Abstract
The opulent colours and ornamentation, exotic characters and landscapes, as well as astonishing journeys and magic may resemble other European adaptations of Arabian Nights fairy tales. Yet remarkable technical and political innovations distinguish Lotte Reiniger’s 1926 ‘Scherenschnitte’ shadow animation film Die Abenteuer des Prinzen Achmed. Engaging with various readings of Reiniger’s evolving technical and narrative approaches, this article complicates unproblematized celebrations of the film’s innovations as well as critiques of the film as Orientalist, arguing that both facets are in complex ways interdependent. The technical feats and orientalist tropes at once veil the progressive messaging and permit the audience to imagine a different world.
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