Desmond Evelyn Otho Cockburn Dickinson B.S.C. (1902–1986) was a British cinematographer.
He was cinematographer on Such Is the Law (1930). He directed Detective Lloyd (1932), notable as Britain's only talkie serial. During World War II he made morale boosting documentaries. He worked on Laurence Olivier's version of Hamlet (1948).
Ewald André Dupont was a German film director, one of the pioneers of the German film industry. He was often credited as E. A. Dupont.
Mischa Auer was a Russian-born American actor who moved to Hollywood in the late 1920s. He first appeared in film in 1928. Auer had a long career playing in many of the era's best known films. He was nominated for the Academy Award for Best Supporting Actor in 1936 for his performance in the screwball comedy My Man Godfrey, which led to further zany comedy roles. He later moved into television and acted in films again in France and Italy well into the 1960s.
Walter Sydney Vinnicombe, known as Wally Patch, was an English actor and comedian. He worked in film, television and theatre.
Sidney Hickox, A.S.C. was an American film and television cinematographer.
Robert William Armstrong was an American film and television actor remembered for his role as Carl Denham in the 1933 version of King Kong by RKO Pictures. He uttered the famous exit quote, "'it wasn't the airplanes, 'twas beauty killed the beast," at the film's end.
Harold Ernest Palmer was a British cinematographer. He worked on some 130 feature films and TV series episodes between 1930 and 1963.
Alfred Junge was a German-born production designer who spent a large part of his career working in the British film industry.
George King was an English actors' agent, film director, producer and screenplay writer. He is associated with the production of quota quickies. He helmed several of Tod Slaughter's melodramas, including 1936's The Demon Barber of Fleet Street.
Bernard Knowles was an English film director, producer, cinematographer and screenwriter. Born in Manchester, Knowles worked with Alfred Hitchcock on numerous occasions before the director emigrated to Hollywood.
Tom Helmore was an English film actor. He appeared in more than 50 films between 1927 and 1972, including three directed by Alfred Hitchcock.
Anton Grot was a Polish art director long active in Hollywood. He was known for his prolific output with Warner Brothers, contributing, in such films as Little Caesar (1931), and Gold Diggers of 1933 to the distinctive Warners look and style. According to a TCM profile, he showed a "flair for harsh realism, Expressionistic horror and ornate romantic moods alike".
Arthur L. Todd was an American cinematographer whose work included Hot Saturday (1932), I've Got Your Number (1934) and You're in the Army Now (1941).
Geoffrey Faithfull B.S.C., was a British cinematographer who worked on more than 190 feature films from starting in the industry in the 1910s. Faithfull also directed two films: For You Alone (1945) and I'll Turn to You (1946). He worked on several films with Michael Powell and among his later work was responsible for the 1960 SF classic Village of the Damned.
Kenneth Kove (1892–1984) was a British actor. He was a regular member of the Aldwych farce team between 1923 and 1930, often in "silly-ass" roles; appearing in It Pays to Advertise (1923), Thark (1927), A Cup of Kindness (1929), and A Night Like This (1930). He also appeared in several films.
Bruno Mondi was a German cameraman and director of photography.
Curt Courant was a German cinematographer who worked on over a hundred films during the silent and early sound eras. Courant worked in several European countries, collaborating with figures such as Alfred Hitchcock and Fritz Lang. As he was of Jewish ancestry, Courant was forced to leave Germany in 1933 and go into exile following the Nazi takeover of power. Courant worked at several of the leading British studios during the mid-1930s. He is the father of Willy Kurant who also became a cinematographer.
Robert Baberske was a German cinematographer. Although he worked briefly in Britain, Baberske spent most of his career in the German film industry. Baberske began as an assistant to Karl Freund. He became a prominent film technician during the silent era, and later during the Nazi years. Following the Second World War, he lived and worked in East Germany on a number of propaganda films for the state-controlled DEFA studio.
Ubaldo Arata was an Italian cinematographer. Arata worked on more than a hundred films between 1918 and his death in 1947. Arata entered cinema in the silent era, and worked prolifically during the 1920s including on one of the final entries into the long-running Maciste series. He was employed on the first Italian sound film The Song of Love (1930). Until the fall of Fascism, he was one of the leading Italian cinematographers working on propaganda films such as Scipione l'africano (1937) and Luciano Serra, Pilot (1938) as well as more straightforward entertainment films.
L. William O'Connell was an American cinematographer who worked in Hollywood for decades, beginning during the silent era. He frequently worked with directors Howard Hawks and William K. Howard.
Harry Fischbeck (1879–1968) was a German-born cinematographer who emigrated to the United States where he worked in the American film industry. He was employed by a variety of different studios during his career including Universal, United Artists and Warner Brothers, but primarily for Paramount Pictures. One of his first credits was for the historical The Lincoln Cycle films directed by John M. Stahl.