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| Festival Year |
Festival Section |
| 2012 |
German Animation, 1910-1930 |
| Film Title |
MÜNCHNER BILDERBOGEN NR. 17: PIERRETTES SPIELZEUG |
| Alternative Title 1 |
[Album di Monaco n. 17: Il giocattolo di Pierrette] |
| Alternative Title 2 |
[Munich Album No.17: Pierrette’s Toy] |
| Alternative Title 3 |
|
| Country |
Germany |
| Release Date |
1921 |
| Production Co. |
Moeve-Film GmbH |
| Director |
Louis Seel |
| Format |
|
Speed (fps) |
| 35mm |
|
20-22 |
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|
| Footage |
|
Time |
| 93 m. |
|
4'04" |
| Archive Source |
Bundesarchiv-Filmarchiv, Berlin. |
| |
|
| Print Notes |
Didascalie in tedesco / German intertitles |
| Program Notes |
A human hand draws Pierrette, Pierrette draws Pierrot – her toy boy robot. Not made for any client, but produced as an entertainment solely to be part of a supporting programme, the film uses the rotoscoping technique. Louis Seel traced over live-action shots of his wife Olivette Thomas frame by frame, combining them with fantastical inventions like a male robot. The earliest use of rotoscoping seems to have been in a film made in 1914 by Max Fleischer; he later developed the technique and patented it in 1917. It was prominently used in the series Out of the Inkwell (1918-1928), with Max’s younger brother Dave in his Coney Island clown outfit as the live-film reference for the character Koko the Clown.
Louis Seel used rotoscoping for several of his Münchner Bilderbogen (Munich Album; literally, “Munich’s illustrated broadsheet”) films. This fortnightly series ran from 1921 until 1923, but unfortunately only a handful of episodes seem to have survived at the Bundesarchiv-Filmarchiv, Filmarchiv Austria, EYE Film Institute Netherlands, and Filmmuseum München. For more information on Louis Seel, see the entry for Louis Seel Filmbilderbogen: Amors Tagebuch II - Ein zeichnerischer Scherz (Amor’s Diary, 1924) later in this programme. - ANNETTE GROSCHKE & DORIS HACKBARTH |
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