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Lotte H. Eisner (5 March 1896, Berlin – 25 November 1983, Paris) was a German-French writer, film critic, archivist and curator. Eisner worked initially as a film critic in Berlin, then in Paris where in 1936 she met Henri Langlois with whom she founded the Cinémathèque Française .
Oct 26, 2021 · A curious paradox haunts the work of the exile Jewish writer, archivist and curator Lotte H. Eisner. Fabled for her writings on Weimar cinema as well as auteur studies of Fritz Lang and F. W. Murnau, Eisner also enjoys legendary status as a doyenne of the French and German New Waves during her three decades as Chief Curator at the Cinémathèque française. 1 But she is at the same time a ...
- Erica Carter
- 2021
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Nov 29, 1983 · Lotte H. Eisner, the film historian and former archivist for the Cinemath eque Fran,caise, France's national film institute, died Friday. She was 87 years old. Miss Eisner was an expert on the ...
Lotte Henriette Eisner was born in Berlin as a daughter of a Jewish merchant and his wife. After studies in Berlin and Munich, from 1927 she worked as a theater and film critic for German newspapers. Among others, she wrote for Film-Kurier, a daily film newspaper published in Berlin. In 1933 she fled from Germany to France to avoid the rising ...
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- November 25, 1983
- March 5, 1896
Horowitz, S. M. Lotte Eisner in Germany. New York: New Yorker Films, 1980; Eisner, Lotte H. Ich hatte einst ein schönes Vaterland: Memoiren . 2nd ed. Heidelberg: Wunderhorn, 1984; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen ...
Lotte H. Eisner was a German-French writer, film critic, archivist and curator. Eisner worked initially as a film critic in Berlin, then in Paris where in 1936 she met Henri Langlois with whom she founded the Cinémathèque Française.
Oct 26, 2021 · For Lotte H. Eisner, F. W. Murnau was ‘the greates[t film director the Germans have ever known […] He created the most overwhelming, the most stunning images on the German screen.’ 1 If we look back carefully at The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt and at Murnau, we can see that Eisner presents the director’s achievements in an ...
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