Editing Joseph Delmont
Appearance
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During 1910 he returned to [[Vienna]] where among other things he worked for the [[Österreichisch-Ungarische Kinoindustrie]] (later Wiener-Kunstfilm) as a cameraman, and was thus cameraman, and also technical director and director of scenery, on the oldest Austrian drama film to survive in its entirety: ''[[Der Müller und sein Kind]]'' of 1911. Soon afterwards, he went to Germany. In [[Berlin]], he directed in several studios, among them the [[Rex-Atelier]]s, sometimes working as co-director with [[Harry Piel]], and sometimes acting with Fred Sauer, [[Curt Bois]] and [[Ilse Bois]] on a series of adventurous, action-packed, dramatic fantasy films. The sensational part of these films was that, for the first time, extraordinary film footage of beasts of prey was shown and for which his films were well-known. |
During 1910 he returned to [[Vienna]] where among other things he worked for the [[Österreichisch-Ungarische Kinoindustrie]] (later Wiener-Kunstfilm) as a cameraman, and was thus cameraman, and also technical director and director of scenery, on the oldest Austrian drama film to survive in its entirety: ''[[Der Müller und sein Kind]]'' of 1911. Soon afterwards, he went to Germany. In [[Berlin]], he directed in several studios, among them the [[Rex-Atelier]]s, sometimes working as co-director with [[Harry Piel]], and sometimes acting with Fred Sauer, [[Curt Bois]] and [[Ilse Bois]] on a series of adventurous, action-packed, dramatic fantasy films. The sensational part of these films was that, for the first time, extraordinary film footage of beasts of prey was shown and for which his films were well-known. |
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Later on, Delmont collaborated with film producer [[Max Nivelli]] in the making of several films of social and political nature, which made headlines in major newspapers of the [[Weimar Republic]] era. In 1919 he directed the film ''The Outcasts'' also known as ''The Ritual Murder'' (German: ''Die Geächteten / Der Ritualmord'') which was aimed at educating the public on the dangers of [[antisemitism]].<ref>{{Cite book|title = The Many Faces of Weimar Cinema - Romeo with Sidelocks: Jewish-Gentile Romance...and other Early Weimar Assimilation Films ( |
Later on, Delmont collaborated with film producer [[Max Nivelli]] in the making of several films of social and political nature, which made headlines in major newspapers of the [[Weimar Republic]] era. In 1919 he directed the film ''The Outcasts'' also known as ''The Ritual Murder'' (German: ''Die Geächteten / Der Ritualmord'') which was aimed at educating the public on the dangers of [[antisemitism]].<ref>{{Cite book|title = The Many Faces of Weimar Cinema - Romeo with Sidelocks: Jewish-Gentile Romance...and other Early Weimar Assimilation Films (Edied by Christian Rogowski)|last = Walk|first = Cynthia|publisher = Camden House|year = 2010|isbn = 978-1-57113-532-2|location = Rochester, New York|pages = 84–101}}</ref> The movie tried to address the growing concern by the German public of the flood of Jewish immigrants arriving from Eastern Europe. |
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Another socially important film directed by Delmont in 1920, for which he also wrote the screenplay, was ''[[Humanity Unleashed]]'' (German: ''Die entfesselte Menschheit''). The film was based on the novel by the same name written by [[Max Glass]] and was considered as one of the anti-[[Bolshevism|Bolshevik]] films of that era. The story, although fictional, described an event very similar to the "[[Spartacist uprising]]" which occurred only the year before. Large parts of this film were used in 1926 by Delmont in the film ''Unity, Justice and Freedom (German: Einigkeit und Recht und Freiheit)''.<ref>{{Cite book|title = The Many Faces of Weimar Cinema - Humanity Unleashed: Anti-Bolshevism as Popular Culture in Early Weimar Cinema (edited by Christian Rogowsky)|last = Stiasny|first = Philipp|publisher = Camden House|year = 2010|isbn = 978-1-57113-532-2|location = Rochester, New York|pages = 48–66}}</ref> |
Another socially important film directed by Delmont in 1920, for which he also wrote the screenplay, was ''[[Humanity Unleashed]]'' (German: ''Die entfesselte Menschheit''). The film was based on the novel by the same name written by [[Max Glass]] and was considered as one of the anti-[[Bolshevism|Bolshevik]] films of that era. The story, although fictional, described an event very similar to the "[[Spartacist uprising]]" which occurred only the year before. Large parts of this film were used in 1926 by Delmont in the film ''Unity, Justice and Freedom (German: Einigkeit und Recht und Freiheit)''.<ref>{{Cite book|title = The Many Faces of Weimar Cinema - Humanity Unleashed: Anti-Bolshevism as Popular Culture in Early Weimar Cinema (edited by Christian Rogowsky)|last = Stiasny|first = Philipp|publisher = Camden House|year = 2010|isbn = 978-1-57113-532-2|location = Rochester, New York|pages = 48–66}}</ref> |