Georg Wilhelm Pabst

(redirected from G.W. Pabst)
Georg Wilhelm Pabst
Birthday
BirthplaceRaudnitz, Bohemia, Austria-Hungary (now Czech Republic)
Died

Pabst, Georg Wilhelm

 

Born Aug. 27, 1885, in Raudnitz; died May 30, 1967, in Vienna. German film director.

Pabst began working in dramatic theaters in 1905. Beginning in 1921 he worked in films, becoming a director in 1923. He became known for his film of social criticism The Joyless Street (1925), which realistically portrayed the tragic poverty and speculation prevalent in Austria after World War I. The films Secrets of the Soul (1926) and Pandora’s Box (1928, based on F. Wedekind’s expressionist play) are evidence of Pabst’s attraction to the theory of psychoanalysis.

In the years preceding the fascist dictatorship, Pabst was associated with international circles of progressive cinematographers. He joined the German Film Union, organized in 1928, which promoted revolutionary cinematography. His sound film Western Front 1918 (1930) opposed the reactionary trend predominating in German cinema at that time. In 1931, Pabst filmed The Threepenny Opera, based on B. Brecht’s work of the same name, and Comradeship, about proletarian brotherhood among French and German miners. In 1933 he fled from Germany and Nazi persecution. He worked in France and in the USA, and in 1939 he went to Austria. Later films directed by Pabst included The Comedians (1941), Paracelsus (1943), The Trial (1948), and The Voice of Silence (1952).

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The film, set in Weimer, Germany, was directed by Austrian avant-garde film and theater director G.W. Pabst. He also directed Greta Garbo, Asta Nielsen and Leni Riefenstahl in their early film roles.
Murnau, G.W. Pabst, and all these wonderful directors in Germany.
The coffeehouse is screening G.W. Pabst's 1928 film that catapulted Louise Brooks to international acclaim and made her the flapper icon of the Jazz Age.
Offering an insightful analysis of German expressionism and French impressionism, Connor examines H.D.'s influence by G.W. Pabst, one of Germany's most well-known expressionist directors, and Sergei Eisenstein, the Soviet director who spearheaded the montage school of filmmaking.
A Criterion Collection release of the 1929 G.W. Pabst film.
175), so too Anthony Coulson's detailed comparison of Grune's Die Strasse and G.W. Pabst's Die freudlose Gasse draws the reader's attention to telling instances of 'stylistic heterogeneity' (p.
The piece was filmed by the great director G.W. Pabst, in German and French with dual casts, and is a film still worth seeing when it makes one of its occasional TV appearances.
G.W. Pabst's film The Joyless Street (1924) is cited as proof, with its cutting back and forth between luxurious ballrooms and emaciated women.
McLellan speculates that Goldman, who had been trained as a nurse and midwife in Vienna, must have specialized in "vulvular massage," a then-respectable treatment for soothing women's "hysteria." McLellan suggests that Goldman's "massage" was, in effect, Nazimova's "Sapphic initiation." The heart of the book is the long-held secret of Garbo and Dietrich's own love affair, which McLellan says occurred while they were filming G.W. Pabst's 1925 film The Joyless Street in Berlin.
Similarly, the chapter on film analyzes G.W. Pabst's The Joyless Street (1925), Jennie Livingstone's Paris Is Burning (1991) and Douglas Keeve's Unzipped (1995) to bring out connections between the semiotics of fur and the (naturally or performatively) gendered body.