This detailed press kit includes an excerpt from Lotte Reiniger's own article "Scissors make films," discussing her work with silhouette animation, a synopsis of the film and a plethora of detail regarding the technology and experimental techniques employed in the film. The kit notes the expressive movement of Reiniger's silhouettes, probably learned at Reinhardt's school and through her work in silent film. Also of note was the selection of the piece as Expressionist. Fairy tales and fables would inspire Disney, too. The Arabian Nights were so fantastic, with flying horses, demons and mutable forms, that animation would be an appropriate medium, particularly aided by Expressionism. The kit also documents some social aspects relevant to the film. Post-WWI inflation deflated the value of German currency so making a film was not very expensive and such an epic project was not as great a burden. 

The document is relevant to the thesis because it details the technology and Expressionist styles that would later become associated with other Hollywood (particularly Disney) films. The experimental techniques are now commonplace, but back then, working on animating waves or twinkling stars as Bertold Bartosch did was a technological feat. A decade later, Disney would employ these techniques in their animated films. Reiniger's film was certainly more abstract than the features Disney would make, but the ideological context of the film was consistent with Expressionism. Furthermore, the use of Zeller's score created rhythmic, surreal movement- another hallmark of German Expressionism.

Pidhajny, Carl. "The Adventures of Prince Achmed Press Kit." Milestone Film, 2001.

Speed, Louise. Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 17, No.1, 2003. pgs 181-183.

This article discusses the Expressionist nature of Reiniger's film, discusses the role of Wolfgang Zeller's score in the film and compares Reiniger's film to Disney animation. Reiniger is able to create expressive interaction between characters without facial expressions, but only silhouettes. Furthermore, the article discusses the "sexy and voyeuristic" aspects of the film. With silhouettes Reiniger is offered more leeway to have her heroine be spied upon as she bathes in an animated feature. This contrasts to what Disney would ever do, particularly in light of the Hays Code. Furthermore, Zeller's score ties the action to the music. Unique to this time, the Reiniger harmonizes the movement of her characters to the music.

The article is relevant to the thesis because it studies the Expressionist elements and compares Prince Achmed to other Disney films. The score adds an Expressionist element as the characters are allowed to move with the music, adding a rhythm to the film that meshes with the fantastical plot. The "nudity" aspect adds to the exoticism and the nightmarish turn of events for Pari Banu, essentially heightening the stylistic feel of the film. Finally, the film creates a three-dimensional world out of two-dimensional cutouts with varied lighting; the influence in Disney films is seen in the 30s and 40s.