(Russian: Александр Александрович фон Лагорио)
Cinematographer
Alexander von Lagorio was the son of a professor of mineralogy Alexander Evgenievich Karl Leo von Lagorio (Alexander Evgenievic Karl Leo von Lagorio) and Julie Louise von Faltin and a distant relative of one of the most famous Russian marine painters, a graduate of the St. Petersburg Academy of Arts and the First Aivazovsky's student - Lev Feliksovich Lagorio (06/28/1827 - 11/29/1905). Prior to World War I, Alexander von Lagorio studied engineering in St. Petersburg. In 1917 he moved with his family to Finland. In 1920 he went to Berlin to study engineering. In Berlin, Father Lagorio became assistant to the 1909 Nobel Prize in Chemistry, German physicist and chemist Wilhelm Ostwald. Until the end of his life, Wilhelm Ostwald studied colors and shapes in an attempt to find a scientific standardization of colors. His main works in this area are "Die Farbenfibel" (Primer of Color), "Die Farbenlehre" (Theory of Color), "Die Harmonie der Farben" (Harmony of Colors). His father's scientific work with Wilhelm Ostwald inspired Alexander to start experimenting with solving technical problems in color photography using film.
On December 2, 1924, the Berlin periodical "Rul" published a message about the "Establishment of the Assa-film society for the production of popular science films." Alexander von Lagorio was also mentioned as an operator among its participants. And on December 5, the same publication reported: "Georgy Azagarov's educational film studio has merged with the film studio at the Russian Conservatory -" in the interests of the common cause. The united studio was headed by Azagarov himself and Nikolai Larin, the technical and engineering department was headed by Alexander Lagorio.
Russian director and actor Georgy Georgievich Azagarov (08/25/1892 - 11/02/1957), who emigrated from Russia to Germany in 1920. In 1927, at the UFA studio, Azagarov, together with the world-famous Russian pioneer of puppet animation Vladislav Starevich, made a feature film "Eva und der Grashüpfer / Jugendrausch" (Eve and the Grasshopper / Youth Revolt).
Georgy Georgievich Azagarov became Lagorio's "godfather" in feature cinema. On January 14, 1930, the full-length feature film "Das Donkosakenlied" (Don Cossacks) (1930) was released on the German cinema screen. .
About any success of Alexander von Lagorio in the field of popular science cinema, official information has not yet been found. Therefore, it is difficult to say in what capacity he took part in the creation of scientific and educational films, whether these films were completed and released on the screen. Today we have only information from the periodical press of that time, only about the work that took place on them:
Berlin. "Cameramen Alexandre Lagorio and Trinkel are filming at the Charité's 'Science Film Studio' under the direction of Dr. Roote."**
Berlin. "Recently returned from the island of Java, Russian cameraman A.A. Aagorio organizes a secondary film expedition to the island of Java and neighboring islands."***
The difference between the verb "filmed" and the verb "filmed" is quite obvious. Unfortunately, to find reliable information, as well as any, with the approval of the completion of the production of a popular science or other film that A. Lagorio shot before 1928, has not yet been found. The first film in all known filmography of cinematographer Alexander von Lagorio was Der Kampf der Tertia (The Battle of Tertia) (1928), where he acted as the creator of the combined filming. This film was shot at the Berlin film studio Terra-Film AG and marked Lagorio's transition to feature filmmaking and the start of his camera career. By the way, the theme of combined filming is perhaps the only one professionally and in detail described in A. Lagorio's book "Modern Cinema Technique", published in Russia in 1925. The remaining sections of this book are either brief, limited to references to German experiments, listing and stating well-known information, without going into details. Or, as in the section on stereoscopic cinematography, it is a demonstration of the author's complete misunderstanding of the subject being described, calling into question not only the author's competence in this matter, but also the level of his professional training and knowledge in the photographic process in general.
The next two films in 1930, "Das Donkosakenlied" (Don Cossacks) and "Revolte im Erziehungshaus" (Uprising in the House of Education), he shot as a cameraman together with Curt Oertel (Curt Oertel). Together with the cinematographer Georg Stilianudis, he made his third feature film Niemandsland (No Man's Land (1931). Alexander von Lagorio's first completely independent work as a director of photography was the feature film Der Schimmelreiter (The White Racer) (1934) .As director of photography in 1937
related:
Cinematographer
Alexander von Lagorio was the son of a professor of mineralogy Alexander Evgenievich Karl Leo von Lagorio (Alexander Evgenievic Karl Leo von Lagorio) and Julie Louise von Faltin and a distant relative of one of the most famous Russian marine painters, a graduate of the St. Petersburg Academy of Arts and the First Aivazovsky's student - Lev Feliksovich Lagorio (06/28/1827 - 11/29/1905). Prior to World War I, Alexander von Lagorio studied engineering in St. Petersburg. In 1917 he moved with his family to Finland. In 1920 he went to Berlin to study engineering. In Berlin, Father Lagorio became assistant to the 1909 Nobel Prize in Chemistry, German physicist and chemist Wilhelm Ostwald. Until the end of his life, Wilhelm Ostwald studied colors and shapes in an attempt to find a scientific standardization of colors. His main works in this area are "Die Farbenfibel" (Primer of Color), "Die Farbenlehre" (Theory of Color), "Die Harmonie der Farben" (Harmony of Colors). His father's scientific work with Wilhelm Ostwald inspired Alexander to start experimenting with solving technical problems in color photography using film.
On December 2, 1924, the Berlin periodical "Rul" published a message about the "Establishment of the Assa-film society for the production of popular science films." Alexander von Lagorio was also mentioned as an operator among its participants. And on December 5, the same publication reported: "Georgy Azagarov's educational film studio has merged with the film studio at the Russian Conservatory -" in the interests of the common cause. The united studio was headed by Azagarov himself and Nikolai Larin, the technical and engineering department was headed by Alexander Lagorio.
Russian director and actor Georgy Georgievich Azagarov (08/25/1892 - 11/02/1957), who emigrated from Russia to Germany in 1920. In 1927, at the UFA studio, Azagarov, together with the world-famous Russian pioneer of puppet animation Vladislav Starevich, made a feature film "Eva und der Grashüpfer / Jugendrausch" (Eve and the Grasshopper / Youth Revolt).
Georgy Georgievich Azagarov became Lagorio's "godfather" in feature cinema. On January 14, 1930, the full-length feature film "Das Donkosakenlied" (Don Cossacks) (1930) was released on the German cinema screen. .
About any success of Alexander von Lagorio in the field of popular science cinema, official information has not yet been found. Therefore, it is difficult to say in what capacity he took part in the creation of scientific and educational films, whether these films were completed and released on the screen. Today we have only information from the periodical press of that time, only about the work that took place on them:
Berlin. "Cameramen Alexandre Lagorio and Trinkel are filming at the Charité's 'Science Film Studio' under the direction of Dr. Roote."**
Berlin. "Recently returned from the island of Java, Russian cameraman A.A. Aagorio organizes a secondary film expedition to the island of Java and neighboring islands."***
The difference between the verb "filmed" and the verb "filmed" is quite obvious. Unfortunately, to find reliable information, as well as any, with the approval of the completion of the production of a popular science or other film that A. Lagorio shot before 1928, has not yet been found. The first film in all known filmography of cinematographer Alexander von Lagorio was Der Kampf der Tertia (The Battle of Tertia) (1928), where he acted as the creator of the combined filming. This film was shot at the Berlin film studio Terra-Film AG and marked Lagorio's transition to feature filmmaking and the start of his camera career. By the way, the theme of combined filming is perhaps the only one professionally and in detail described in A. Lagorio's book "Modern Cinema Technique", published in Russia in 1925. The remaining sections of this book are either brief, limited to references to German experiments, listing and stating well-known information, without going into details. Or, as in the section on stereoscopic cinematography, it is a demonstration of the author's complete misunderstanding of the subject being described, calling into question not only the author's competence in this matter, but also the level of his professional training and knowledge in the photographic process in general.
The next two films in 1930, "Das Donkosakenlied" (Don Cossacks) and "Revolte im Erziehungshaus" (Uprising in the House of Education), he shot as a cameraman together with Curt Oertel (Curt Oertel). Together with the cinematographer Georg Stilianudis, he made his third feature film Niemandsland (No Man's Land (1931). Alexander von Lagorio's first completely independent work as a director of photography was the feature film Der Schimmelreiter (The White Racer) (1934) .As director of photography in 1937
related:
(Russian: Александр Александрович фон Лагорио)
Cinematographer
Alexander von Lagorio was the son of a professor of mineralogy Alexander Evgenievich Karl Leo von Lagorio (Alexander Evgenievic Karl Leo von Lagorio) and Julie Louise von Faltin and a distant relative of one of the most famous Russian marine painters, a graduate of the St. Petersburg Academy of Arts and the First Aivazovsky's student - Lev Feliksovich Lagorio (06/28/1827 - 11/29/1905). Prior to World War I, Alexander von Lagorio studied engineering in St. Petersburg. In 1917 he moved with his family to Finland. In 1920 he went to Berlin to study engineering. In Berlin, Father Lagorio became assistant to the 1909 Nobel Prize in Chemistry, German physicist and chemist Wilhelm Ostwald. Until the end of his life, Wilhelm Ostwald studied colors and shapes in an attempt to find a scientific standardization of colors. His main works in this area are "Die Farbenfibel" (Primer of Color), "Die Farbenlehre" (Theory of Color), "Die Harmonie der Farben" (Harmony of Colors). His father's scientific work with Wilhelm Ostwald inspired Alexander to start experimenting with solving technical problems in color photography using film.
On December 2, 1924, the Berlin periodical "Rul" published a message about the "Establishment of the Assa-film society for the production of popular science films." Alexander von Lagorio was also mentioned as an operator among its participants. And on December 5, the same publication reported: "Georgy Azagarov's educational film studio has merged with the film studio at the Russian Conservatory -" in the interests of the common cause. The united studio was headed by Azagarov himself and Nikolai Larin, the technical and engineering department was headed by Alexander Lagorio.
Russian director and actor Georgy Georgievich Azagarov (08/25/1892 - 11/02/1957), who emigrated from Russia to Germany in 1920. In 1927, at the UFA studio, Azagarov, together with the world-famous Russian pioneer of puppet animation Vladislav Starevich, made a feature film "Eva und der Grashüpfer / Jugendrausch" (Eve and the Grasshopper / Youth Revolt).
Georgy Georgievich Azagarov became Lagorio's "godfather" in feature cinema. On January 14, 1930, the full-length feature film "Das Donkosakenlied" (Don Cossacks) (1930) was released on the German cinema screen. .
About any success of Alexander von Lagorio in the field of popular science cinema, official information has not yet been found. Therefore, it is difficult to say in what capacity he took part in the creation of scientific and educational films, whether these films were completed and released on the screen. Today we have only information from the periodical press of that time, only about the work that took place on them:
Berlin. "Cameramen Alexandre Lagorio and Trinkel are filming at the Charité's 'Science Film Studio' under the direction of Dr. Roote."**
Berlin. "Recently returned from the island of Java, Russian cameraman A.A. Aagorio organizes a secondary film expedition to the island of Java and neighboring islands."***
The difference between the verb "filmed" and the verb "filmed" is quite obvious. Unfortunately, to find reliable information, as well as any, with the approval of the completion of the production of a popular science or other film that A. Lagorio shot before 1928, has not yet been found. The first film in all known filmography of cinematographer Alexander von Lagorio was Der Kampf der Tertia (The Battle of Tertia) (1928), where he acted as the creator of the combined filming. This film was shot at the Berlin film studio Terra-Film AG and marked Lagorio's transition to feature filmmaking and the start of his camera career. By the way, the theme of combined filming is perhaps the only one professionally and in detail described in A. Lagorio's book "Modern Cinema Technique", published in Russia in 1925. The remaining sections of this book are either brief, limited to references to German experiments, listing and stating well-known information, without going into details. Or, as in the section on stereoscopic cinematography, it is a demonstration of the author's complete misunderstanding of the subject being described, calling into question not only the author's competence in this matter, but also the level of his professional training and knowledge in the photographic process in general.
The next two films in 1930, "Das Donkosakenlied" (Don Cossacks) and "Revolte im Erziehungshaus" (Uprising in the House of Education), he shot as a cameraman together with Curt Oertel (Curt Oertel). Together with the cinematographer Georg Stilianudis, he made his third feature film Niemandsland (No Man's Land (1931). Alexander von Lagorio's first completely independent work as a director of photography was the feature film Der Schimmelreiter (The White Racer) (1934) .As director of photography in 1937
related:
Cinematographer
Alexander von Lagorio was the son of a professor of mineralogy Alexander Evgenievich Karl Leo von Lagorio (Alexander Evgenievic Karl Leo von Lagorio) and Julie Louise von Faltin and a distant relative of one of the most famous Russian marine painters, a graduate of the St. Petersburg Academy of Arts and the First Aivazovsky's student - Lev Feliksovich Lagorio (06/28/1827 - 11/29/1905). Prior to World War I, Alexander von Lagorio studied engineering in St. Petersburg. In 1917 he moved with his family to Finland. In 1920 he went to Berlin to study engineering. In Berlin, Father Lagorio became assistant to the 1909 Nobel Prize in Chemistry, German physicist and chemist Wilhelm Ostwald. Until the end of his life, Wilhelm Ostwald studied colors and shapes in an attempt to find a scientific standardization of colors. His main works in this area are "Die Farbenfibel" (Primer of Color), "Die Farbenlehre" (Theory of Color), "Die Harmonie der Farben" (Harmony of Colors). His father's scientific work with Wilhelm Ostwald inspired Alexander to start experimenting with solving technical problems in color photography using film.
On December 2, 1924, the Berlin periodical "Rul" published a message about the "Establishment of the Assa-film society for the production of popular science films." Alexander von Lagorio was also mentioned as an operator among its participants. And on December 5, the same publication reported: "Georgy Azagarov's educational film studio has merged with the film studio at the Russian Conservatory -" in the interests of the common cause. The united studio was headed by Azagarov himself and Nikolai Larin, the technical and engineering department was headed by Alexander Lagorio.
Russian director and actor Georgy Georgievich Azagarov (08/25/1892 - 11/02/1957), who emigrated from Russia to Germany in 1920. In 1927, at the UFA studio, Azagarov, together with the world-famous Russian pioneer of puppet animation Vladislav Starevich, made a feature film "Eva und der Grashüpfer / Jugendrausch" (Eve and the Grasshopper / Youth Revolt).
Georgy Georgievich Azagarov became Lagorio's "godfather" in feature cinema. On January 14, 1930, the full-length feature film "Das Donkosakenlied" (Don Cossacks) (1930) was released on the German cinema screen. .
About any success of Alexander von Lagorio in the field of popular science cinema, official information has not yet been found. Therefore, it is difficult to say in what capacity he took part in the creation of scientific and educational films, whether these films were completed and released on the screen. Today we have only information from the periodical press of that time, only about the work that took place on them:
Berlin. "Cameramen Alexandre Lagorio and Trinkel are filming at the Charité's 'Science Film Studio' under the direction of Dr. Roote."**
Berlin. "Recently returned from the island of Java, Russian cameraman A.A. Aagorio organizes a secondary film expedition to the island of Java and neighboring islands."***
The difference between the verb "filmed" and the verb "filmed" is quite obvious. Unfortunately, to find reliable information, as well as any, with the approval of the completion of the production of a popular science or other film that A. Lagorio shot before 1928, has not yet been found. The first film in all known filmography of cinematographer Alexander von Lagorio was Der Kampf der Tertia (The Battle of Tertia) (1928), where he acted as the creator of the combined filming. This film was shot at the Berlin film studio Terra-Film AG and marked Lagorio's transition to feature filmmaking and the start of his camera career. By the way, the theme of combined filming is perhaps the only one professionally and in detail described in A. Lagorio's book "Modern Cinema Technique", published in Russia in 1925. The remaining sections of this book are either brief, limited to references to German experiments, listing and stating well-known information, without going into details. Or, as in the section on stereoscopic cinematography, it is a demonstration of the author's complete misunderstanding of the subject being described, calling into question not only the author's competence in this matter, but also the level of his professional training and knowledge in the photographic process in general.
The next two films in 1930, "Das Donkosakenlied" (Don Cossacks) and "Revolte im Erziehungshaus" (Uprising in the House of Education), he shot as a cameraman together with Curt Oertel (Curt Oertel). Together with the cinematographer Georg Stilianudis, he made his third feature film Niemandsland (No Man's Land (1931). Alexander von Lagorio's first completely independent work as a director of photography was the feature film Der Schimmelreiter (The White Racer) (1934) .As director of photography in 1937
related:
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