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Georg Muschner
1885 - 1971 |
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. The cinematographer Georg Muschner first learnt the profession of a photographer and he worked in this field for the next twelve years. He dedicated to the film business in 1913 where he first was active as an operator. His career became interrupted by World War I and he served for the "Bild- und Filmamt" where he widened his film experiences. Georg Muschner decided after the war to become a cinematographer and when he met the actor Harry Piel he was responsible for the camera for many of his movies. His first works as a cinematographer came in 1919 into being with "Des Teufels Puppe" (19) and "Augen" (19). In the 20s he became an established cinematographer and he banned the pictures of many movies to the big screen. To his well-known works of those years belong "Das fliegende Auto" (20), "Das Gefängnis auf dem Meeresgrund" (20), "Der Reiter ohne Kopf" (21), "Das verschwundene Haus" (22), "Judith" (23),"Auf Befehl der Pompadour" (24), "Der Mann ohne Nerven" (24), "Der schwarze Pierrot" (26), "Sein grösster Bluff" (27), "Diebe" (28) and "Was eine Frau im Frühling träumt" (29). His last cinematical works came in the sound film era of the 30s into being with "Die Warschauer Zitadelle" (30), "Pension Schöller" (30), "So'n Windhund" (31), "Husarenliebe" (32), "Blutsbrüder" (35), "Der geheimnisvolle Mister X" (36), "Das Veilchen vom Potsdamer Platz" (36) as well as the short movies "Onkel Fridolin" (39) and "Die Brezel" (39). For short movie "Unsere Artillerie" (39) Georg Muschner was not only responsible for the camera but was also the director.
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