默片剪纸动画中的女性之光:“剪刀手”洛特·雷妮格的肢体映射

The Glory of Women through Silent Paper-cut Animation:“Scissorhands”Lotte Reiniger’s reflection through body language

这篇文章将检视德国女性艺术家之间的创作的呼应与'回响',她们都以剪刀和纸作为'武器'刺破男性的形象。德国达达艺术的代表人物女艺术家汉娜·赫许将厨房中的菜刀作为切割德国啤酒文化的工具。通过《用厨房刀具切割魏玛啤酒肚文化》(1919),赫许以女性的角度对男性主导的社会与文化进行批判:对报纸、杂志和照片上已有的男性形象进行剪切,再并置为新的影像。另一位德国女艺术家洛特·雷妮格则通过默片长篇《阿基里德王子历险记》(1926),以剪纸/剪影动画的形式饶有意味地切割男权文本《一千零一夜》。因为在原著中,一名智慧的女子为了保护自己和其他女性,必须用故事开导残忍的国王。作为一种古老的仪式符号,在不同国家和文化的传说中,剪纸和剪影都与对逝去生命的召唤有着某种神秘的联系。在《阿基里德王子历险记》中,雷妮格以剪纸和剪影作为默片动画的媒介,视觉化重审逝去的传说。剪影角色与背景的关系被重新思考,角色是从纸上剪出来的,背景是孕育角色的'母体'。如同正负形的对话,角色成为被剪刀释放的生命。本文比喻雷妮格为女性'剪刀手',她的剪纸剪影动画不仅是一种新的媒介实验,也是将剪刀伸向好莱坞所标榜的卡通动画。雷妮格的剪影人物创作也是其肢体语言和表演欲望的一种映射。雷妮格的第二部动画长片《怪医杜立德》(1928)在公映时受到了观众的批评,因为这部动画作品采用默片形式,而没有追随当时火热的有声片潮流。这种异质性的追求恰恰是雷妮格作为艺术家独立精神的体现。剪影动画或默片都是依据特定的主题所实验的形式,雷妮格以默片动画的方式揭示了一种肢体的另类'发声'。然而,雷妮格的几部早期默片动画作品都在盟军对柏林的轰炸中遗失或破损。虽然影片于1970年修复完成,但影片的色彩和速率都发生变化。在快进式的默片动画中,我们只能揣测雷妮格原作的'灵光',而'剪刀手'雷妮格的光晕也激发对于默片动画的记忆探索。

This paper will examine the echo of the women artists'speaking'through the male shadows in Germany and using scissors and paper as their weapons.In 1919,the women dada artist Hannah Hoch used a kitchen knife as a weapon to cut through the imagery of beer and it’s association with masculinity via Cut with the Kitchen Knife Through the First Epoch of the Weimar Beer-Belly Culture.A German woman animator,Lotte Reiniger,also selected a male text,One Thousand and One Nights,as her object to cut and turned it into the first paper-cut feature animation The Adventures of Prince Achmed(1926).As in OneThousand and One Nights,a female servant must use story to protect her from being killed by the cruel king.Though James Stuart Blackton firstly experimented using paper-cut in his animation work Humorous Phases of Funny Faces in 1906,paper-cut animation found fulfilled liveliness and attraction in'Scissorhands'by Reiniger.As one of the first feature animation films,The Adventures of Prince Achmed is not only a classical silent film through the hands of Reiniger,it was also a miraculous moving reflection of the story One Thousand and One Nights,as well as Reiniger’s own gestures and performances.From the time Reiniger was 15 years old,she had hoped to be an actor as she admired the performances directed by Paul Wegener.Paul Wegener was intrigued by Reiniger’s paper-cut gifts modeling his stage scenes and this formed the foundation of their future cooperation,mainly with regard to design and extra acting.In Reiniger’s 50 films over her whole life,the paper-cut characters fulfilled her dream about not only being a supporting actress.Actually in paper-cut animation,by cutting paper into pieces and reconstructing them,Reiniger could act as a variety of characters,from a Prince(The Adventures of Prince Achmed,1926)to a Doctor(Dr.Dolittle and His Animals,1928),from a magician boy(Ten Minutes of Mozart,1930)to a bird hunter(Papageno,1935),though these characters were male on the big screen,they were the transformed reflection of a pioneer women actor and artist.Reiniger’s second silent feature film Dr.Dolittle and His Animals was criticized by the public as it had not evolved with the tide of sound film.This animation,inspired by Hugh Lofting’s novel of the same name,used the gestures of animated characters to vividly speak another kind of'sound'.While as the first several films of Reiniger were lost and damaged in the second world war,The Adventures of Prince Achmed and Dr.Dolittle and His Animals were repaired by the British Film Institute according to Reiniger’s handbook from 1925.The pace and the whole running time are different from the original ones.We could only guess what Reiniger’s intended gestures and body language was from the seemingly fast-forwarded images.The memories of silent paper-cut animation need to be continually explored through the glory of'Scissorhands'by Lotte Reiniger.