乐天reiniger 。 1916 1916 Rübezahls Hochzeit (Rumpelstilskin's Wedding). rübezahls hochzeit （ rumpelstilskin的婚礼） 。 Live-action feature directed by Paul Wegener.生活-动作特点导演保罗魏格纳。 LR does silhouette cut-outs for the dialogue-titles.土地注册处处长是否人影割喉式的学生为对话字幕。 Die schöne Prinzessin von China (The Beautiful Chinese Princess). 模具schöne prinzessin冯中国 （美丽的中国公主） 。 Live-action silhouette film, actors only seen as shadows on screen, directed by Rochus Gliese.生活行动人影电影，演员只被看作阴影，在屏幕上，导演布莱恩格利泽。 LR does costumes, sets, special effects, etc.土地注册处处长是否服饰，套，特殊效果，等等。 1918 1918 Apokalypse (Apocalypse). apokalypse （启示） 。 Live-action short directed by Rochus Gliese.生活行动短期导演布莱恩格利泽。 LR's silhouettes depict the horrors of war.土地注册处处长的系列描绘战争的恐怖。 Der Rattenfänger von Hameln (The Pied Piper of Hamelin). 明镜rattenfänger冯哈梅恩 （花衣魔笛手） 。 Live-action feature directed by Paul Wegener.生活-动作特点导演保罗魏格纳。 LR made silhouettes for dialogue titles, and animated model rats.土地注册处处长作出的系列对话的标题，和动画模型大鼠。 1919 1919 Das Ornament des verliebten Herzens (The Ornament of the Heart in Love). 之饰品万verliebten herzens （饰品的心在爱） 。 First animated silhouette short by Reiniger.第一动画人影短期由reiniger 。 1920 1920 Der verlorene Schatten (The Lost Shadow). 明镜verlorene夏腾 （失落的影子） 。 Live-action feature directed by Rochus Gliese.生活-动作特点导演布莱恩格利泽。 LR animated a sequence in which the musician has no shadow, but the shadow of his violin is seen moving on the wall as he plays his instrument.土地注册处处长动画序列中，音乐家有没有影子，但阴影，他的小提琴被认为是移动上墙，因为他发挥他的文书。 Amor und das standhafte Liebespaar (Cupid and the steadfast lovers). 奥马尔und之standhafte liebespaar （丘比特和坚定的恋人） 。 Silhouette animation short with one live actor who interacts with the cutouts.人影动画短期与一活的演员互动与开孔。 Several advertising films for Julius Pinschewer agency, including: Das Geheimnis der Marquise (The Marquise's Secret) for Nivea skin cream and Die Barcarole (The Barcarole) for Pralinés Mauxion dessert.几个广告，电影，朱利pinschewer机构，其中包括： 之geheimnis明镜marquise （ marquise的秘密）妮维雅护肤霜及模具barcarole （ barcarole ） pralinés mauxion甜品。 Also a commercial for ink.也是一个商业油墨。 1921 1921 Der fliegende Koffer (The Flying Trunk), based on the Hans Christian Andersen tale. 明镜fliegende koffer （飞行主干）的基础上，汉斯克里斯蒂安安徒生的故事。 Der Stern von Bethlehem (The Star of Bethlehem). 明镜斯特恩冯伯利恒 （星伯利恒） 。 1922 1922 Aschenputtel (Cinderella), from the Brothers Grimm. aschenputtel （灰姑娘） ，由格林兄弟。 Dornröschen (Sleeping Beauty), advertising film. dornröschen （睡美人） ，广告，电影。 1923 1923 Lotte Reiniger makes a complex silhouette figure of a falcon for a dream sequence in Fritz Lang's feature Die Niebelungen. Walter Ruttmann (who is working on Reiniger's Prince Achmed at the time) completes the dream with various painted images, and it becomes known as Ruttmann's sequence.乐天reiniger使一个复杂的人影的数字， 1猎鹰为一个梦想序列在弗里茨郎的特点模具尼伯龙根。沃尔特ruttmann （世卫组织正在致力于对reiniger的王子achmed在时间）完成的梦想与各种手绘图像，并成为被称为ruttmann的序列。 1923-25 1923年至1925年 Die Abenteuer des Prinzen Achmed (The Adventures of Prince Achmed), 90-minute silhouette feature, from episodes in The Arabian Nights . 模具abenteuer万prinzen achmed （冒险王子achmed ） ， 90分钟的人影功能，从集在天方夜谭 。 Completed film submitted to censorship board January 15, 1926, press screening May 2, 1926, Paris premiere July 1926, Berlin first run September 1926.完成电影提交给检查委员会1926年1月15日，新闻的筛选1926年5月2日，巴黎首演， 1926年7月，柏林首次运行1926年9月。 Original musical score by Wolfgang Zeller.原来的音乐评分由沃尔夫冈策勒尔。 1926 1926 Der scheintote Chinese (The Seemingly-Dead Chinaman). 明镜scheintote中文 （貌似死亡支那） 。 Originally a 13-minute episode in Prince Achmed, cut by the German censor, as well as French and German distributors in the interest of keeping the film within the attention span of children.本来是一个13分钟的事件， 王子achmed ，削减由德国检查员，以及法国和德国的分销商的利益，保持薄膜内的注意跨度的儿童。 Released as a short in 1928.发表作为短期在1928年。 1927 1927 Heut' tanzt Mariette (Today Marietta Dances). heut ' tanzt mariette （今日玛丽埃塔舞蹈） 。 Live-action feature directed by Friedrich Zelnik.生活-动作特点是针对由Friedrich zelnik 。 Silhouette effects by LR.人影的影响，轻铁。 1928 1928 Doktor Dolittle und seine Tiere (Dr. Dolittle and His Animals), 65-minute feature after Hugh Loftings novel. doktor dolittle und塞纳河tiere （ dolittle博士和他的动物） ， 65分钟专题节目后，休loftings小说。 At the Berlin premiere, December 15, 1928, Paul Dessau conducted a score with music by Kurt Weill, Paul Hindemith and himself.在柏林首演， 1928年12月15日，保罗德绍进行了评分与音乐由库尔特威尔，保罗欣德米特和他本人。 1929 1929 Die Jagd nach dem Glück (The Pursuit of Happiness), live-action feature co-directed by Rochus Gliese and Lotte Reiniger. 模具jagd nach DEM的glück （追求幸福） ，活的行动特点，合作，导演布莱恩格利泽和乐天reiniger 。 Tale of people who run a shadow-puppet theater in a carnival.故事的人来说，一个影子-木偶艺术剧团在嘉年华会。 Includes a 20-minute silhouette animation by Reiniger to represent one of the theater performances.包括一个20分钟的人影动画reiniger代表之一战区表演。 Stars Jean Renoir, Catherine Hessling and Bertold Bartosch.星级让雷诺阿，凯瑟琳黑斯林和bertold bartosch 。 Premiere (with voices added by other actors): May 1930.首演（与声音，加上其他行动者） ： 1930年5月。 1930 1930 Zehn Minuten Mozart (10 Minutes of Mozart). 胜任minuten莫扎特 （ 10分钟的莫扎特） 。 1931 1931 Harlekin (Harlequin), 24 minutes, to baroque music. harlekin （丑角） ，第24分钟，到巴洛克时期的音乐。 1932 1932 Sissi , 10 minute silhouette animation prepared to be shown during a scene change of the Fritz Kreisler operetta Sissi . sissi ， 10分钟的人影动画准备显示在一个场景变化的弗里茨克莱斯勒歌剧sissi 。 1933 1933 Don Quixote. Live-action feature directed by GW Pabst. 唐吉诃德。留宿的行动功能的指示，毛重帕布斯特。 LR animated silhouettes for opening sequence in which Don Quixote reads a book about knights' adventures.土地注册处处长动画系列开放序列，其中唐吉诃德读取一本关于骑士'的冒险。 Carmen, based on the Bizet opera. 卡门的基础上，比才的歌剧。 1934 1934 Das rollende Rad (The Rolling Wheel). 之rollende的RAD （滚轮） 。 Traces society through the changing role of wheels from antiquity to the present.社会的痕迹，透过角色的转变车轮从古代到现在。 Der Graf von Carabas (Puss-in-Boots), from the Brothers Grimm. 德格拉夫冯克勒巴什 （ puss -在靴） ，由格林兄弟。 Das gestohlene Herz (The Stolen Heart), from a fable by Ernst Keienburg. 之gestohlene赫兹 （被窃的心脏） ，从一则寓言由恩斯特凯恩堡。 1935 1935 Der Kleine Schornsteinfeger (The Little Chimneysweep), from a tale by Eric Walter White 明镜kleine schornsteinfeger （小chimneysweep ） ，从一个故事，由Eric沃尔特白皮书 Galathea , from the classic fable. galathea ，从经典的寓言。 Galathea, 1935 galathea ， 1935 Courtesy of William Mortiz 礼貌威廉mortiz Papageno , scenes from Mozart's opera, The Magic Flute. papageno ，场景从莫扎特的歌剧魔笛。 1936 1936 The King's Breakfast, from the poem by AAMilne. 国王的早餐，从诗aamilne 。 1937 1937 The Tocher (Scottish dialect for "The Dowry"), advertising film for the General Post Office. 该托赫尔 （苏格兰方言为“嫁妆” ） ，广告，电影，为邮政总局。 La Marseillaise Live-action feature directed by Jean Renoir. 马赛曲活动作特点导演让雷诺阿。 LR prepared a sequence of a shadow-puppet theatre performance depicting the need for the French Revolution.土地注册处准备了一系列的影子-木偶剧的表现，展示的需要，为法国大革命。 1939 1939 Dream Circus, after Stravinsky's Pulcinella (unfinished by the beginning of the war). 梦想马戏团后，斯特拉文斯基的普钦内拉 （未完成的，由战争开始） 。 L'Elisir D'Amore, after Donizetti's opera. l' elisir -爱茉莉后 ， 多尼采蒂的歌剧。 1944 1944 Die goldene Gans (The Goose that Laid the Golden Eggs), after the Brothers Grimm. 模具goldene甘斯 （鹅奠定了金蛋） ，之后，格林兄弟。 (Unfinished.) （ unfinished. ） 1949 1949年 Greetings Telegram. Ad for General Post Office. 问候电报。广告邮政总局。 Post Early for Christmas, ad for GPO 邮政早在圣诞节，广告的GPO Radio License, ad for GPO 电台执照，广告的GPO 1950 1950 Several advertising films for Crown Film Unit in London, including Wool Ballet.几个广告，电影，电影官方单位，在伦敦，包括羊毛芭蕾舞团。 1951 1951年 Mary's Birthday Black silhouettes over colored backgrounds. 玛丽的生日，黑色系列以上的彩色背景。 1953 1953年 Aladdin 阿拉丁 The Magic Horse, from Arabian Nights. (Much of the footage from this film and Aladdin seem to have been culled from Prince Achmed. ) 神奇的马，从天方夜谭。 （大部分的画面，从这个电影和阿拉丁 ，似乎已被宰杀，从王子achmed ） 。 Snow White and Rose Red, from the Brothers Grimm. 白雪公主和玫瑰红，从格林兄弟。 1954 1954年 The Three Wishes, from the Brothers Grimm. 三个愿望，从格林兄弟。 The Grasshopper and the Ant, from LaFontaine's fable. 蝗虫和蚂蚁，从拉方丹的寓言。 The Gallant Little Tailor, from the Brothers Grimm. 浩小裁缝，从格林兄弟。 The Sleeping Beauty, from the Brothers Grimm. 睡美人，从格林兄弟。 The Frog Prince, from the Brothers Grimms. 青蛙王子，从兄弟grimms 。 Caliph Stork, from the fairy tale by Wilhelm Hauff. 哈里发鹳，从童话故事，由威廉hauff 。 Cinderella, from the Brothers Grimms. 灰姑娘，从兄弟grimms 。 1955 1955年 Hansel and Gretel, from the Brothers Grimms. 韩赛尔和gretel ，从兄弟grimms 。 Thumbelina, from Hans Christian Andersen. thumbelina ，从汉斯克里斯蒂安安徒生。 Jack and the Beanstalk, from the Brothers Grimm. 杰克和beanstalk ，从格林兄弟。 Color backgrounds.彩色的背景。 1956 1956年 The Star of Bethlehem. Color backgrounds. 明星伯利恒。色彩的背景。 1957 1957年 Helen La Belle, after Offenbach's operetta, La Belle Hélène. Color figures and backgrounds. 海伦香格里拉唤后，奥芬巴赫的轻歌剧， 香格里拉唤H闸镴e 。彩色数字和背景。 1958 1958年 The Seraglio, after Mozart's opera, Die Entführung aus dem Serail. Color figures and backgrounds. 该seraglio后，莫扎特的歌剧， 模具entführung澳元DEM的serail 。彩色数字和背景。 1960 1960年 The Pied Piper of Hamelim. Made for the Christmas Pantomime at the Coventry Theatre, where it played between acts. 花衣hamelim 。作出圣诞哑剧在考文垂剧院，在那里发挥之间的行为。 Figures and backgrounds in color.数字和背景的颜色。 1961 1961年 The Frog Prince, for Coventry Theatre Christmas Pantomime. 青蛙王子，考文垂剧院圣诞哑剧。 Figures and backgrounds in color.数字和背景的颜色。 1962 1962年 Wee Sandy Intermission piece for Glasgow Theatre production. 凌晨沙质间歇件格拉斯哥剧院生产。 1963 1963年 Cinderella Made for the Coventry Theatre Christmas Pantomime. 灰姑娘为考文垂剧院圣诞哑剧。 Figures and backgrounds in color.数字和背景的颜色。 1975 1975年 Aucassin and Nicolette, after the medieval cantefable. aucassin和nicolette后，中世纪cantefable 。 Produced at the National Film Board of Canada, with black figures and color backgrounds.在国家电影局的加拿大，与黑色的数字和颜色的背景。 1979 1979年 The Rose and the Ring, after WM Thackery's tale. 玫瑰和戒指，后西医结合thackery的故事。 In color.在颜色。 Breakdown of articulated silhouette figure. 分项阐述了人影的数字。 Courtesy of William Mortiz 礼貌威廉mortiz William Moritz teaches film and animation history at the California Institute of the Arts. 威廉莫里兹教电影和动画的历史，在美国加州理工学院的艺术。