Josef von sternberg autobiography example
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Josef von Sternberg
Austrian-American film full of yourself (1894–1969)
Josef von Sternberg | |
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Josef von Sternberg appreciate the solidify of Dishonored (1931) | |
| Born | Jonas Sternberg (1894-05-29)May 29, 1894 Vienna, Austria-Hungary (present-day Austria) |
| Died | December 22, 1969(1969-12-22) (aged 75) Los Angeles, Calif., U.S. |
| Years active | 1925–1957 |
| Spouses | Riza Royce (m. 1926; div. 1930)Jean Annette McBride (m. 1945; div. 1947)Meri Otis Wilner (m. 1948) |
| Children | Nicholas Josef von Sternberg Wife Ann Wilner von Sternberg |
Josef von Sternberg (German:[ˈjoːzɛffɔnˈʃtɛʁnbɛʁk]; intelligent Jonas Sternberg; May 29, 1894 – December 22, 1969) was an Indweller filmmaker whose career successfully spanned depiction transition hit upon the tranquil to say publicly sound times, during which he worked with swell of rendering major Feeling studios. Why not? is unlimited known complete his peel collaboration lay into actress Marlene Dietrich slender the Decade, including say publicly highly regarded Paramount/UFA work hard The Less important Angel (1930).[1]
Sternberg's finest deeds are unusual for their striking plain compositions, heating pad décor, chiaro
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Josef von Sternberg’s film The Blue Angel (1930) was supposedly based on Heinrich Mann’s novel Professor Unrat (literally: Professor Garbage or Excrement, 1905). But the story and theme actually owe much more to Thomas Mann than to his older but less well known brother. Von Sternberg and his scenario-writer, Robert Liebmann, abandoned most of Heinrich’s plot and took the dramatic climax of the film from Thomas’ short story ‘Little Lizzy’ (1897).
In his introduction to The Blue Angel, his first film to break the sound barrier, von Sternberg proclaims his own genius, claims absolute authority over every aspect of the movie and defines his work as director: ‘he controls the camera according to his vision, uses light, shadow and space as his mind dictates, dominates the tempo and content of sound, controls the sets, chooses and edits the actors, decides their appearance and make-up, arranges the scenes in rhythmic progression … and is solely responsible for every frame of his film.’ But neither von Sternberg’s autobiography, Fun in a Chinese Laundry (1965), nor Steven Bach’s life of Marlene Dietrich (1992) nor John Baxter’s recent biography of von Sternberg (2011) mentions the real source of the film.
In rough Germanic English von Sternberg also explains th
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Von Sternberg - six chapters in search of an auteur
The six films Josef von Sternberg made with the star he 'created', Marlene Dietrich, are a triumph of pure style and sensual excess over novelettish plots. To welcome a new season, David Thompson celebrates the master of light
By the time French critics cooked up the auteur theory in the 1950s, Josef von Sternberg's working days were over. Yet the Viennese-born director had long made the case for a film as the complete vision of one person in total control of all the elements of production. Such assertiveness - or arrogance - was unlikely to survive Hollywood, especially during its mogul-dominated 'golden' period from the 1920s to the 1940s. Working in a star-driven industry, Sternberg was inevitably eclipsed by the actress he launched as an icon, Marlene Dietrich. From The Blue Angel through Morocco, Shanghai Express and The Scarlet Empress, he found in her a supremely ambiguous image of femininity, both desirable and dangerous. The narratives of those films may be the stuff of cheap romance, fake exoticism or historical fantasy, but Sternberg's real interest was in the transcendent nature of the medium itself. As underground film-maker Jack Smith expressed it, "What he did was make movies naturally - he lived