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Emil Schünemann
1882 - 1964 |
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. The cinematographer Emil Schünemann was a skilled photographer when he made his first cinematical experiences as a cinematographer from 1903. He realised his first movies as a chief cinematogrpaher with "Herzensdieb" (09), "Graf Gallas" (10), "Das Geheimnis der Toten" (10), "Das Mirakel" (12), the Titanic-Drama "In Nacht und Eis" (12), "Der schwarze Pierrot" (13) - and after a longer interruption by World War I where he was active as a cinematographer in the front line - followed "Die Pest in Florenz" (19) and the two productions directed by Fritz Lang "Halbblut" (19) and "Die Spinnen" (19). Emil Schünemann remained a busy cinematographer in the 20s and he took part in well-known movies like "Madame Récamier" (20), "Die entfesselte Menschheit" (20), "Gespenster" (22), "Das Mädel von Pontecuculi" (24), "Lumpen und Seide" (25), "Das alte Ballhaus" (25), "Vorderhaus und Hinterhaus" (25), "Die Frau ohne Namen" (37), "Die Welt ohne Waffen" (27) and "Der Kampf der Tertia" (29). His career diminished slowly with the rise of the sound film. At the beginning he was engaged for popular movies like "Der Mann im Dunkel" (30), "Gigolo" (30), "Strafsache van Geldern (32), "Manolescu, der Fürst der Diebe" (33) and "Oberwachtmeister Schwenke" (35), afterwards followed only few more movies with "Skandal um die Fledermaus" (36), "Die Pfingstorgel" (38) and "Hände hoch" (42). After World War II he earned his living again as a photographer with his own photo studio before he was active again as a cinematographer for few productions of the DEFA. To his last movies belong "Blauer Dunst" (50), "Die Meere rufen" (51) and "Anna Susanna" (53).
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