Profil Görüntüleri
1 Görüntüler
| Doğum yeri | Königinhof, Bohemia, Austria-Hungary [now Dvur Kralove, Czech Republic] |
| Doğum günü | 1890-01-16 |
| Ölüm | 1969-05-03 |
| Ayrıca şöyle bilinir | Carl Freund Karl W. Freund |
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. Karl W. Freund, A.S.C. (January 16, 1890-May 3, 1969) was a cinematographer and film director. Born in Dvůr Králové (Königinhof), Bohemia, his career began in 1905 when, at age 15, he got a job as an assistant projectionist for a film company in Berlin where his family moved in 1901. He worked as a cinematographer on over 100 films, including the German Expressionist films The Golem (1920), The Last Laugh (1924) and Metropolis (1927). Freund emigrated to the United States in 1929 where he continued to shoot well remembered films such as Dracula (1931) and Key Largo (1948). He won an Academy Award for Best Cinematography for The Good Earth (1937). In 1937, he went to Germany to bring his only daughter, Gerda Maria Freund, back to the United States, saving her from almost certain death in the concentration camps. Karl's ex-wife, Susette Freund (née Liepmannssohn), remained in Germany where she was interned at the Ravensbrück concentration camp and eventually taken in March, 1942 to Bernburg Euthanasia Center where she was murdered. Between 1921 and 1935, Freund also directed ten films, of which the best known are probably The Mummy (1932) starring Boris Karloff, and his last film as director, Mad Love (1935) starring Peter Lorre. Freund's only known film as an actor is Carl Dreyer's Michael (1924) in which he has a cameo as a sycophantic art dealer who saves the tobacco ashes dropped by a famous painter. At the beginning of the 1950s, he was persuaded by Desi Arnaz at Desilu to be the cinematographer in 1951 for the televisions series I Love Lucy. Critics have credited Freund for the show's lustrous black and white cinematography, but more importantly, Freund designed the "flat lighting" system for shooting sitcoms that is still in use today. This system covers the set in light, thus eliminating shadows and allowing the use of three moving cameras without having to modify the lighting in-between shots. And where Freund did not invent the three camera shooting system, he did perfect it for use with film cameras in front of a live audience. Freund and his production team also worked on other sitcoms produced at/through Desilu such as "Our Miss Brooks".
Oyuncu
| 1924 | Michael as LeBlanc - Art Dealer |
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| 1953 | I Love Lucy: The Movie - Director of Photography |
| 1950 | Bright Leaf - Director of Photography |
| 1950 | Montana - Director of Photography |
| 1949 | South of St. Louis - Director of Photography |
| 1948 | The Decision of Christopher Blake - Director of Photography |
| 1948 | Ölüm Gemisi - Director of Photography |
| 1948 | Wallflower - Director of Photography |
| 1947 | That Hagen Girl - Director of Photography |
| 1947 | This Time for Keeps - Director of Photography |
| 1946 | Undercurrent - Director of Photography |
| 1946 | Two Smart People - Director of Photography |
| 1946 | A Letter for Evie - Director of Photography |
| 1945 | Dangerous Partners - Director of Photography |
| 1945 | Without Love - Director of Photography |
| 1944 | The Thin Man Goes Home - Director of Photography |
| 1944 | The Seventh Cross - Director of Photography |
| 1943 | A Guy Named Joe - Director of Photography |
| 1943 | Cry 'Havoc' - Director of Photography |
| 1943 | Du Barry was a Lady - Director of Photography |
| 1942 | A Yank at Eton - Director of Photography |
| 1942 | The War Against Mrs. Hadley - Director of Photography |
| 1942 | The Affairs of Martha - Director of Photography |
| 1942 | Tortilla Flat - Director of Photography |
| 1941 | The Chocolate Soldier - Director of Photography |
| 1941 | Blossoms in the Dust - Director of Photography |
| 1940 | Comrade X - Camera Operator |
| 1940 | Pride and Prejudice - Director of Photography |
| 1940 | We Who Are Young - Director of Photography |
| 1940 | Florian - Director of Photography |
| 1940 | Green Hell - Director of Photography |
| 1940 | The Earl of Chicago - Director of Photography |
| 1939 | Balalaika - Director of Photography |
| 1939 | Barricade - Director of Photography |
| 1939 | Golden Boy - Director of Photography |
| 1939 | Rose of Washington Square - Director of Photography |
| 1939 | Tail Spin - Director of Photography |
| 1938 | Letter of Introduction - Director of Photography |
| 1938 | Port of Seven Seas - Director of Photography |
| 1938 | Three Comrades - Director of Photography |
| 1938 | Man-Proof - Director of Photography |
| 1937 | Conquest - Director of Photography |
| 1937 | Parnell - Director of Photography |
| 1937 | The Good Earth - Director of Photography |
| 1936 | Camille - Director of Photography |
| 1936 | Büyük Ziegfeld - Director of Photography |
| 1935 | Çılgın Aşk - Director |
| 1934 | Gift of Gab - Director |
| 1934 | I Give My Love - Director |
| 1934 | The Countess of Monte Cristo - Director |
| 1934 | Madame Spy - Director |
| 1933 | Moonlight and Pretzels - Director |
| 1933 | The Kiss Before the Mirror - Director of Photography |
| 1932 | Ölmeyen Mumya - Director |
| 1932 | Afraid to Talk - Director of Photography |
| 1932 | Air Mail - Director of Photography |
| 1932 | Back Street - Director of Photography |
| 1932 | Scandal for Sale - Director of Photography |
| 1932 | Murders in the Rue Morgue - Director of Photography |
| 1931 | Strictly Dishonorable - Director of Photography |
| 1931 | Personal Maid - Director of Photography |
| 1931 | Up for Murder - Director of Photography |
| 1931 | The Bad Sister - Director of Photography |
| 1931 | Drakula - Co-Director |
| 1931 | Drakula - Director |
| 1931 | Drakula - Director of Photography |
| 1930 | The Boudoir Diplomat - Director of Photography |
| 1930 | The Lottery Bride - Director of Photography |
| 1930 | Batı Cephesinde Yeni Bir Şey Yok - Director of Photography |
| 1930 | Sleeping Partners - Director of Photography |
| 1929 | Fräulein Else - Director of Photography |
| 1928 | Eine Nacht In London - Director of Photography |
| 1928 | Doña Juana - Director of Photography |
| 1927 | Berlin, Bir Şehir Senfonisi - Author |
| 1927 | Berlin, Bir Şehir Senfonisi - Director of Photography |
| 1927 | Berlin, Bir Şehir Senfonisi - Producer |
| 1927 | Metropolis - Camera Operator |
| 1927 | Metropolis - Director of Photography |
| 1926 | Madame wünscht keine Kinder - Producer |
| 1926 | Die Abenteuer eines Zehnmarkscheines - Production Supervisor |
| 1926 | Manon Lescaut - Director of Photography |
| 1926 | Herr Tartüff - Director of Photography |
| 1925 | Varieté - Director of Photography |
| 1924 | Son Adam - Director of Photography |
| 1924 | Michael - Director of Photography |
| 1924 | Die Finanzen des Großherzogs - Director of Photography |
| 1923 | Die Austreibung - Director of Photography |
| 1923 | Der Tiger des Zirkus Farini - Director of Photography |
| 1922 | Herzog Ferrantes Ende - Director of Photography |
| 1922 | Lucrezia Borgia - Director of Photography |
| 1922 | Der brennende Acker - Director of Photography |
| 1922 | Marizza, genannt die Schmuggler-Madonna - Director of Photography |
| 1922 | Das blinde Glück - Director of Photography |
| 1921 | Verlogene Moral - Director of Photography |
| 1921 | Die Ratten - Director of Photography |
| 1921 | Der verlorene Schatten - Director of Photography |
| 1920 | Der Golem, wie er in die Welt kam - Director of Photography |
| 1920 | Catherine the Great - Cinematography |
| 1920 | Der Schrecken im Hause Ardon - Director of Photography |
| 1920 | Der Januskopf - Director of Photography |
| 1920 | Der Bucklige und die Tänzerin - Director of Photography |
| 1920 | Die Spinnen, 2. Teil - Das Brillantenschiff - Director of Photography |
| 1920 | Satanas - Director of Photography |
| 1919 | Die Spinnen, 1. Teil - Der Goldene See - Director of Photography |
| 1919 | Die Arche. 2. Teil: Die letzten Menschen - Director of Photography |
| 1919 | Die Arche - Director of Photography |
| 1919 | Rausch - Director of Photography |
| 1919 | Der Knabe in Blau - Director of Photography |
| 1919 | Augen - Camera Department Manager |
| 1919 | Augen - Cinematography |
| 1918 | Die Dame, der Teufel und die Probiermamsell - Director of Photography |
| 1918 | Die blaue Laterne - Director of Photography |
| 1918 | Die Heimkehr des Odysseus - Director of Photography |
| 1918 | Das Maskenfest des Lebens - Director of Photography |
| 1918 | Agnes Arnau und ihre drei Freier - Director of Photography |
| 1918 | Das Geschlecht derer von Ringwall - Director of Photography |
| 1918 | Auf Probe gestellt - Director of Photography |
| 1918 | Gräfin Küchenfee - Director of Photography |
| 1917 | Die Faust des Riesen - Director of Photography |
| 1917 | Die Claudi vom Geiserhof - Director of Photography |
| 1917 | Gefangene Seele - Director of Photography |
| 1917 | Christa Hartungen - Director of Photography |
| 1917 | Der Liebesbrief der Königin - Director of Photography |
| 1917 | Die Ehe der Luise Rohrbach - Director of Photography |
| 1916 | Weisse Rosen - Director of Photography |
| 1916 | Die Räuberbraut - Director of Photography |
| 1916 | Das wandernde Licht - Director of Photography |
| 1916 | Engeleins Hochzeit - Camera Operator |
| 1916 | Frau Eva - Director of Photography |
| 1916 | Bummelstudenten - Director of Photography |
| 1916 | Der Mann im Spiegel - Director of Photography |
| 1914 | Der Hund von Baskerville - Director of Photography |
| 1914 | Eine venezianische Nacht - Director of Photography |
| 1914 | Das Feuer - Writer |
| 1914 | Zapatas Bande - Director of Photography |
| 1914 | Engelein - Director of Photography |
| 1913 | Die Filmprimadonna - Director of Photography |
| 1913 | Die Suffragette - Director of Photography |
| 1912 | Jadna majka - Director of Photography |
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