{"id":5323,"date":"2022-05-09T15:12:47","date_gmt":"2022-05-09T13:12:47","guid":{"rendered":"https:\/\/leonore-mau.de\/zum-werk\/fotofilme\/"},"modified":"2022-09-14T11:31:42","modified_gmt":"2022-09-14T09:31:42","slug":"fotofilme","status":"publish","type":"page","link":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/","title":{"rendered":"PHOTO FILMS"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-l78sl3kt-43d5ad33124d2c21b388a228e19941df\">\n#top .av-special-heading.av-l78sl3kt-43d5ad33124d2c21b388a228e19941df{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-l78sl3kt-43d5ad33124d2c21b388a228e19941df .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-l78sl3kt-43d5ad33124d2c21b388a228e19941df .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-l78sl3kt-43d5ad33124d2c21b388a228e19941df av-special-heading-h3  avia-builder-el-0  el_before_av_hr  avia-builder-el-first '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >Photo films<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-129q-ed94ae022c16dc17726c5842dcaa5792\">\n#top .hr.hr-invisible.av-129q-ed94ae022c16dc17726c5842dcaa5792{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-129q-ed94ae022c16dc17726c5842dcaa5792 hr-invisible  avia-builder-el-1  el_after_av_heading  el_before_av_one_full '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-4365a-b39b3d8854c42bbe867e416870d66c56 av_one_full  avia-builder-el-2  el_after_av_hr  el_before_av_hr  first flex_column_div  '     ><section  class='av_textblock_section av-l5s7hcq1-fe98eb605af835ce8b87df21c6fceb1e '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>PHOTO FILM \u2013 THINKING IN SEQUENCES<\/strong><\/p>\n<p>Gerd Roscher in a conversation with Leonore Mau (2006)<\/p>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-q9oe-bceae6640c2f9dd9cf1cf226a17f953f\">\n#top .hr.hr-invisible.av-q9oe-bceae6640c2f9dd9cf1cf226a17f953f{\nheight:25px;\n}\n<\/style>\n<div  class='hr av-q9oe-bceae6640c2f9dd9cf1cf226a17f953f hr-invisible  avia-builder-el-4  el_after_av_one_full  el_before_av_one_half '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-3g5r2-11-773ffd93b9721973ff34067ef097c482 av_one_half  avia-builder-el-5  el_after_av_hr  el_before_av_one_half  first flex_column_div  '     ><p><section  class='av_textblock_section av-l5s78o6y-10-92404c6a750e7ad2f4bcb934e66d1cf4 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Gerd Roscher (GR): It is extremely unusual for two artists to collaborate, with each one working in their own terrain while continually consulting one another and banding together. How should we imagine your cooperation, the collaboration between Hubert Fichte and yourself? How did your joint photo films come about?<\/strong><\/p>\n<p>Leonore Mau (LM): We had been already living here for a while when we were invited to a festive dinner at Hamburg\u2019s \u00dcbersee-Club (Overseas Club). Seated opposite us was a couple who drew us into conversation. And suddenly the woman asked, \u201cTell me, where in fact do you live?\u201d And we replied, \u201cWe live in D\u00fcrerstrasse 9\u201d. \u201cWhat?\u201d she said, \u201cWe live in number eight.\u201d In the house directly opposite you. The man was head of films at the NDR [Norddeutscher Rundfunk: North German television]. They invited us to dinner one evening and then the man, Reinhard Hagen, began saying how much he would like to broadcast photo films. Hubert said, \u201cPhoto films. We can do that, right off.\u201d Without asking me. So then we discussed it at length when we got back home. I hadn\u2019t the slightest idea how technically such photo films are made.<\/p>\n<p>Then we went on a short holiday to Greece. On the last day but one we ate something that was off and Hubert came down pretty badly with hepatitis. The doctor said, \u201cYou may talk as much as you like, but avoid doing anything physical. You must stay in bed or go into hospital.\u201d So Hubert then asked me, \u201cAre you willing to take care of me, like make mashed potato every day?\u201d I will never make so much mashed potato in my life again. But alright, that\u2019s what I did. During that time we talked about the film. He said, \u201cYou need about 500 photos for a twenty-minute film. So you can go out every day. I can lie here alone in bed, and when you return you make mashed potato for me.\u201d So that\u2019s what we did: for weeks on end I set off in the morning. I photographed the world of dockworkers without a regular job and went to the \u201cauction\u201d every morning. They are really poor devils because in some circumstances they go there every morning in the hope of getting hired that day. But that doesn\u2019t always happen. Finally, the boss of this place said to me, \u201cPlease come with me to my office after the auction. Because they don\u2019t like photographs being taken during the auction, it makes them aggressive.\u201d For half an hour I sat with the boss, after which he accompanied me back onto the street. That\u2019s when my work began, properly getting to know people like that and seeing how they lived.<\/p>\n<p>One woman had just had a baby and her husband would say goodbye each morning. Some of them were living in really poor conditions. I kept going back to these neighbourhoods and photographed the houses and the people when they went shopping. And then in Hamburg harbour. I told myself I had to go along with them, to one of those big ships. But how was I to get there? They were pleased that someone wanted to accompany them. I crossed over with them to a big ship in a sort of rusty old launch. When I arrived I was supposed to climb up on board the ship, up a rusty old ladder. As I ascended, one camera was dangling behind me, one in front. I felt utterly wretched. But I thought: you\u2019ve got yourself into this, and you\u2019ve also still got that mashed potato to make. So I clambered up this rusty ladder. Oh God, I was so horribly afraid. I don\u2019t have a head for heights. But all of a sudden I was up there on the ship, between sacks of sugar and I don\u2019t know whatever else was there. And the next moment I was busy working and that made me feel much better. I enjoyed that. I have no idea how many hours I was up there on the ship when it occurred to me I had to get back down again. But I managed that too without falling into the Elbe.<\/p>\n<p><strong>GR: Did your films generally come about with your photos already shot and Hubert then writing a commentary afterwards? Or did he sometimes also make specifications, like: I am interested in this or that, I would like you to shoot such and such a sequence?<\/strong><\/p>\n<p><strong>In your Portuguese film <a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/der-fischmarkt-und-die-fische\/\"><em>Der Fischmarkt und die Fische<\/em><\/a> (D, 1968) it feels as if he already had certain things in mind.<\/strong><\/p>\n<p>LM: Yes, making the Portuguese film was so exciting. It was all my own doing. Almost all of it was in my hands. I was able to slide around on my knees and point the camera right into the fishes\u2019 jaws. But making the first film \u2013 <a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/der-tag-eines-unstaendigen-hafenarbeiters\/\"><em>Der Tag eines unst\u00e4ndigen Hafenarbeiters <\/em><\/a>(D, 1966) \u2013 was entirely different. Here, I initially had no idea at all what I was supposed to photograph. But Hubert was very animated. He was really pleased with the results. He then wrote the text and the film was shown. The people at the NDR were also very impressed and said, \u201cIf you find a subject like that again, just do it.\u201d And the subject was Portugal and was the fish.<\/p>\n<div id=\"&#8221;links&#8221;-link-5323\" class=\"sh-link &#8221;links&#8221;-link sh-hide\"><a href=\"#\" onclick=\"showhide_toggle('&#8221;links&#8221;', 5323, '&#8221;&gt;&gt;&gt;', '&#8221;&gt;&gt;&gt;'); return false;\" aria-expanded=\"false\"><span id=\"&#8221;links&#8221;-toggle-5323\">&#8221;&gt;&gt;&gt;<\/span><\/a><\/div><div id=\"&#8221;links&#8221;-content-5323\" class=\"sh-content &#8221;links&#8221;-content sh-hide\" style=\"display: none;\"><\/p>\n<p><strong>GR: So how did you go about it, did you both look through the photographs and then say, \u201cThis is a block. That might all fit together, these are the fish, and so on\u201d?<\/strong><\/p>\n<p>LM: Yes, it all happened quite fast. But making the prints took quite a while. In the end I did a whole batch, several hundred prints in one go \u2013 all small-format prints, that took less time. In the process I also began to properly understand how you construct a film like this, how this can become a film. It is two altogether different things, whether you are taking one individual photo after another or taking photos for a film. There are photos I would never normally take if they weren\u2019t for a film. For instance, the woman in the dockworker film who is standing in a quite miserable little kitchen, buttering sandwiches for her husband. I photographed all that kind of stuff!<\/p>\n<p><strong>GR: Do you then think more in sequences or episodes?<\/strong><\/p>\n<p>LM: Yes, you think more in terms of sequences and attach importance to certain things which I wouldn\u2019t otherwise consider for a photo I normally shoot. Things that wouldn\u2019t usually grab my attention. Hubert then calibrated the texts to the film\u2019s time line. On the back of each photo he noted how long it should stay in frame, i.e. five seconds. I\u2019ve no idea where he got this knowhow from. Everyone was thrilled. We then went to the animation studios of the Norddeutscher Rundfunk. They had a camera that was suspended, pointing down, and the photo lay underneath it. Then someone pressed the button for a certain number of seconds. And the outcome was the film.<\/p>\n<p><strong>GR: What about <a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/die-spanische-treppe\/\"><em>Die Spanische Treppe<\/em><\/a> (D, 1970), do you still remember how things were?<\/strong><\/p>\n<p>LM: Yes, of course, I really enjoyed that too. Some of the people on the steps already knew me. No one ever abused me or shouted stuff like \u201cPiss off!\u201d The people there were from all walks of life. There was always something to photograph and no one ever said \u201cno\u201d. Even Ingeborg Bachmann came along. I did invite a couple of people to come especially. Hans Meyer, Bachmann and a few more. The others were all people who liked sitting around on these steps and chatting, or who slept on the wall.<\/p>\n<p><strong>GR: The film\u2019s commentary includes a passage that talks about an obnoxious janitor. It\u2019s a particularly daring passage that departs quite far from what\u2019s happening just there in the images.<\/strong><\/p>\n<p>LM: That was the concierge at the Villa Massimo. As Hubert had found out, the man had a mirror installed inside his little janitor\u2019s office so he could see who was entering and when, with whom, whether alone, or \u2013 God forbid! \u2013 with a woman or a man. He wrote it all down. That riled Hubert, who said, \u201cI\u2019d really like to kill him!\u201d<\/p>\n<p><strong>GR: Or put him in the film! The journeys on which the photo films are based, beyond the dockworker film, came about during a certain period of your work when you left Hamburg and made your way to Africa and the Caribbean. Was in fact\u00a0[<a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/2-x-45-bilder-agadir\/\"><em>Zwei Mal 45 Bilder \/ S\u00e4tze aus] Agadir<\/em><\/a> (D, 1971), shot in Morocco, the final one in this series?<\/strong><\/p>\n<p>LM: Yes, it was. Personally, I feel it is weaker than the others. Particularly, it is only about architecture because in Arab towns, as well as in the country, people don\u2019t want to be photographed.<\/p>\n<p>You have to respect how they see things, namely that a part of their soul is being stolen from them. That\u2019s why I think the film turned out to be quite boring.<\/p>\n<p><strong>GR: As such, Agadir is an interesting subject, since back then when you were photographing there it had just been destroyed in an earthquake and was then rebuilt as a modern city. But I too feel that the film doesn\u2019t get properly inside this subject.<\/strong><\/p>\n<p>LM: No, it doesn\u2019t. And when we started out we didn\u2019t have this idea at all. And if you sense straightaway that people are getting angry at you for taking photos of them, it\u2019s something you have to respect. I don\u2019t like trying to catch people off-guard. Elsewhere I\u2019ve also always asked people first. Except with the photos I took at the autopsy [in the portfolio <em>Grosse Anatomie (<\/em>1977)]. There, we met the doctor outside this house, someone we already knew, and he asked me himself. A bus had just drawn up that was empty. A dead man was carried out. The doctor said to me, \u201cI have to go indoors now. Oh, you have a camera around your neck. Well, do you want to join me?\u201d I thought, oh God, this smell \u2013 I won\u2019t be able to stand it. But replied, \u201cOK, I\u2019ll come\u201d. And then it was absolutely fascinating. A couple of times I was quite shocked at myself by how much it fascinated me.<\/p>\n<p><strong>GR: You and Hubert, did you mostly travel with very little luggage?<\/strong><\/p>\n<p>LM: No, not that little. I had my three cameras to carry, that\u2019s a lot, then the various lenses for them. I was constantly changing lenses. I would still do that today too, because for me a telephoto lens gives you something different from when you go up close \u2013 also something you can\u2019t do everywhere\u2026<\/p>\n<p><strong>GR: You once told me that in those days you occasionally missed your films being first broadcast on TV because you had already left to travel again. So you produced them at the NDR and were then sometimes away for as long as a year?<\/strong><\/p>\n<p>LM: That\u2019s right. It\u2019s only recently that I first saw the film about Agadir.<\/p>\n<p><strong>GR: What actually brought this unusual experience with photo films to an end? Because it was for only a few years that you were making them.<\/strong><\/p>\n<p>LM: Because everyone stopped making them. We couldn\u2019t make photo films on our own because we didn\u2019t have the necessary film equipment. And then we got so fascinated by our involvement with so-called hybrid religions, as you can also see in our books. You can\u2019t become that fascinated by two things at the same time and do them both really well.<\/p>\n<p><em><span lang=\"EN-US\">Gerd Roscher conducted the interview with Leonore Mau on May 27, 2006 in Hamburg. 2009 the interview was published in the publication &#8220;Viva Fotofilm!&#8221; by Sch\u00fcrenverlag<\/span>: <a href=\"https:\/\/www.schueren-verlag.de\/programm\/titel\/279-viva-fotofilm-bewegt-unbewegt.html\" target=\"_blank\" rel=\"noopener noreferrer\" data-auth=\"NotApplicable\" data-safelink=\"true\" data-linkindex=\"0\">https:\/\/www.schueren-verlag.de\/programm\/titel\/279-viva-fotofilm-bewegt-unbewegt.html<\/a><br \/>\n<\/em><\/p>\n<p><\/div>\n<\/div><\/section><br \/>\n<div  class='hr av-l80a08nh-269617e54416134e0bacbe56c3ece78d hr-default  avia-builder-el-7  el_after_av_textblock  el_before_av_textblock '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><br \/>\n<section  class='av_textblock_section av-l80a74im-670202ef57d0910e0f0d9cede1d162fb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p class=\"av-special-heading-tag\"><strong>Links to the photo films (extracts):<\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/der-tag-eines-unstaendigen-hafenarbeiters\/\">Der Tag eines unst\u00e4ndigen Hafenarbeiters<\/a><\/li>\n<li><a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/der-fischmarkt-und-die-fische\/\">Der Fischmarkt und die Fische<\/a><\/li>\n<li><a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/die-spanische-treppe\/\">Die Spanische Treppe<\/a><\/li>\n<li><a href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/2-x-45-bilder-agadir\/\">Zwei Mal 45 Bilder \/ S\u00e4tze aus Agadir<\/a><\/li>\n<\/ul>\n<p><main class=\"template-page content av-content-full alpha units\" role=\"main\"><\/main><\/p>\n<\/div><\/section><\/p><\/div>\n<div  class='flex_column av-96h6-9-4fca97f4b655ebd0b6299ae8d05fe9c8 av_one_half  avia-builder-el-9  el_after_av_one_half  avia-builder-el-last  flex_column_div  '     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-l7ygspcy-4de67f11c0277a7e243043a1860879d7\">\n#top .hr.hr-invisible.av-l7ygspcy-4de67f11c0277a7e243043a1860879d7{\nheight:15px;\n}\n<\/style>\n<div  class='hr av-l7ygspcy-4de67f11c0277a7e243043a1860879d7 hr-invisible  avia-builder-el-10  el_before_av_image  avia-builder-el-first '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-l5s7x0le-8-11eac7370ac11d3d0c7ce9735f3c4989\">\n.avia-image-container.av-l5s7x0le-8-11eac7370ac11d3d0c7ce9735f3c4989 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-l5s7x0le-8-11eac7370ac11d3d0c7ce9735f3c4989 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-l5s7x0le-8-11eac7370ac11d3d0c7ce9735f3c4989 av-styling- avia-align-left  avia-builder-el-11  el_after_av_hr  el_before_av_textblock '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-3036 avia-img-lazy-loading-not-3036 avia_image ' src=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-222x300.jpg\" alt='' title='Ohne Titel (Hafenarbeiter mit Lebensmittels\u00e4cken)'  height=\"300\" width=\"222\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-222x300.jpg 222w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-300x405.jpg 300w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-600x810.jpg 600w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-763x1030.jpg 763w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-768x1037.jpg 768w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563-522x705.jpg 522w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363563.jpg 889w\" sizes=\"(max-width: 222px) 100vw, 222px\" \/><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-l78t9rlr-7-beaf76746235bd7fa0742058d3ac8cba '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock img-caption-indi'  itemprop=\"text\" ><p>Untitled (Dockworkers with sacks), 1966<br \/>\n\u00a9 bpk \/ S. Fischer Stiftung \/ Leonore Mau<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-l5s7yzrs-6-fa42251548ff16c9b40e6ac3e092eda1\">\n.avia-image-container.av-l5s7yzrs-6-fa42251548ff16c9b40e6ac3e092eda1 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-l5s7yzrs-6-fa42251548ff16c9b40e6ac3e092eda1 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-l5s7yzrs-6-fa42251548ff16c9b40e6ac3e092eda1 av-styling- avia-align-left  avia-builder-el-13  el_after_av_textblock  el_before_av_textblock '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-3041 avia-img-lazy-loading-not-3041 avia_image ' src=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-300x295.jpg\" alt='' title='Fischmaul'  height=\"295\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-300x295.jpg 300w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-600x591.jpg 600w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-1030x1014.jpg 1030w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-80x80.jpg 80w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-768x756.jpg 768w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-36x36.jpg 36w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613-705x694.jpg 705w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70363613.jpg 1200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-l78tdkpd-5-a226278957c0a172c6f1b1b321e0ff79 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock img-caption-indi'  itemprop=\"text\" ><p>Fischmaul, 1964<br \/>\n\u00a9 bpk \/ S. Fischer Stiftung \/ Leonore Mau<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-l5s82ccc-4-54ea9b111ec6bd1bb13a845532743b41\">\n.avia-image-container.av-l5s82ccc-4-54ea9b111ec6bd1bb13a845532743b41 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-l5s82ccc-4-54ea9b111ec6bd1bb13a845532743b41 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-l5s82ccc-4-54ea9b111ec6bd1bb13a845532743b41 av-styling- avia-align-left  avia-builder-el-15  el_after_av_textblock  el_before_av_textblock '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-2944 avia-img-lazy-loading-not-2944 avia_image ' src=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892-300x203.jpg\" alt='' title='Ohne Titel (Auf der Spanischen Treppe)'  height=\"203\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892-300x203.jpg 300w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892-600x405.jpg 600w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892-1030x695.jpg 1030w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892-768x518.jpg 768w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892-705x476.jpg 705w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70247892.jpg 1200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-l78ti5cf-3-ee8812146c83788d71dc13184fcd5a05 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock img-caption-indi'  itemprop=\"text\" ><p>Untitled (On the Spanish Steps), 1967\/68<br \/>\n\u00a9 bpk \/ S. Fischer Stiftung \/ Leonore Mau<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-l5s84ghj-2-570a9c8e716a74533c106caae73b3421\">\n.avia-image-container.av-l5s84ghj-2-570a9c8e716a74533c106caae73b3421 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-l5s84ghj-2-570a9c8e716a74533c106caae73b3421 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-l5s84ghj-2-570a9c8e716a74533c106caae73b3421 av-styling- avia-align-left  avia-builder-el-17  el_after_av_textblock  el_before_av_textblock '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-2887 avia-img-lazy-loading-not-2887 avia_image ' src=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-300x286.jpg\" alt='' title='Ohne Titel (Stra\u00dfenszene in Agadir)'  height=\"286\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-300x286.jpg 300w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-400x381.jpg 400w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-1030x981.jpg 1030w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-768x732.jpg 768w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-705x672.jpg 705w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860-600x572.jpg 600w, https:\/\/leonore-mau.de\/wp-content\/uploads\/2022\/07\/70245860.jpg 1200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-l5s7xjhw-1-1498dd4e3228f818b037586fbd8a02bc '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock img-caption-indi'  itemprop=\"text\" ><p>Untitled (Street scene in Agadir), 1970<br \/>\n\u00a9 bpk \/ S. Fischer Stiftung \/ Leonore Mau<\/p>\n<\/div><\/section><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":5252,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5323","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>PHOTO FILMS - Leonore Mau<\/title>\n<meta name=\"description\" content=\"Leonore Mau (1916-2013). Deutsche Fotografin. Biografie. Werk. Ausstellungen. Interviews. Nachlass. Bildethik.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PHOTO FILMS - Leonore Mau\" \/>\n<meta property=\"og:description\" content=\"Leonore Mau (1916-2013). Deutsche Fotografin. Biografie. Werk. Ausstellungen. Interviews. Nachlass. Bildethik.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/\" \/>\n<meta property=\"og:site_name\" content=\"Leonore Mau\" \/>\n<meta property=\"article:modified_time\" content=\"2022-09-14T09:31:42+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"20 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/leonore-mau.de\\\/en\\\/zum-werk\\\/fotofilme\\\/\",\"url\":\"https:\\\/\\\/leonore-mau.de\\\/en\\\/zum-werk\\\/fotofilme\\\/\",\"name\":\"PHOTO FILMS - Leonore Mau\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/leonore-mau.de\\\/#website\"},\"datePublished\":\"2022-05-09T13:12:47+00:00\",\"dateModified\":\"2022-09-14T09:31:42+00:00\",\"description\":\"Leonore Mau (1916-2013). Deutsche Fotografin. Biografie. Werk. Ausstellungen. Interviews. Nachlass. Bildethik.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/leonore-mau.de\\\/en\\\/zum-werk\\\/fotofilme\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/leonore-mau.de\\\/en\\\/zum-werk\\\/fotofilme\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/leonore-mau.de\\\/en\\\/zum-werk\\\/fotofilme\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\\\/\\\/leonore-mau.de\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"ABOUT THE WORK \\\/\\\/ THE WORK\",\"item\":\"https:\\\/\\\/leonore-mau.de\\\/en\\\/zum-werk\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"PHOTO FILMS\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/leonore-mau.de\\\/#website\",\"url\":\"https:\\\/\\\/leonore-mau.de\\\/\",\"name\":\"Leonore Mau\",\"description\":\"Fotografin\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/leonore-mau.de\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"PHOTO FILMS - Leonore Mau","description":"Leonore Mau (1916-2013). Deutsche Fotografin. Biografie. Werk. Ausstellungen. Interviews. Nachlass. Bildethik.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/","og_locale":"en_US","og_type":"article","og_title":"PHOTO FILMS - Leonore Mau","og_description":"Leonore Mau (1916-2013). Deutsche Fotografin. Biografie. Werk. Ausstellungen. Interviews. Nachlass. Bildethik.","og_url":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/","og_site_name":"Leonore Mau","article_modified_time":"2022-09-14T09:31:42+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"20 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/","url":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/","name":"PHOTO FILMS - Leonore Mau","isPartOf":{"@id":"https:\/\/leonore-mau.de\/#website"},"datePublished":"2022-05-09T13:12:47+00:00","dateModified":"2022-09-14T09:31:42+00:00","description":"Leonore Mau (1916-2013). Deutsche Fotografin. Biografie. Werk. Ausstellungen. Interviews. Nachlass. Bildethik.","breadcrumb":{"@id":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/leonore-mau.de\/en\/zum-werk\/fotofilme\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/leonore-mau.de\/en\/"},{"@type":"ListItem","position":2,"name":"ABOUT THE WORK \/\/ THE WORK","item":"https:\/\/leonore-mau.de\/en\/zum-werk\/"},{"@type":"ListItem","position":3,"name":"PHOTO FILMS"}]},{"@type":"WebSite","@id":"https:\/\/leonore-mau.de\/#website","url":"https:\/\/leonore-mau.de\/","name":"Leonore Mau","description":"Fotografin","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/leonore-mau.de\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/pages\/5323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/comments?post=5323"}],"version-history":[{"count":70,"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/pages\/5323\/revisions"}],"predecessor-version":[{"id":6883,"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/pages\/5323\/revisions\/6883"}],"up":[{"embeddable":true,"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/pages\/5252"}],"wp:attachment":[{"href":"https:\/\/leonore-mau.de\/en\/wp-json\/wp\/v2\/media?parent=5323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}