Diary of a Lost Girl
1930
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Georg Wilhelm Pabst (25 August 1885 – 29 May 1967) was an Austrian film director and screenwriter. He started as an actor and theater director, before becoming one of the most influential German-language filmmakers during the Weimar Republic .
Georg Wilhelm Pabst. Director: The Comedians. Georg Wilhelm Pabst is considered by many to be the greatest director of German cinema, in his era. He was especially appreciated by actors and actresses for the humane way in which he treated them.
- January 1, 1
- Vienna, Austria
- January 1, 1
- Director, Producer, Writer
Georg Wilhelm Pabst. Georg Wilhelm Pabst (* 27. August 1885 in Raudnitz, Böhmen; † 29. Mai 1967 in Wien ), üblicherweise bezeichnet als G. W. Pabst, war ein österreichischer Filmregisseur. Zu seinen bekanntesten Filmen gehören Die freudlose Gasse (1925), Die Büchse der Pandora (1929), Die Dreigroschenoper (1931) sowie Kameradschaft (1931).
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Jul 20, 1998 · G.W. Pabst was a German film director whose films were among the most artistically successful of the 1920s. Pabst’s films are marked by social and political concerns, deep psychological insight, memorable female protagonists, and human conflicts with culture and society.
- The Editors of Encyclopaedia Britannica
Georg Wilhelm PabstThough many of his films became merely historical curiosities, G.W. Pabst (1885-1967) was one of Germany's leading early film directors. A master of silent realist cinema, Pabst explored various genres, and his post-World War I films show a marked concern with the evils of Nazism and anti-Semitism.
Georg Wilhelm Pabst. Director: The Comedians. Georg Wilhelm Pabst is considered by many to be the greatest director of German cinema, in his era. He was especially appreciated by actors and actresses for the humane way in which he treated them. This was in contrast to some of his contemporaries, such as Arnold Fanck, who have been characterized as martinets.
Apr 29, 2019 · In the first histories of the moving image, Georg Wilhelm Pabst was feted as a master of the medium. His 1920s ‘street films’ had brought a new realism to the screen, in which he’d pioneered the technique of continuity or ‘invisible’ editing that went on to become a key component of the classical storytelling style in the late silent and early sound eras.
