The first chapter of this book, written by Jack Zipes, discusses Disney's role in animating fairy tales and essentially making an industry out of it. Disney drew much of his inspiration for his films from various fairy tales, and in some cases as the book asserts, imposed new meaning to these tales. The chapter explores the history of fairy tales as means of passing morals, essentially having an indoctrination function. Literacy changed the audience and served a class-separation role, among other roles, all the way through the late nineteenth century. Zipes suggests Disney continued the tradition of putting fairy tales into "book" form through its animation department. Given his early success and the development of the animated film industry, Disney was able to implement and perfect other forms of technology to become a leader in animation.

While little credit is attached to where Disney got his inspiration from, the chapter is relevant to the thesis. It outlines some of the similarities, potentially directly drawn from German Expressionism in Disney's work. It was the revolutionary technology that put Disney's work above the rest. A couple of these techniques, which may have been borrowed from European animators on one of Disney's many trips, were experimented on by Reiniger, one being the multiplane camera. The use of this camera to create depth out of two-dimensional images is noted in several of Disney's early works. Reiniger used an early form of the camera to create an illusion of depth in her silhouette images, too. Furthermore, Reiniger's inspiration for using the Arabian Nights' tale was derived from the familiarity the audience would have with these tales and the artistic match between the Expressionist film and the fantastic tale.

Bell, Elizabeth. "From Mouse to Mermaid." Indiana University Press, 1995. (Chapter 1 by Jack Zipes).

Crafton, Donald. "Before Mickey: The Animated Film, 1898-1928" University of Chicago Press, 1993. (Chapter 7)

Chapter 7 of Crafton's book goes into great detail about commercial animation in Europe. He describes much of the avant-garde work done by other filmmakers and animators, such as Vertov and Starevitch, but also devotes a small section to Reiniger. Here, he discusses her work with silhouettes and puppets and delves into the making of and reception of The Adventures of Prince Achmed. He notes the use of a primitive multiplane camera to develop depth and background images, such as that of the atmosphere. Furthermore, he notes the influence of German Expressionism in her use of shadows, "spiky figures, misty landscapes and fantastic plots."

This chapter of Crafton's book is relevant to the thesis because it supports the assertion that Reiniger's film was Expressionist, and Reiniger had an influence in early technological innovation with the multiplane camera. Her training and the avant-garde culture in Germany certainly influenced her work. Although the book as a whole stops short of discussing Disney, it can be inferred that the advances she made in the making of this film were influential in later films made by Disney. Reiniger's prolific body of works beyond the borders of Germany for decades must have been noted by Disney on one of his many European trips and must have influenced animators who he hired, many of which were European, specifically German.

The article exclusively discusses the technological aspects of animation, particularly in Disney. Chadwell argues that technology drives illusion, which is the "foundation of animation." Disney was interested in the technological aspects of animation; the entire team that worked on a film was essentially an assembly line, with each member contributing their little part to the whole. In the end it is the complete product that viewers are interested in; therefore, the credit too went to the company or a major figurehead rather than the individual animators. Furthermore, he points out that the multiplane camera's primary role was to create the illusion of depth to make the film more realistic. Essentially, Disney's investment in Snow White was predicated on the use of new technology, which eventually led to the success of this film and future ones, as well.

The article is relevant to the thesis, albeit in a limited fashion, because it deals with Disney's use of the multiplane camera in the making of his first feature film. Reiniger established a similar technique a decade earlier. By lighting a background image less, the main action and characters are brought to the forefront while detail of the backdrop still remains, thus creating an illusion of depth. Obviously Snow White was a technologically superior film given the decade to perfect this piece of technology, yet Reiniger's influence on Disney is once again apparent. The misshapen evil characters of many Disney films are also influenced by Reiniger's jagged, stylized demons and sorcerers. All together, Reiniger's influence was derived not only from her work on Prince Achmed, but the experimental nature and abundance of her work.

Chadwell, Sean. "Technological Determinism and the Poisoned Apple: The Case of Snow White and the Seven Dwarfs." Reconstruction 8.2, 2008.