Sepp Allgeier

from Wikipedia, the free encyclopedia
Sepp Allgeier with a film camera during the shooting of the film Der Kampf ums Matterhorn on the summit of the Matterhorn , 1928

Josef "Sepp" Allgeier (born February 6, 1895 in Freiburg - Wiehre ; † March 11, 1968 in Freiburg-Ebnet ) was a German mountaineer , skier , ski jumper , cameraman , photographer , screenwriter , film actor and director . He is considered a pioneer and star cameraman of mountain , sports , ski and nature films, together with Arnold Fanck as the inventor of mountain films. Allgeier worked on pioneering film highlights as well as on propaganda film productions.

Sepp Allgeier belonged to the Freiburg School , made the first German high mountain film, the world's first full-length ski film and probably the first educational film about mountaineering. He was arguably the first cameraman to film in the snow on skis, from an aircraft and in the Arctic . He developed his own visual language and was instrumental in the high visual quality of the aesthetic and spectacular mountain films of the 1920s.

Life

family

Sepp Allgeier, born on Annaplatz in Freiburg's Wiehre district into a Roman Catholic family, was the son of master mason Philipp Allgeier (1858–1933) from Sinsheim an der Elsenz and his wife Margarete (1862–1943), née Hasenfuß, from Zeutern near Bruchsal. Sepp had two siblings, Albert and Margarete. The father took five-year-old Sepp with him to the Black Forest , where the boy was impressed by the snow-covered mountain tops and conifers. The Black Forest remained Allgeier's great love throughout his life.

Sepp Allgeier married Bertha (1910–1998), née Ebenho, in Freiburg im Breisgau in 1931. This marriage resulted in two children, including the later cameraman Hans-Jörg Allgeier, born in 1943 .

School and education

Sepp Allgeier attended the Freiburg Lessing School (center right), then an elementary school, from around 1902 to 1910

After graduating from elementary school, the Freiburg Lessing School , in 1910 he began an apprenticeship as a textile draftsman at the August Gotthart weaving mill and textile trade in Freiburg's Schusterstrasse. There the 15-year-old Allgeier learned to design fabric samples and was made familiar with rotary printing . However, he was not very happy with this training path, not even as a short-term city worker in housing. Rather, he was drawn to nature; as a teenager he became a passionate mountaineer and skier. He earned the money for his first snowshoes (that's what skis were called back then), a snowsuit and a backpack by running errands for a shop in Freiburg's Kaiserstraße. He observed the landscape, drew, painted, had a good eye and spatial imagination, suitable prerequisites for a later cameraman and photographer.

Professional development

Newspaper advertisement from Express Films Co.mbH in Schusterstr. No. 5 in Freiburg i. Br.

From 1911, at the age of 16, he worked as an operator (cameraman) at Bernhard Gotthart's (1871–1950) company Express Films Co. mbH , which was also the editor and publisher of "Der Tag im Film" - First German daily cinematographic reporting, Freiburg i . Br., Active. It had agencies in Amsterdam, Berlin, Budapest, Helsingfors, Copenhagen, Kristiania, London, Moscow, Paris, Rostov-on-Don, Sofia, Stockholm and Vienna for its daily reporting. The entrepreneur Bernhard Gotthart, who was married to Sepp Allgeier's sister Margarete between 1916 and 1919, ran cinemas and from around 1908 also turned to film production. He shared a passion with Sepp Allgeier - skiing.

On January 1, 1911, Allgeier filmed the ascent of an airship from Schütte-Lanz in Berlin and, from there, the imperial parade on the Tempelhofer Feld . On January 1, 1912, the 17-year-old Allgeier was allowed to film Kaiser Wilhelm II and his six sons in Berlin , and is said to have made the seven gentlemen of the Hohenzollern family laugh for the first time in front of a running camera. The reason for this was Allgeier's unconventional clothing. Allgeier combined a (presumably borrowed) tailcoat and top hat with boyish-looking shorts for lack of money.

In the same year, as one of the pioneers of the mountain film genre, he shot the first German high mountain film Alpine Technique of Climbing in Rocks , probably the world's first educational film about climbing in high mountains. Before him, only one British man had taken his camera up to the Matterhorn , but brought pictures with him that were neither aesthetic nor sublime.

In May 1913, 18-year-old Sepp Allgeier (in the foreground) films the ship Løvenskiold , trapped by the pack ice , with which he and Bernhard Villinger participated in the aid expedition organized by polar explorer Theodor Lerner to rescue the missing Herbert Schröder-Stranz

In 1913 he took part with Rudolf Biehler , Gerhard Graetz (1890–1977) and Bernhard Villinger in an auxiliary expedition of the polar explorer Theodor Lerner , who is based in Frankfurt am Main, to Spitzbergen to rescue Herbert Schröder-Stranz (in vain) , which he did for four months despite the cold filmed. There, too, he broke new cinematic territory as a cameraman. Then the renowned Frankfurter Zeitung wrote about him: "More than any praise, the excellent film reveals that the 18-year-old Allgeier was at it with all his deliberation and all his great art."

In the same year he met the enthusiastic geologist Arnold Fanck while climbing Monte Rosa in the Valais Alps . When he was able to finance his first film camera as a temporary carpet dealer, Allgeier, who had long been a master in this field, taught him how to operate it. Fanck later hired Allgeier for his mountain film The ascent of Monte Rosa - 4628 meters high on skis , a technical film challenge with many dangers.

Also in 1913 Allgeier is said to have undertaken a cinematic journey through the Balkan countries , possibly as an operator for Robert Isidor Schwobthaler (1876-1934) and Albert Herr (1890-1943), who had been commissioned by the Greek King Constantine I to film and photograph the To make Balkan wars . On the other hand, the Freiburg State Archives explicitly stated that Allgeier was still on the way back from the Arctic expedition at the time of the Second Balkan War and could therefore not have been in the Balkans at the same time.

During the First World War , the 19-year-old Allgeier volunteered and was assigned as a front photographer to the General Command of the 5th Army under Crown Prince Wilhelm of Prussia , which fought on the Western Front . There he photographed comrades so that they could send the photos to their families, friends and wives, and documented graves of soldiers in Flanders , Champagne and Verdun before they were destroyed by grenades. In 1916 Allgeier was promoted to private and later received the Iron Cross .

Letterhead with picture stamp of Berg- und Sport-Film GmbH , 1920s
Jump over a deep crevasse or a glacier - still from the silent film Im Kampf mit dem Berge (1920) by Arnold Fanck , camera: Sepp Allgeier and Arnold Fanck, music: Paul Hindemith
Sepp Allgeier (right) at a Lyta camera, the world's first SLR that at the suggestion of Arnold Franck by Lytax works the apparatus Freiburg GmbH was manufactured

After the end of the war, initially unemployed and penniless, then employed as a technical draftsman in a Freiburg architecture firm, Allgeier acted as the first cameraman between 1920 and 1923 at the Berg- und Sport-Film GmbH, which was newly founded in Freiburg and has its headquarters at Röderstraße 9. Rolf was the shareholders Bauer, Arnold Fanck, Odo Deodatus I. Tauern and from 1921 also Bernhard Villinger.

The cameramen of this production company, in addition to Allgeier also Richard Angst , Albert Benitz , Kurt Neubert , Walter Riml and Hans Schneeberger , initially poorly equipped according to the harsh post-war conditions, experimented with cameras, lenses and viewing angles. Simply filming was not enough for them; they wanted to bring mountains, skiing and people as conquerors into a context, into a relationship of tension. The grandiosity of the mountains, their grandeur and beauty should be conveyed to the viewer of the films. Allgeier and Fanck were constantly developing new camera technologies, "unleashing" the camera. They cut a wide variety of black masks for focusing the lenses because there was no zoom function yet. In this way, Allgeier and Fanck became important sources of ideas for innovative camera work. The resulting mountain and ski films were the results of expeditions in often undeveloped areas, and were shot under the most difficult conditions and with mortal danger. The film The Miracle of the Snowshoe , shot on Feldberg in the Black Forest, premiered as the world's first ski film in Berlin's Scala in the late summer of 1920 in front of around three thousand viewers and members of the government and was also very successful internationally.

“The film ran for about ten years. It had at least 6-8 million viewers and now the public in cities saw for the first time, skiing to its best, because we were the elite of the best skiers at the time and snow photography like you haven't seen before . "

- Arnold Fanck

Reich President Friedrich Ebert appeared at Allgeier's celebrated film premieres; on Broadway his films were shown with overwhelming success and some were sold out for over three years. The US film magazine American Cinematographer Magazine paid tribute to him and his assistant: “Even we in Hollywood can still learn a lot from the camera art of Messrs. Allgeier and Benitz.” Major Hollywood stars like Douglas Fairbanks are said to have been enthusiastic and wondered where at daring settings and perspectives the camera stood. Allgeier was considered an admirable role model for Hollywood creatives in film.

"When you see all of the equipment, when you see the options that they had, it's phenomenal."

- Georg Thoma
Sepp Allgeier premiered in 1926 during a UFA expedition to Spitzbergen and Greenland for the silent film Milak, The Greenland Hunter , 1928
1929 on the set of Diary of a Lost (novel: Margarete Böhme ) on the Baltic Sea beach near Swinoujscie , in front Sepp Allgeier, behind director Georg Wilhelm Pabst
1930 on the set of Storms over Mont Blanc from left to right: cameraman Hans Schneeberger , actress Leni Riefenstahl , cameraman Richard Angst , cameraman Sepp Allgeier, director Arnold Fanck
Sepp Allgeier (left, on skis) and his Austrian colleague Hans Schneeberger wait in 1930 for the landing of the pilot Ernst Udet while filming Storms over Mont Blanc on the Trient glacier in the Mont Blanc massif in the Swiss canton of Valais
Sepp Allgeier (2nd from left) and Leni Riefenstahl examining a camera setting for the film Triumph des Willens in 1934 on the zeppelin field of the Nazi party rally grounds in Nuremberg

Allgeier attached the voluminous camera weighing ten kilograms to his skis, raced down slopes with it and let avalanches roll over it in order to convey these impressions to the later viewers of the films up close. He dragged up to 50 kilograms of equipment into the high mountains, the four hundred pounds heavy device for slow motion was pulled uphill on a large sled with muscle power. This recorded up to 2000 images per second. He filmed on steep walls, over and in crevasses, which he illuminated with torches. With his films he made winter sports popular.

“It was of course a completely inspiring job for us young skiers. We always asked second, yes tell Arnold [Fanck], what do we earn a month? Then he said, wait until we sell the film to America, then you have to see how the dollars rush, but they didn't rush either. "

- Sepp Allgeier

Allgeier was always looking for professional and creative independence, which he only partially found. From film to film he wanted to be recruited; He never tried to secure a pension or a pension. The current project was always in the foreground. Even his own commercial productions did not bring him financial gain; instead, existing reserves were used up.

Although similarly oriented to Allgeier and Fanck distinguished intentions during skiing and mountain film insofar as Allgeier preferred the documentary, landscape and sports film as by The wonder of the snowshoe and the second part with the subtitle A fox hunting on skis in Engadin represents was, while Fanck expanded the genres of ski and mountain films into feature films with actors. The participation of such "salon Tyroleans" with little affinity for the mountain world hardly corresponded to Allgeier's ideas.

In 1922/23 he became Black Forest champion in the Nordic Combined on Feldberg and was the best ski jumper there. He was considered an outstanding skier.

From 1923 Allgeier worked for various film production companies, including UFA in particular , and in 1933/34 also for a British and a Swedish company. In 1926 he was involved in a UFA expedition with Bernhard Villinger, which took him back to the Arctic.

The freedom fighter film Der Rebell (1932), set in South Tyrol , was popular with Joseph Goebbels and Adolf Hitler . Hitler viewed him four times, and Goebbels described the film as a role model in his speech to filmmakers at the Hotel Kaiserhof . Hitler is said to have invited Allgeier to the Braune Haus in Munich and given him 5,000 Reichsmarks in recognition of his excellent camera work , an amount that the clammy Allgeier could use.

Leni Riefenstahl engaged Allgeier in 1933 for the propaganda film Sieg des Glaubens and in 1934 as chief cameraman for Triumph des Willens , where he coordinated the work of 18 cameramen. Allgeier and Riefenstahl had known each other since 1925 through working together for Fanck and they valued each other; In a publication based on contemporary documents (including private diaries and letters), Allgeier is referred to as one of Riefenstahl's ex-lovers. Both were considered tough and dogged when it came to pushing through and realizing their ambitious goals. Allgeier's work on these Nazi party rally films , most of which he had filmed himself, set standards for the media staging of the masses and the cinematic exaggeration of a protagonist, in this case the so-called “ Führer ”. Since it barely moved, the camera had to move around it. For this purpose, Allgeier filmed, among other things, on roller skates, with camera cars on rails, and moving external elevators up the Speer constructions between the flagpoles of the Zeppelinfeld main stand in order to realize a long shot of the march on the Zeppelinfeld . Camera carts on rails were common for feature films, but uncommon for documentaries. During Hitler's parade through the city of Nuremberg, he used roofs, turntable ladders for the fire brigade, specially extended balconies for this purpose, and low-flying Klemm light aircraft. Just as he had filmed the mostly male actors in his mountain and mountain ski films, he preferred to shoot Hitler from below, even by riding in Hitler's large convertible . Film historian Friedemann Beyer commented: “He [Allgeier] knew how transfiguration works; The people in his mountain films were also heroes in a certain way. ”Riefenstahl later roughly estimated that around half of the finished film consisted of Allgeier's recordings.

The creative part that Riefenstahl, Allgeier and the other cameramen each brought in, the original idea for certain settings, perspectives and camera positions or the technical solutions required for them, can no longer be attributed individually today.

After recording the Olympic Winter Games in 1936 , Allgeier was appointed Reich Culture Senator for the city of Strasbourg by the Minister for Public Enlightenment and Propaganda , Joseph Goebbels , with a monthly salary of RM 3,000.

Despite the sports subject, Allgeier was not involved in Riefenstahl's Olympic film about the 1936 Summer Olympics , nor in any of the other Olympia-Film GmbH productions , which were made until 1939/40 and also included mountain and ski films.

Allgeier is said to have joined the NSDAP in 1937, according to a source based on contemporary documents as early as 1935.

From the beginning of September 1939, together with his colleagues Guzzi and Otto Lantschner , he and his colleagues Guzzi and Otto Lantschner documented the attack on Poland during the Second World War as a member of the civilian special film troop Riefenstahl set up on the orders of Hitler . Between 1940 and 1945 Allgeier was one of an estimated 700 film reporters for the Wehrmacht's propaganda companies for Die Deutsche Wochenschau , but also a cameraman for feature films. The instructions for this work came primarily from Goebbels' Reich Ministry for Public Enlightenment and Propaganda (RMVP).

From the end of August 1939, Walter Frentz , who was selected and assigned to the Fuehrer's headquarters and who probably contributed around a third of the footage to the German newsreels, was considered to be the “Fuehrer's” “personal cameraman” . The attribution of newsreel films to certain cameramen is, however, not always clearly possible, since their names were not always mentioned, sometimes in error or falsely.

Films like Freedom Day! - Our Wehrmacht , The Eternal Jew , Jud Suss , Bismarck , The Great King , Sacrifice or Kolberg , Allgeier was not involved, as evidenced by the credits .

After 1945 he lived again with his family in Freiburg, documented the war damage and the reconstruction of his hometown, distributed postcards with winter motifs of the Black Forest, produced cultural, nature and documentary films, for example from the Germany tour of the professional cyclists , until the gradual economic recovery and the 1952 Summer Olympics in Helsinki. There was also a contractual relationship with the International Film Union Remagen. He used nature for contemplation and specifically sought solitude.

From 1953 to 1955 Allgeier was employed by Südwestfunk in Baden-Baden and was responsible for training and advising young film and television talent in the video frequency department. He was later named "Chief Cinematographer of the Film Squad" by the SWF. He did not enjoy working with younger directors; He wanted to act as an equal directing partner due to his vast experience. In addition to his undoubtedly great talent as an artist and athlete, he was considered to be extraordinarily physically resilient, very sociable and sociable. However, he was unable to build on his great cinematic successes in the 1920s and 1930s. The medium of television and the time pressure prevailing on broadcasters were not his world. Left at his own request in 1955, Allgeier remained a freelancer for the SWF until 1963.

Gravestone of Sepp Allgeier in Freiburg - Günterstal

He was professionally active up to the age of 68. Allgeier died at the age of 73; his grave is in the cemetery in Freiburg - Günterstal . For example, Hilda and Luis Trenker sent their “dear friend Sepp” a wreath for the funeral in 1968.

Allgeier had worked with Arnold Fanck from 1919, with Holger-Madsen from 1922, with Georgi Asagarow from 1926, with Robert Land and Erich Schönfelder from 1927, with Mario Bonnard , Nunzio Malasomma , Martin Rikli and Luis Trenker from 1928, with Wilhelm Dieterle and Georg Wilhelm Pabst from 1929, with Karl Hartl from 1931, with Kurt Bernhardt and Edwin H. Knopf from 1932, with Heinz Paul and Leni Riefenstahl as directors from 1933, with Herbert Selpin from 1934, with Paul Czinner from 1935, with Carl Junghans and Werner Klingler from 1936, with Karel Lamač and Milton Rosmer from 1937, with Fritz Hippler , Rolf Husberg and Joe Stöckel from 1939, with Ulrich Kayser from 1949, with Horst Scharfenberg from around 1955.

Honors

  • In 1966, Allgeier was awarded the Gold Film Ribbon for many years of outstanding work in German film.
  • In 1997 a very short street in Freiburg-Haslach , branching off from Basler Strasse, was named Sepp-Allgeier-Strasse . This was preceded by several initiatives: in 1973 by Werner Kirchhofer, the sports reporter for the Badische Zeitung , in 1984 by the Freiburg FDP city council group, and in 1995 by the Black Forest Ski Association. Finally, on the suggestion of the Freiburg Mayor for Culture, Thomas Landsberg (SPD), the city council passed a resolution. In 2020, Sepp-Allgeier-Straße was renamed Else-Wagner-Straße by resolution of the Freiburg City Council.
  • In 1999, a Sepp Allgeier exhibition took place in the Black Forest Ski Museum in Hinterzarten , in which Allgeier employees who were still alive took part.
  • In 2009 the exhibition 100 Years of Baden-Württemberg Film Land took place in the House of Documentary Film in Stuttgart . The title was not entirely accurate, because Württemberg was not involved in the anniversary of Baden film production.

criticism

  • In his 2018 TV documentary for Südwestrundfunk, Winfried Lachauer stated: “Sepp Allgeier has made a decisive contribution to the history of winter sports - through his legendary camera work. Unbeatable on the camera as on skis ”.
  • The film historian Friedemann Beyer stated: "With the mountain film, Fanck and Allgeier have invented a new genre that has also had great international success". As an accomplished skier and climber, Allgeier “took the risk of turning on the mountain under extremely difficult conditions”. He is considered a pioneer of camera art: "Such pictures had not been seen before."
  • Georg Thoma : “I always admired him, the man. He was also an athlete, he was a ski jumper, he was a cross-country skier, went downhill, did everything ”.
  • Politics editor Wulf Rüskamp complained in the Badische Zeitung that because of the important role played by the medium of film during the Nazi era, “prominent film people like Fanck and Allgeier cannot be dismissed as harmless, ideologically unaffected followers”.
  • Allgeier's former camera assistant Manfred Kranz recalled: “Allgeier was never political, he wanted to shoot, come what may”. This was "washed up by success". Hitler was so enthusiastic about Allgeier's work results that he wanted him to be his personal cameraman. Allgeier “internally turned away after the attack on Poland in 1940, which he filmed for Hitler's newsreel. What he saw shocked him. When he was supposed to film the execution of the assassins on July 20 in Berlin-Plötzensee in 1944 , he refused. That was the end of his career as a Hitler filmmaker. ”Kranz's colleague, the cameraman Heinz Stark, added:“ He said no, and Heinrich Himmler probably held his hand over him personally - Allgeier was with him. Nothing happened to him like that, he often said that later. "
  • A commission set up by the city of Freiburg im Breisgau to review Freiburg street names , chaired by historian Bernd Martin, recommended in March 2016 that the local Sepp-Allgeier-Straße be renamed. The reasons for this include: “Allgeier's“ masterpiece ”for Nazi propaganda was the triumph of will , the pseudo-documentary film about the Nuremberg NSDAP party congress from 1934. Leni Riefenstahl directed and her cameraman Sepp Allgeier, head of an 18-member Camera teams, delivered the spectacular pictures. Just as Allgeier aesthetically heroized the male protagonists in the mountain films against the backdrop of the high mountain landscape, so he now staged the almighty leader of a new National Socialist empire with the film camera in front of the Speer party conference scenes . The triumph of the will is the unprecedented cinematic aestheticization of the Führer cult: the focus is on Hitler as the savior, who is practically religiously worshiped by the ranks of the masses. In order to achieve this desired effect, Allgeier used all the technical means available to it, such as mobile cameras on rails or an elevator on one of the flagpoles to gain a long shot from above. He also preferred to film Hitler from below in order to stage its exaggeration, and he drove with Hitler in Hitler's limousine to put the "Führer" in the right picture. Hitler and the national community, which unconditionally believes in him, "one people - one Reich - one Führer" - that is the banal propaganda message of the film. Triumph of Will , according to Nazi propaganda a "source of strength for the whole nation", became one of the most powerful film productions of the Third Reich . The suggestive power of the images was provided by the sophisticated film editing by the director Leni Riefenstahl and the camera by Sepp Allgeier from Freiburg, who put all his work in the service of Nazi propaganda until the end of the war ”.
    • The Freiburg historian Werner Klipfel, who has dealt extensively with Allgeier's work and work, explained his position against the renaming of Sepp-Allgeier-Straße : “We make the mistake of doing the deeds of people like Allgeier from today's perspective and with today's level of knowledge to look at. ”In this specific case, Klipfel considered an additionally attached explanatory board on the street signs to be sufficient.
    • Film historian Friedemann Beyer also viewed the renaming of Sepp-Allgeier-Straße with skepticism: "A cameraman is always a service provider for his director".
  • An American reference work on German cinema noted about Allgeier: “As cocreator with Fanck on the mountain film, Allgeier gave the genre its sense of danger and excitement. His camera was tied to snowshoes, raced down mountains, got buried in snow, and otherwise captured the sensuous feel of the outdoors. Allgeier also worked with Luis Trenker, another director of mountain films and other films of adventure. For Trenker, he continued to capture the beauty of the outdoors in films such as Berge in Flammen ( Mountains in Fire , 1931); Der Rebell (1932), released with a slightly different cast as The Rebel in 1933; and The Mountain Calls ( The Mountain Calls , 1938). - Allgeier became Riefenstahl's head cinematographer on her propaganda masterpiece Triumph des Willens ( Triumph of the Will , 1935), a film that had 18 other cameramen. Allgeier is credited with creating the mass dynamics that give the film its monumental effect. As a member of Riefenstahl's film team on the front in Poland, Allgeier also contributed to the weekly newsreels that were compiled by Fritz Hippler from his headquarters in Berlin. "
  • Bill Niven , Professor of Contemporary German History at Nottingham Trent University, states in his publication Hitler and Film: The Führer's Hidden Passion : “It has often been suggested that the German mountain films of the Weimar Republic were in a sense pre-fascist : here, then, was one Weimar Republic tradition to which Hitler could explicitly connect. Whether such claims are fair or not, many of those who directed or acted as cameramen for mountain films - key examples being Arnold Fanck, Luis Trenker, Sepp Allgeier and, of course, Riefenstahl - went on to have important careers under Nazism and, in the case of Riefenstahl, Fanck and Allgeier, to film Nazi documentaries. It seems it was a short step from filming mountains to filming fascism. That the Nazis saw mountain films as appropriate for the heroic occasion is demonstrated, for instance, by the inclusion of several of them in the list of recommended films for Heroe's Commemoration Day in 1934, where The Blue Light features alongside Fanck's SOS Iceberg and his Storm over Mont Blanc (1930). "

Publications (excerpt)

  • with Arnold Fanck u. Hannes Schneider : The wonder of snowshoeing - a system of correct skiing and its application in alpine cross-country skiing (with more than 1000 photos by Sepp Allgeier). Gebr. Enoch Verlag, Hamburg 1925.
  • with Gyula Arató, Ernst W. Baader, Arnold Fanck and Hans Schneeberger: jumping, cross-country skiing . Gebr. Enoch Verlag, Hamburg 1926.
  • The hunt for the picture - 18 years as a cameraman in the arctic and high mountains. Engelhorn Nachf., Stuttgart 1931.

Memberships

  • NSDAP
  • Honorary member of the Freiburg im Breisgau Ski Club

Filmography

Allgeier worked as a cameraman for all of the named film titles, sometimes also as a director and screenwriter.

  • 1912: Alpine technique of rock climbing , also director
  • 1913: The tragedy of the Schröder-Strantz expedition
  • 1913: 4628 meters high on skis - ascent of Monte Rosa , also director
  • 1913: Via the Brenner Pass from Innsbruck to Meran , also director
  • 1913: With the camera in the eternal ice , also directing
  • 1914: In the mountains of Thessaly
  • 1916: Through the Höllental and the Ravennaschlucht to Titisee , also director
  • 1919/20: The Marvels of the Snowshoe , Part 1, also cast
  • 1921: In the fight with the mountains
  • 1921: Jiu-Jitsu - the invisible weapon
  • 1921/22: The wonder of the snowshoe , part 2: A fox hunt on skis through the Engadine , also actors
  • 1922: Pömperli's fight with the snowshoe
  • 1922: The German fighting games in 1922
  • 1923: $ 1,000 reward
  • 1924: The Mount of Fate
  • 1924: The white art , also directing and acting
  • 1925/26: The holy mountain
  • 1926: Winter sports in the Black Forest , also director
  • 1927: Milak, the Greenland Hunter (The Great Unknown) , also actor
  • 1927: Mrs. Sorge
  • 1927: Alpine tragedy
  • 1927: The big leap
  • 1927: In the luxury train
  • 1927/28: The white stadium
  • 1928: The struggle for Matterhorn (Fight for the Matterhorn)
  • 1928: Nordland pictures
  • 1929: Diary of a lost man
  • 1929: The white hell of Piz Palü
  • 1930: Storms over Mont Blanc
  • 1931: Mountains in Flames (Les monts en flammes)
  • 1931/32: The Doomed Battalion
  • 1932: Baroud
  • 1932: The Rebel - The Fires are calling (The Rebel)
  • 1933: The victory of faith
  • 1933: The dream of the Rhine
  • 1933: Black Forest farmers
  • 1934: Wilhelm Tell - A people's freedom drama (The Legend of William Tell)
  • 1934: The Queen's Affair
  • 1934: The jumper from Pontresina
  • 1934: Triumph of Will , also photographic management (chief cameraman)
  • 1935: Do not leave me ever again (Escape Me Never)
  • 1935: Frisian distress / village in the red storm
  • 1935: Training for ski filming
  • 1935/36: Freiburg im Breisgau, the gateway to the Black Forest , also director
  • 1936: Standschütze Bruggler
  • 1936: youth of the world. The film of the IV Winter Olympics in Garmisch-Partenkirchen in 1936
  • 1936: Eternal Forest
  • 1937: The Great Barrier
  • 1937: Peter in the snow
  • 1937: Black Forest melody , also director
  • 1937: The mountain is calling
  • 1939: The Siegfried Line
  • 1939: The son of the midnight sun (Midnattsolens Son)
  • 1939/40: Campaign in Poland
  • 1939/40: A Robinson - A sailor's diary
  • 1939/40: The sinful village
  • 1941: The victory in the west
  • 1941: Weather lights around Barbara
  • 1941: Black Forest Magic , also directed
  • 1949: Forest farmers , also directing
  • 1949: Roaring engines
  • 1949: The great mountain prize
  • 1949/50: Home that stayed with us , also screenplay and direction
  • 1950: Winter sun over the Black Forest , also director
  • 1950: Spring awakening at the Kaiserstuhl
  • 1950: ski flyer
  • 1950: Heroes of the Landstrasse , also screenplay and direction
  • 1950/51: Knight of the Pedals
  • 1951: The Passion
  • 1951: border station 58
  • 1951: There is a mill ...
  • 1951: Baden - the garden of Germany
  • 1951–1953: Winter Black Forest , also screenplay and direction
  • 1952: Olympia Helsinki (Mailmat Kohtaavat)
  • 1953: In the home of the catfish
  • 1953: Kaiserstuhl, southern country on the Upper Rhine
  • 1954: At home in a foreign country
  • 1955: A dam against the flood (TV)
  • 1955: Baden-Baden-Baghdad-Basra
  • 1955: 2000 years of Turkey
  • 1955: The Empire of the Hittites

literature

  • Bernhard Villinger: The Arctic is calling. With dog sled and camera through Svalbard and Greenland . Herder, Freiburg 1929.
  • Luis Trenker, Walter Schmidkunz : Mountain World - Wonder World, An Alpine World History . H. Fikentscher, Leipzig 1934.
  • Leni Riefenstahl: Behind the scenes of the Nazi party rally film . Franz Eher Nachf., Munich 1935 (included photo with caption: “Sepp Allgeier practices on roller skates to get good motion pictures with the handheld camera”).
  • Heinrich Fraenkel : Immortal Film . Munich 1956.
  • Klaus W. Hosemann: Sepp Allgeier - memories of a master . In: Freiburger Almanach 37 , 1986, pp. 111-118.
  • Leni Riefenstahl: Memoirs . Albrecht Knaus, Munich 1991. ISBN 978-3-8135-0154-4 .
  • Klaus W. Hosemann: Groundbreaking at the time - forgotten today. Filmmaking in Freiburg . In: Freiburger Almanach 1991 , pp. 109–116.
  • Klaus W. Hosemann: Dr. Bernhard Villinger . In: Freiburger Almanach 1993 , pp. 123-132.
  • Brigitte von Savigny (Ed.): Sepp Allgeier. Photographs by a camera pioneer. DesignConcept, St. Märgen 1999. ISBN 3-9807059-0-0 .
  • Werner Klipfel (Ed.) From Feldberg to the white hell of Piz Palü - The Freiburg mountain film pioneers Dr. Arnold Fanck and Sepp Allgeier . Exhibition catalog. Edited by the regional association Badische Heimat. Schillinger, Freiburg 1999. ISBN 3-89155-250-5 .
  • Renate Liessem-Breinlinger: Allgeier, Sepp. In: Bernd Ottnad (Hrsg.): Baden-Württembergische Biographien. Volume 2. On behalf of the Commission for Historical Regional Studies Baden-Württemberg. Kohlhammer, Stuttgart 1999, pp. 2-4. ISBN 3-17-014117-1 .

Videos

Web links

Commons : Sepp Allgeier  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Skis conquer the Black Forest - The success story of winter sports (SWR documentation). In: Südwestrundfunk , January 12, 2018, 8:15 p.m., on: swr.de
  2. ^ A b c d e f g h i j k Thomas Goebel: Sepp Allgeier was part of the Nazi film propaganda machine . In: Badische Zeitung of October 29, 2016, on: badische-zeitung.de
  3. ↑ a b c d e f g Lisa Blitz: Freiburg as the cradle of German mountain films , July 17, 2017, exhibition at the Museum for City History, Freiburg im Breisgau, on: freiburg.de
  4. ↑ a b c d e f g h i j Winfried Lachauer: Skis conquer the Black Forest - The Success Story of Winter Sports , SWR documentation, 89:41 min., First broadcast January 12, 2018, 8:15 pm.
  5. ↑ Kay Less : The large personal lexicon of film - the actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, cutters, sound engineers, make-up artists and special effects designers of the 20th century . Vol. 1 A-B. Schwarzkopf & Schwarzkopf, Berlin 2001. ISBN 3896023403 .
  6. ↑ Rudolf Vierhaus (Ed.): German Biographical Encyclopedia (DBE) . Vol. 1. Walter de Gruyter / Saur, Berlin 2011. ISBN 978-3-1118-4343-8 .
  7. ↑ Liz-Anne Bawden / Wolfram Tichy (eds.), Ulrike Schimmelschmidt: Buchers Enzyklopädie des Films . Vol. 1. Bucher, Lucerne and Munich 1983. ISBN 978-3-7658-0422-9 .
  8. ^ Johannes von Moltke: No Place Like Home - Locations of Heimat in German Cinema . University of California Press, Oakland, CA, 2005. ISBN 978-0-5209-3859-5 , p. 45.
  9. ↑ Frieda Grafe: Victory of the will and the toleration . In: The daily newspaper No. 6262 of October 5, 2000, on: taz.de
  10. ↑ a b c d e f g h i Commission for the verification of Freiburg street names: Final report of the commission for the verification of Freiburg street names of March 18, 2016, (PDF file; 345 kB), pp. 46–48, on: Freiburg. de
  11. ↑ a b c d e f g h i j k l m Renate Liessem-Breinlinger: Sepp Allgeier . In: Bernd Ottnad: Baden-Württembergische Biographien , edited on behalf of the Commission for Historical Regional Studies in Baden-Württemberg, Vol. 2, Kohlhammer, Stuttgart 1994, pp. 2-4.
  12. ↑ a b c d e f g h i j k l Allgeier, Sepp . In: Landesarchiv Baden-Württemberg, on: leo-bw.de
  13. ↑ Marius Buhl: The picture hunter: Sepp Allgeier filmed ski acrobats - and Hitler . In: Badische Zeitung of March 11, 2018, on: badische-zeitung.de
  14. ↑ a b c d e Kurt Hochstuhl, Freiburg State Archives, April 2014; Finding aid T 1 (access 2005/0058): T 1 estate Allgeier, Sepp
  15. ↑ Freiburg City Archives: D. StA. VIII, 104; K 1/26 box 40 No. 1.
  16. ↑ a b c d e f g h Ines Walk: Sepp Allgeier ( Memento of the original from June 12, 2018 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , on: film-zeit.de @1@ 2Template: Webachiv / IABot / www.film-zeit.de
  17. ↑ a b c d e f g h i j k l m Marius Buhl: Freiburg argues about the memory of a legendary cameraman . In: Der Tagesspiegel from June 11, 2018, on tagesspiegel.de
  18. ↑ Wolfgang Dittrich: Facts and fragments on the Freiburg film production history 1901–1918  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. . Freiburg 1998, on: koki-freiburg.de@1@ 2Template: Toter Link / www.koki-freiburg.de  
  19. ↑ a b Thea Dorn, Richard Wagner: The German soul . Albrecht Knaus Verlag, Munich 2011. ISBN 978-3-8135-0451-4 .
  20. ^ Gerhard Hirschfeld, Gerd Krumeich, Irina Renz (ed.): 1918 - The Germans between World War and Revolution . Ch. Links Verlag, Berlin 2018. ISBN 978-3-8615-3990-2 , p. 287.
  21. ^ The tragedy of the Schröder-Strantz expedition , on: filmportal.de
  22. ↑ a b c d Audrey Salkeld: A Portrait of Leni Riefenstahl . Random House, New York City 2011. ISBN 978-1-4464-7527-0 .
  23. ^ Arnold Fanck , on: filmportal.de
  24. ↑ a b c d e f g h i Karin Wieland: Dietrich and Riefenstahl - The dream of the new woman . Carl Hanser Verlag, Munich 2011. ISBN 978-3-4462-3770-4 .
  25. ↑ Robert Isidor Schwobthaler , on filmportal.de
  26. ↑ Sepp Allgeier: The hunt for the picture - 18 years as a cameraman in the Arctic and high mountains. Engelhorn Nachf., Stuttgart 1931, p. 44.
  27. ↑ Barbara Hales, Mihaela Petrescu, Valerie Weinstein: Continuity and Crisis in German Cinema 1928–1936 . Boydell & Brewer, Martlesham, Suffolk, 2016. ISBN 978-1-5711-3935-1 , p. 186.
  28. ^ A b Heidi Ossenberg: Freiburg - the birthplace of mountain films In: Badische Zeitung of March 21, 2009, on: badische-zeitung.de
  29. ^ Address book of the capital Freiburg im Breisgau 1922 , p. II 18.
  30. ↑ a b Birgit-Cathrin Duval: The first ski film in the world . In: Hochschwarzwald travel magazine from November 1, 2014, on: hochschwarzwald.de
  31. ↑ Sabiene Ouch, Sara Hornäk, Susanne Henning: material and artistic action - positions and perspectives in contemporary art . transcript, Bielefeld 2017. ISBN 978-3-8376-3417-4 , p. 198.
  32. ↑ a b c d Sepp Allgeier - The archetype of the cameraman , on: whitepepper.de
  33. ^ A b Robert Charles Reimer, Carol J. Reimer: The A to Z of German Cinema . Rowman & Littlefield, Lanham, MD, 2010. ISBN 978-0-8108-7611-8 , p. 39.
  34. ↑ Skis conquer the Black Forest - First film recordings , on: swr.de
  35. ^ Norbert Beyer: The Nazi film (= style epochs of film ). Reclam, Stuttgart 2018. ISBN 978-3-1501-9531-4 .
  36. ^ Johannes von Moltke: No Place Like Home - Locations of Heimat in German Cinema . University of California Press, Oakland, CA, 2005. ISBN 978-0-5209-3859-5 , p. 250.
  37. ↑ Bill Niven: Hitler and Film: The Führer's Hidden Passion . Yale University Press, New Haven, CT, London 2018. ISBN 978-0-3002-3539-5 , p. 89.
  38. ↑ a b Sepp Allgeier , on: filmportal.de
  39. ↑ Olympia (2 parts) , on: filmportal.de
  40. ↑ “On September 5, 1939, Major dG Kratzer of the OKW sent an order from the Fuehrer, according to which a» Riefenstahl special film squad «was to be set up within the scope of the deployment site of the Propaganda Ministry. According to a telephone instruction of the OKW […] of 9.9.39 6.45 pm this film troop is on 10.9. at 7 am to Opole . ”From: Letter from the Reich Ministry for Public Enlightenment and Propaganda (RMVP) of September 10, 1939. Quoted from: Jürgen Trimborn : Leni Riefenstahl - a German career . Aufbau-Verlag , Berlin 2002. ISBN 3-351-02536-X , p. 303ff.
  41. ↑ Bill Niven: Hitler and Film: The Führer's Hidden Passion . Yale University Press, New Haven, CT, London 2018. ISBN 978-0-3002-3539-5 , pp. 177-178.
  42. ^ Campaign in Poland - Cinematic war propaganda by the NSDAP and the Wehrmacht . In: Bundesarchiv, on: bundesarchiv.de
  43. ↑ a b Matthias Struch: Everyone their own director? In: Rainer Rother , Judith Prokasky (Ed.): The camera as a weapon - propaganda images of the Second World War . edition text + kritik, Munich 2010. ISBN 978-3-86916-067-2 , pp. 64ff. (Quote: p. 64)
  44. ^ Daniel Uziel: Propaganda, War Reporting and the Wehrmacht . In: Rainer Rother , Judith Prokasky (Ed.): The camera as a weapon - propaganda images of the Second World War . edition text + kritik, Munich 2010. ISBN 978-3-86916-067-2 , pp. 13ff. (Quote: p. 17)
  45. ^ Hans Georg Hiller von Gaertringen: The Eye of the Third Reich - Hitler's cameraman and photographer Walter Frentz . Deutscher Kunstverlag, Munich and Berlin 2007. ISBN 978-3-4220-6618-2 .
  46. ↑ Frank Jansen: The stolen films were shot by Hitler's cameraman . In: Der Tagesspiegel from December 8, 2001, on: tagesspiegel.de
  47. ↑ Südwestfunk Baden-Baden, main office for human resources and social affairs: PA Sepp Allgeier.
  48. ↑ 1966: Sepp Allgeier, Filmband in Gold for many years of excellent work in German film ( Memento of the original from June 12, 2018 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , at: deutscher-filmpreis.de @1@ 2Template: Webachiv / IABot / www.deutscher-filmpreis.de
  49. ↑ Freiburg City Council - meeting on July 14, 2020
  50. ^ Freiburg im Breisgau: Fredy Stober and Manfred Kranz at the Sepp Allgeier exhibition on the Feldberg . In: Deutsche Digitale Bibliothek, on: deutsche-digitale-bibliothek.de
  51. ↑ Patrick Neumann: The world in front of the lens , on: swr.de
  52. ^ Frank Zimmermann: Freiburg: City council decides to change street names . In: Badische Zeitung from November 15, 2015, on: badische-zeitung.de
  53. ↑ Bill Niven: Hitler and Film: The Führer's Hidden Passion . Yale University Press, New Haven, CT, London 2018. ISBN 978-0-3002-3539-5 , pp. 79-80.
  54. ↑ Julia Littmann: Search and find treasures , In: Badische Zeitung of August 29, 2008, on: badische-zeitung.de
  55. ↑ Milak, the Greenland Hunter, on: berlinale.de
  56. ↑ The battle for the Matterhorn , on: berlinale.de
  57. ↑ Spring awakening at the Kaiserstuhl , film by Sepp Allgeier, February 14, 2013, on: swr.de
personal data
SURNAME Allgeier, Sepp
ALTERNATIVE NAMES Allgeier, Josef (maiden name)
BRIEF DESCRIPTION German cameraman, photographer, screenwriter, film actor and film director
DATE OF BIRTH February 6, 1895
PLACE OF BIRTH Freiburg - Wiehre
DATE OF DEATH March 11, 1968
Place of death Level