鲁道夫·普芬宁格，《皮琪和帕奇》

　　鲁道夫·普芬宁格(1899年10月25日生于慕尼黑-1976年6月14日卒于博德汉姆)和沃特·鲁特曼一样曾游走于先锋艺术和广告艺术之间。普芬宁格的父亲是瑞士画家埃米尔·普芬宁格。后者至今仍因其合成音实验而闻名于世。1921年，普芬宁格开始为美国制作人路易·西尔工作，投入参与了西尔的双周新闻影片“慕尼黑专辑”的动画制作。1925年，普芬宁格受雇于EMELKA的纪录片部门，这在魏玛共和国时期是仅次于UFA的第二大电影公司。20世纪20年代，普芬宁格就开始制作自己的电影，包括1922年的《拉尔戈》、《太阳的代替品》(1926)和水下动画《皮琪和帕奇》(1932)。勒文称《皮琪和帕奇》是第一部完全由合成音效配置的电影。

　　纳粹时期，普芬宁格的电影被认作是“没有灵魂且堕落的”，因此他逐渐从电影业退出。上世纪30年代末，普芬宁格的手绘合成声效技术被取代了。然而，诺曼·麦凯伦却给了普芬宁格应得的荣誉。迈凯伦进一步发展了普芬宁格的创新，他开发开发了一种图形音色库，并在自己的奥斯卡获奖影片《邻居》(1952)使用的合成声音。

　　Rudolf Pfenninger (25 October 1899, Munich – 14 June 1976, Baldham ) worked at the interface between the avant-garde and advertising. Pfenninger, the son of Swiss painter Emil Pfenninger, is known today especially for his experiments in synthetic sound. In 1921 Pfenninger began working for American producer Louis Seel, producing animated cartoons for Seel’s biweekly newsreel MÜNCHNER BILDERBOGEN (“Munich Album”), among other things. In 1925 Pfenninger was hired by the documentary film department at EMELKA, the second-biggest production company, after UFA, in the Weimar Republic. In the 1920s Pfenninger shot some films of his own, including LARGO (1922) and SONNENERSATZ (“Substitute for the Sun”, 1926) and the underwater animated PITSCH UND PATSCH (1932), according to Levin “the first film with a completely synthetic soundtrack”. During the Nazi period, Pfenninger, whose films were now deemed “soulless and degenerate”, increasingly withdrew from the film industry. His technique of producing hand-painted synthetic sound was taken up in the late 1930s, however, by Norman McLaren, who gave Pfenninger due credit. McLaren elaborated Pfenninger’s innovations by developing a sort of library of graphic sound, and used synthetic sound for his own Academy Award-winning film NEIGHBORS (1952).