A work in constant progress (and occasional regress).
Camera Operator:
1967 Subjektitüde
1975 Glutmensch
Cinematography:
1967 Subjektitüde
1968 Break the Power of the Manipulators
1968 Their Newspapers
1968 Unsere Steine
1969 Maulwürfe der Revolution
1971 Kohlen für die Naunynstraße
1973 Kennen Sie Fernsehen?
1974 1 Berlin-Harlem
1975 Glutmensch
Director:
1966 Riffi
1967 Subjektitüde
1968 Break the Power of the Manipulators
1968 Cultural Nationalism
1968 Their Newspapers
1968 Unsere Steine
1969 Blues People
1969 Maulwürfe der Revolution
1969 Strange Fruit
1970 Black Man's Volunteer Army of Liberation
1970 On Africa
1970 Washington D.C. November 1970
1971 Kohlen für die Naunynstraße
1973 Kennen Sie Fernsehen?
1974 1 Berlin-Harlem
1975 Glutmensch
Director of Photography:
1966 Riffi
1967 Subjektitüde
1968 Break the Power of the Manipulators
1968 Cultural Nationalism
1968 Their Newspapers
1968 Unsere Steine
1968 White Christmas
1969 Blues People
1969 Maulwürfe der Revolution
1969 Strange Fruit
1970 Black Man's Volunteer Army of Liberation
1970 On Africa
1970 Washington D.C. November 1970
1971 Kohlen für die Naunynstraße
1973 Kennen Sie Fernsehen?
1974 1 Berlin-Harlem
1975 Glutmensch
1975 Warm-Ups
1979 Wilmington 10 -- U.S.A. 10,000
1986 Spirit to Spirit: Nikki Giovanni
Writer:
1966 Riffi
1967 Subjektitüde
1968 Break the Power of the Manipulators
1968 Cultural Nationalism
1968 Their Newspapers
1968 Unsere Steine
1968 White Christmas
1969 Blues People
1969 Maulwürfe der Revolution
1969 Strange Fruit
1970 Black Man's Volunteer Army of Liberation
1970 On Africa
1970 Washington D.C. November 1970
1971 Kohlen für die Naunynstraße
1973 Kennen Sie Fernsehen?
1974 1 Berlin-Harlem
1975 Glutmensch
1975 Warm-Ups
1979 Wilmington 10 -- U.S.A. 10,000
1986 Spirit to Spirit: Nikki Giovanni
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.