Heinz Goldberg
Heinz Goldberg (1891–1969) was a German screenwriter. He also directed two silent films.[1] Following the Nazi Party's rise to power in 1933, the Jewish Goldberg went into exile in several countries including Austria and the Soviet Union before settling in Britain. He returned to Germany in the 1950s.
Heinz Goldberg | |
|---|---|
| Born | 30 May 1891 |
| Died | July 1969 |
| Occupation | Writer, Director |
| Years active | 1923–1936 (film) |
Filmography
- Paganini (dir. Heinz Goldberg, 1923)
- The Money Devil (dir. Heinz Goldberg, 1923)
- Rags and Silk (dir. Richard Oswald, 1925)
- The Director General (dir. Fritz Wendhausen, 1925)
- The Elegant Bunch (dir. Jaap Speyer, 1925)
- A Woman with Style (dir. Fritz Wendhausen, 1928)
- The Little Slave (dir. Luise Fleck and Jacob Fleck, 1928)
- Children of the Street (dir. Carl Boese, 1929)
- The Last Company (dir. Curtis Bernhardt, 1930)
- Dreyfus (dir. Richard Oswald, 1930)
- L'Homme qui assassina (dir. Curtis Bernhardt and Jean Tarride, 1931)
- The Man Who Murdered (dir. Curtis Bernhardt, 1931)
- Stamboul (dir. Dimitri Buchowetzki, 1931)
- El hombre que asesinó (dir. Dimitri Buchowetzki and Fernando Gomis, 1932)
- 1914 (dir. Richard Oswald, 1931)
- Danton (dir. Hans Behrendt, 1931)
- Poor as a Church Mouse (dir. Richard Oswald, 1931)
- Distorting at the Resort (dir. Victor Janson, 1932)
- Chauffeur Antoinette (dir. Herbert Selpin, 1932)
- The Love Contract (dir. Herbert Selpin, 1932)
- Conduisez-moi Madame (dir. Herbert Selpin, 1932)
- Holzapfel Knows Everything (dir. Victor Janson, 1932)
- Unheimliche Geschichten (dir. Richard Oswald, 1932)
- Was sagt Onkel Emil dazu? (dir. Adolf E. Licho, 1932, short)
- Ganovenehre (dir. Richard Oswald, 1933)
- The Flower of Hawaii (dir. Richard Oswald, 1933)
- A Song Goes Round the World (dir. Richard Oswald, 1933)
- Last Love (dir. Fritz Schulz, 1935)
- Heut' ist der schönste Tag in meinem Leben (dir. Richard Oswald, 1936)
- Merijntje Gijzens Jeugd (dir. Kurt Gerron, 1936)
gollark: ?tag blub Graham considers a hypothetical Blub programmer. When the programmer looks down the "power continuum", he considers the lower languages to be less powerful because they miss some feature that a Blub programmer is used to. But when he looks up, he fails to realise that he is looking up: he merely sees "weird languages" with unnecessary features and assumes they are equivalent in power, but with "other hairy stuff thrown in as well". When Graham considers the point of view of a programmer using a language higher than Blub, he describes that programmer as looking down on Blub and noting its "missing" features from the point of view of the higher language.
gollark: > As long as our hypothetical Blub programmer is looking down the power continuum, he knows he's looking down. Languages less powerful than Blub are obviously less powerful, because they're missing some feature he's used to. But when our hypothetical Blub programmer looks in the other direction, up the power continuum, he doesn't realize he's looking up. What he sees are merely weird languages. He probably considers them about equivalent in power to Blub, but with all this other hairy stuff thrown in as well. Blub is good enough for him, because he thinks in Blub.
gollark: Imagine YOU are a BLUB programmer.
gollark: Imagine a language which is UTTERLY generic in expressiveness and whatever, called blub.
gollark: There's the whole "blub paradox" thing.
References
- Mitchell p.170
Bibliography
- Mitchell, Charles P. The Great Composers Portrayed on Film, 1913 through 2002. McFarland, 2004.
- Prawer, S.S. Between Two Worlds: The Jewish Presence in German and Austrian Film, 1910-1933. Berghahn Books, 2005.
External links
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