Ansel. E. Wallace | |
|---|---|
 Ansel Wallace with movie camera, 1915 | |
| Born | October 30, 1884 |
| Died | December 19, 1941 (aged 57) |
| Cause of death | cerebral hemorrhage |
| Occupation | photographer/newsreel cinematographer |
| Spouse | Virginia M. Wallace |
| Signature | |
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Ansel Earle Wallace (October 30, 1884 - December 19, 1941) was a photojournalist and newsreel cameraman who gained prominence in 1915 when he covered World War I. [1]
Ansel Earle Wallace was born on October 30, 1884, in South Bend, Indiana. His father and his brother Harry were all photographers. In 1910, Wallace went to New York City where he started working as a press photographer for the newspapers of William Randolph Hearst. He shot his first film in 1914 while covering the Mexican War together with his colleague Ariel Varges. [1]
Sent to Europe in November 1914 by Hearst, Wallace filmed the German offensive on the Eastern Front, was captured by a German submarine when he tried to cross the English Channel and finally made his way to Italy to report on the Italian entry into the war. [2]
One of the first newsreel cameramen in American film history, Wallace had a major scoop in 1915 with his pictures of the new super submarines that were deployed by the German Navy. [3]
Wallace returned to America in July 1915. By 1918 he had left the Hearst news service and for the rest of his life Wallace worked for Wallace and Sons Photography. He died in Evansville, Indiana, on December 19, 1941, and was buried in Oak Hill Cemetery. [1]
Wallace’s films taken during World War I were shown in the Hearst-Selig News Pictorial. Some of these newsreels have been located in the collection of the Library of Congress and the Austrian Film Archives by film historians Cooper C. Graham and Ron van Dopperen while researching their book American Cinematographers in the Great War, 1914-1918, [1] notably scenes taken on the Eastern Front, at a military training camp near Frankfurt, Germany, and a rare scene showing Field Marshall von Hindenburg and his staff. [4] [5]
Numerous still pictures taken by Wallace at the front have also been identified by the authors.
Newsreel footage of the 6 May 1937 Hindenburg disaster, where the zeppelin LZ 129 Hindenburg crashed and burned down, was filmed by several companies.
Charles G. Rosher, A.S.C. was an English-born cinematographer who worked from the early days of silent films through the 1950s.
Dr. Diongu Badaturuge Nihalsingha was an accomplished Sri Lankan film director, cinematographer, editor, producer. He was noted for his versatility : as a film cameraman, as a film director, as a (pioneering) television director, as an administrator, and as a teacher. He is a pioneer who introduced professional television production to Sri Lanka, commencing with Sri Lanka's and South Asia's first color teledrama, Dimuthu Muthu. He was the founding Chief Executive Officer and General Manager of Sri Lanka's National Film Corporation and a distinguished alumni of the then University of Ceylon, Peradeniya. He is the only Sri Lankan who has been conferred Life Fellowship of the Society of Motion picture and Television Engineers USA, the oldest film organisation in the world, established in 1915. The Society determines film and television standards worldwide.
Fritz Arno Wagner is considered one of the most acclaimed German cinematographers from the 1920s to the 1950s. He played a key role in the Expressionist film movement during the Weimar period and is perhaps best known for excelling "in the portrayal of horror," according to noted film critic Lotte H. Eisner.
Albert Knox Dawson was an American photojournalist and film correspondent who covered World War I with the German, Austro-Hungarian and Bulgarian Armies.
Otto W. Kanturek was an Austrian, later Czechoslovak cameraman, cinematographer and film director.
Edwin Frederick Weigle was a cameraman for the Chicago Tribune, cinematographer and documentary film maker.
Jules Greenbaum was a German pioneering film producer. He founded the production companies Deutsche Bioscope, Deutsche Vitascope and Greenbaum-Film and was a dominant figure in German cinema in the years before the First World War. He is also known for his early experiments with sound films around twenty years before the success of The Jazz Singer made them a more established feature of cinema.
Hans Theyer (1884–1955) was an Austrian cinematographer. From 1907, Theyer travelled around the world as a newsreel cameraman for Pathé. Theyer’s work took him as far as China, Alaska, the South Sea Islands, Africa and the Middle East. In January 1914, Theyer was employed as a cinematographer for the German Messter film studio. At the outbreak of World War I he was assigned by Messter to the German War Office to produce films on the German war effort. In January 1915, Theyer was sent to the Western Front and to occupied Belgium to record a film together with American film correspondent Albert K. Dawson.
Josef “Sepp” Allgeier was a German cinematographer who worked on around fifty features, documentaries and short films. He began his career as a cameraman in 1911 for the Expreß Film Co. of Freiburg im Breisgau. In 1913, he filmed newsreels in the Balkans. He then became an assistant to Arnold Fanck, a leading director of Mountain films. He worked frequently with Luis Trenker and Leni Riefenstahl, both closely associated with the genre. He was Riefenstahl's lead cameraman on her 1935 propaganda film Triumph of the Will. During the Second World War, Allgeier filmed material for newsreels. He later worked in West German television. His son is the cinematographer Hans-Jörg Allgeier.
The German Side of the War is a 1915 American film. It was one of the first American news films to show World War I from the German perspective, compiled of newsreels released by the Chicago Tribune. The film makers, Edwin F. Weigle and Joseph Patterson, gained permission from military authorities to film after the city of Antwerp fell to the Germans. They also filmed the material from the Tribune's With the Russians at the Front on the same voyage, crossing into Germany to focus more on the Eastern Front. The film premiered in New York City at the 44th Street theater in September 1915.
Donald C. Thompson (1885–1947) was a war photographer, cinematographer, producer and director known primarily for his still and motion picture work during World War I. Thompson repeatedly risked his life to capture the war on film, and then would return to the United States to share his experiences and images in public lectures, bringing the horrors of the war to US audiences. His work was widely shown in the US prompting one magazine to note that "nearly every reader of news of the great European war is familiar with the name of Donald C. Thompson, known the world over as ‘The War Photographer from Kansas.’” War correspondent E. Alexander Powell said that Thompson had “more chilled-steel nerve than any man I know.”
Wilbur Henry Durborough was a photojournalist and film correspondent who covered World War I with the German army.
Ariel Lowe Varges (1890–1972) was a photojournalist and pioneering newsreel cameraman for the Hearst media, who covered the First World War extensively.
Leon Hollis Caverly (1884-1966) was an official photographer with the U.S. Marine Corps and 2nd Division, A.E.F, and the first cameraman to land in Europe in July 1917 with the American Expeditionary Forces to film the U.S. entry into World War I.
Nelson Elisha Edwards was one of the first newsreel cameramen in American film history. From 1914 he filmed for Hearst’s International News Service. Edwards filmed the Turkish and German side of World War I.
Merl LaVoy (1885–1953) was a photographer and documentary cinematographer who traveled the four corners of the world, earning him the title of “The Modern Marco Polo”.
Frank Emil Kleinschmidt (1871–1949) was a photographer and documentary cinematographer who explored the Arctic and filmed with the Austro-Hungarian army during World War I.
Edwin Hyland Cooper was a photographic reporter and cinematographer who filmed the American attack on the German lines near Château-Thierry in July 1918. For his extraordinary bravery during this offensive, Lt. Cooper received the Distinguished Service Cross and Silver Star.
War As It Really Is is a 1916 American documentary war film shot, edited and distributed by Donald C. Thompson. The seven-reel film exposed American audiences to some of the most authentic sights and first-hand accounts of World War I before the United States entered the war. The film was first shown in installments at the Rialto Theatre in New York City in October 1916.
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