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Eduard Tisse

Eduard Tisse

Soviet cinematographer
The basics
Occupation Cinematographer Film director
Country Russia
Date of birth Liepāja, Latvia
Date of death Nov 18, 1961 Moscow, Russia
Awards State Stalin Prize, Order of the Red Banner of Labour, Medal "For Valiant Labour in the Great Patriotic War 1941–1945", Honored art worker of the Russian Soviet Federative Socialist Republic, Medal "In Commemoration of the 800th Anniversary of Moscow"
Political party Communist Party of the Soviet Union
Authority ISNI id Library of congress id All Movie id IMDB id VIAF id
The details

Eduard Kazimirovich Tisse (Russian: Эдуа́рд Казими́рович Тиссэ́, Latvian: Eduards Tisē; 13 April 1897 – 18 November 1961) was a Soviet cinematographer.

Early life and career

He was born to an Estonian Swedish father and Russian mother in Liepāja; he grew up in Liepāja and studied both painting and photography.

Tisse started his career as a newsreel cameraman working under difficult conditions. From 1916 to 1918, he worked as a military cameraman. In 1921, Tisse became a professor at Gerasimov Institute of Cinematography. His career didn't take off until working with director Sergei Eisenstein on the film Strike. Tisse would become Eisenstein's standard cinematographer for the next twenty years.

Tisse, along with Eisenstein and Grigori Alexandrov went on a trip in 1929. They traveled to Europe and the United States with the intent of finding new sound equipment and creating connections between Hollywood and the Soviet film industry. Eisenstein signed with Paramount Pictures and trio headed to California. They worked on several pictures, but nothing was actually produced. Through Eisenstein, photojournalist Margaret Bourke-White met Tisse and in 1932, collaborated with her on Eyes on Russia (1933); this would be Bourke-White's only attempt at film making.

In 1942, Tisse worked on the film In The Mountains of Yugoslavia with soviet filmmaker Abram Room. The film focused on the character Slavko Babic, his life and death, as well as, the Yugoslav-Partisan liberation during World War II. The film proved to be very influential for future Yugoslav filmmakers.

His favorite camera was the Debrie Parvo, which he continued to use even during the sound era to film silent sequences.

Selected filmography

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