Charlotte "Lotte" Reiniger (2 June 1899 – 19 June 1981) was a German film director and the foremost pioneer of silhouette animation. Reiniger made more than 40 films over her career, all using her invention. Her best-known films are The Adventures of Prince Achmed (1926) – the oldest surviving feature-length animated film, preceding Walt Disney's feature-length Snow White and the Seven Dwarfs (1937) by over ten years – and Papageno (1935), featuring music by Mozart. Reiniger is also noted for devising a predecessor to the first multiplane camera.
As a child, she was fascinated with the Chinese art of silhouette puppetry, even building her own puppet theatre, so that she could put on shows for her family and friends.
Reiniger enrolled in the acting group to which Wegener belonged, the Theatre of Max Reinhardt. She began by making costumes and props and working backstage. She started making silhouette portraits of the various actors around her, and soon she was making elaborate title cards for Wegener's films, many of which featured her silhouettes.
Reiniger, in devising the predecessor to the first multiplane camera for certain effects, preceded Walt Disney and Ub Iwerks by a decade. Above her animation table, a camera with a manual shutter was placed in order to achieve this. She placed planes of glass to achieve a layered effect. The setup was then backlit. This camera setup was later popular in cell animation.
Reiniger had a distinct art style in her animations that was very different from other artists in the time period of the 1920s and the 1930s, particularly in terms of characters. In the 1920s especially, characters tended to rely on facial expressions to express emotions or action, while Reiniger's characters relied on gestures to display emotions or actions. She also utilized the technique of metamorphosis often in her animations. This focus on transformation greatly benefits her tendency to work with fairytale stories.
Scientific studies have found that after crying, people actually do feel better, both physically and physiologically—and they feel worse by suppressing their tears. You don’t want to hold tears back.
Biochemist William Frey has spent 15 years as head of a research team studying tears. The team found that, although tear production organs were once thought to be vestigial (left over from evolution) and no longer necessary for survival, tears actually have numerous critical functions.1
Emotional tears are a response which only humans have, for only people can weep. All animals that live in air produce tears to lubricate their eyes. But only people possess the marvelous system that causes crying.
Tears are secreted by your lacrimals—tiny, sponge-like glands which rest above the eye against the eye socket. The average person blinks every two to ten seconds. With every blink, the eyelid carries this miracle fluid over your eye’s surface.
Another important function of tears is that they bathe your eyes in lysozyme, one of the most effective antibacterial and antiviral agents known. Lysozyme, from lysos, to split, and enzyme (it is an enzyme which chemically splits certain compounds) is the major source of the antigerm traits of tears. Amazingly, lysozyme inactivates 90 to 95 per cent of all bacteria in a mere five to 10 minutes.4 Without it, eye infections would soon cause most victims to go blind.
Tears act as a safety valve by releasing excess stress hormones such as cortisol. If left unchecked, chronically elevated levels of these hormones can cause physical ailments and play havoc with mood. As stress often precedes a good cry, the sense of calm often felt afterward is at least in part due to hormonal release.
Scientists have discovered that the chemical composition of emotional tears differs from those caused by external stimuli such as slicing onions. Emotional tears contain higher levels of certain stress hormones such as adrenocorticotropic hormone, prolactin and the painkiller leucine enkephalin. Adrenocorticotropic hormone and prolactin levels rise with stress. Emotional tears also contain more manganese than those from irritants, and manganese helps regulate mood. Chronically depressed people often have high levels of manganese in their systems.
A good cry from either happy or sad events releases high amounts of stress hormones, protein, and manganese. Thanks to these chemicals leaving your body, you often feel relieved and relaxed.
“Tears are just one of many miracles which work so well that we have taken them for granted every day", and the phenomenon we call “crying” heal us physiologically, psychologically, and spiritually.
Victorian-era lachrymosa, also called lachrymatory, tear catchers, or tear vials. Sometimes worn on a necklace, sometimes merely held, they were used the gather the tears wept by mourners at funerals. One type of lachrymosa had a special top which allowed the tears to evaporate (signifying the time to stop mourning), others had a sealed top to allow the tears to last for a year, at which point they would be poured on the grave of the person whom the tears were wept for.
It's difficult to say exactly when the first tear bottles came into being, however, we can be certain that the legends began in antiquity. Think of antiquity as the time significantly before Christ. Tear bottles dating from 100 A.D. are still in existence today and are occasionally sold by antiquities dealers.
In Ancient Persia
In ancient Persia, when a sultan returned from battle, he checked his wives’ tear catchers to see who among them had wept in his absence and missed him the most.
In The Bible
In the Old Testament of the Bible, in Psalm 56.8, as David prays to God, he is referenced to say “Thou tellest my wanderings, put thou my tears in Thy bottle; are they not in Thy Book”
In Roman Times
Tear Catchers were commonly used during Ancient Roman times, with mourners filling glass bottles with their tears, and placing them in tombs as a symbol of their respect for the deceased. It was also used to show remorse, guilt, love, and grief. The women cried during the procession, and the more tears collected in tear bottles meant the deceased was more important. The bottles used during the Roman era were lavishly decorated and measured up to four inches in height.
Tear bottles were designed with special seals, which allowed the tears to evaporate. By the time that the tears were assumed to have evaporated, the mourning period was considered over.
In Victorian Times
In the 19th century during the Victorian era in the British Empire tear bottles made a comeback among the wealthy. These were more elaborate than their Roman predecessors and were often decorated with silver and pewter.
The tear bottle tradition has historically been a mourning tradition. Only in contemporary times have tears of joy and inspiration been captured. In current music and literature, tear bottles have once again been romanticized. References to the power of the tear bottle tradition occur in contemporary music videos, novels, and poetry. Contemporary tear bottles are created by glass artists around the world and a few successful manufacturers.
Today, lachrymatory bottles may also be called a tear bottle, tear catcher, tear vial, unguentaria, or unguentarium. There are also several less common spellings for lachrymatory, including lachrimatory.
Dan Gerhertz has been created a beautiful painting, titled "The Tear Bottle". In this piece, a seated woman leans over an elegant lavender-colored glass bottle, allowing her tears to fall silently into the lachrymatory.
Tears used in health studies - Oxidative Stress Measures of Lipid and DNA Damage in Human Tears ~ HERE
In Women’s Tears, a Chemical Signal - Researchers found that men who sniffed drops of women’s emotional tears became less sexually aroused than when they sniffed a neutral saline solution that had been dribbled down women’s cheeks. ~ HERE
Like the ocean, tears are salt water. Our bodies produce three kinds of tears: reflex, continuous, and emotional. Each kind has different healing roles. HERE
You can die of 'broken heart syndrome' - That is the conclusion of a study published in Open Heart that shows the long-term risks of losing a loved one.Freud is at pains to show that the two forces are in a rather delicate balance with one another, easily disrupted by reality, especially trauma, which causes one to spill into the other. HERE
Shed cells~DNA in tears
There are some nucleated cellular materials found in Human tears that might be used in forensic investigations. I.E. Tears may contain loose cells (which contain DNA), but it is mostly just water and dissolved salts.
Folklore ~ Herbal ~ Magickal Uses: JOB’S TEARS (also known as Coix lacryma-jobi) are the pearly seeds of an Asiatic grass. Job`s Tears are a potent magical tool within the hoodoo spiritual tradition. In groups of seven, they can be used to help make wishes come true. ~ HERE
Witchy Elements ~ There are happy tears, tears of pain, tears of anger and tears of sadness. And if you cry as a reaction to certain strong emotions, The power in those emotions are captured by your body until releasing tears. The teardrops are charged with that emotion and energy. Tears are a powerful substance, you can use them for spells in magic.
Salty Tears ~ Salt can be found in every cell in our bodies. We sweat and this depletes the body of salt, which must then be replaced. Most crucially, salt helps keep the balance of our bodily fluids that carry nutrients and oxygen around our bodies.The average adult human body contains about one cup of sodium chloride - good old salt.
Everything about us is magic.
Imagination helps us to translate the enchantment inside.
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!