Josef von Sternberg

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Josef von Sternberg
Jonas Sternberg
BirthplaceVienna, Austria-Hungary

Von Sternberg, Josef

(1894–1969) film director; born in Vienna, Austria. In New York at age 17, he became a film patcher for World Film. In 1917 he joined the Army Signal Corps and made training films. His first movie was The Salvation Hunters (1925). He became the master of the American screen with his pictorial compositions and light and shadow effects. Among his films were The Blue Angel (1930), The Scarlet Empress (1934), and Macao (1952).
References in periodicals archive ?
noir ``Angel Face,'' Josef von Sternberg 1952 heist film ``Macao,'' Fred Zinnemann's 1960 story of an Australian homesteader ``The Sundowners,'' Vincente Minnelli's 1960 soaper ``Home From the Hill,'' Burt Kennedy' 1969 oater ``The Good Guys and the Bad Guys'' and Sidney Pollack's 1975 action picture with a Japanese flavor, ``The Yakuza.
He is currently working on a book about the career and legacy of director Josef von Sternberg.
Director Josef von Sternberg even offered to testify in Dreiser's behalf.
Guerman fills the frame with clutter - from toilet seats to crystal chandeliers - or shoots through smoke, steam, and grimy windowpanes (the high-contrast black-and-white image is at times entirely bleached), recalling the veils and fog in the films of Josef von Sternberg.
The film, directed by Josef von Sternberg (``The Blue Angel'') and starring Charles Laughton as Claudius, was partially shot but abandoned unfinished.
Significantly, Josef von Sternberg, with whom Markopoulos studied, was among the few Hollywood filmmakers who he felt matched his filmic ideal, and in his work there are echoes of Sternberg's depiction of erotic passion as at once excruciatingly painful and yet the only persistent truth.
Among the directors she worked with were Rouben Mamoulian in ``City Streets,'' 1931; Josef von Sternberg in ``An American Tragedy,'' 1931; Alfred Hitchcock in ``Sabotage'' (also called ``A Woman Alone''), 1936; William Wyler in ``Dead End,'' 1937; and Fritz Lang in ``Fury,'' 1936; ``You Only Live Once,'' 1937; and ``You and Me,'' 1938.
Poised ringleader of the international Jewish Conspiracy of Glamour (IJCG), controlling the production and flow of glamour during the postwar period (via Josef von Sternberg, Lauren Bacall, Shelley Winters, Richard Avedon, Newton, Lewis, and of course Barbra) while throwing everyone off the scent by effectively disseminating the propaganda that Jewishness is not sexy, she fearlessly uses herself as a cultural guinea pig in the relentless pursuit of Truth.