Кой излиза с Eli Lotar?

Eli Lotar (first name also Ely or Elie, last name also Lothar; born Eliazar or Eleazar Lotar Theodorescu; 30 January 1905 – 10 May 1969) was a French and Romanian photographer, cinematographer and film director. The eldest son of writer Tudor Arghezi, his mother was the schoolteacher and poet Constanța Zissu, who got pregnant with Arghezi when the latter was a monk in the Romanian Orthodox Church; Arghezi recognized him, and, upon being defrocked, married Zissu. Eliazar was cared for by his father and stepmother in Bucharest, becoming a resentful and rebellious child. He was reunited with Constanța after the World War I division of Romania, when she took him to Iași. He then attended Saint Sava National College, but often ran away to rejoin Zissu. Upon her death, he still rejected Arghezi's tutelage, and, before the end of 1924, fled to Paris.

Almost exclusively known abroad as "Eli Lotar", he tried to build his career as an actor, only landing a small part in Jacques Feyder's Carmen. He was taken in as a lover and apprentice by the art photographer Germaine Krull, and through her joined the Parisian avant-garde—also breaking into photojournalism at Vu magazine. By 1927, Lotar was a respected photographer, though still largely imitative of Krull and László Moholy-Nagy, doing unit stills for directors such as Henri Desfontaines and Nikolai Malikoff. His stylistic emancipation began when he joined dissident surrealists like Roger Vitrac, Antonin Artaud, and Georges Bataille. The latter featured his stark images of slaughterhouses in Documents magazine, using them to illustrate his own discourse on the sanitized cruelty at the heart of human experiences. Lotar debuted as a cameraman under Alberto Cavalcanti's direction, and afterwards specialized in camera for documentary films—in acclaimed collaborations with Vitrac, Joris Ivens, Jacques Brunius, and Jean Painlevé.

A student of Marxism, passionate about working-class struggles, Lotar aligned himself with the French Communist Party. In 1932, he engaged in political work alongside documentarian Yves Allégret, with whom he tried to visit and film the destitute communities of Las Hurdes, in Republican Spain. They were stopped in Andalusia by hostile crowds; they went to Tenerife, making a documentary piece for Pathé. Lotar only reached Las Hurdes in 1933, alongside Luis Buñuel and Pierre Unik. The three-man team created Land Without Bread, regarded as both a significant milestone in the genre and a subject of political controversies. Lotar also took a sailing trip around the planet in 1934—alongside his creative partner Jacques-André Boiffard, he provided photographic records of destitution in French Morocco. He continued to work on various projects, mainstream as well as avant-garde and political, throughout the 1930s, becoming celebrated for his artistic vision; he remained in Vichy France during most of the 1940s, joining the resistance networks. He fled to Switzerland in 1944, and found employment with Skira publishers.

Though commissioned to him by his communist contacts, Lotar's 1946 documentary on life in Aubervilliers was widely held as a masterpiece in line with Italian neorealism. It is his only surviving project as a director, and his final experience of success. He continued to film in various locations, from Socialist Poland to colonial Cameroon, but was ignored by critics and filmmakers, and openly condemned by Buñuel as a traitor to communism. Arghezi was similarly shunned, but then rehabilitated, in communized Romania; Lotar made several trips back to Bucharest after 1956, reconnecting with his father and half-siblings. Increasingly erratic and improvident, struggling with alcoholism, he failed to relaunch his career in Romania; in his final work, he did portraits of Alberto Giacometti, who reciprocated with three busts (one of which is Giacometti's last sculpture). Eliazar outlived Arghezi by less than two years, thus failing to benefit from Arghezian royalties. His own contributions, amounting to some 9,000 photographs, were rediscovered and catalogued by Centre Pompidou in the 1990s. A selection was first shown in Bucharest in 2019.

Germaine Luise Krull (20 November 1897 – 31 July 1985) was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically illustrated books such as her 1928 portfolio Métal.