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HANNAH HEER was born in Vienna. She is a filmmaker and artist, who is working in a variety of media, including film, video, installation, photography and cinematography.

Hannah Heer came to prominence in the 1980s, when she was a pioneer Director of Photography on independent feature films. Based in New York City, she was invited to photograph such independent classics, like SUGARBABY (Zuckerbaby, 1985) in Munich, directed by Percy Adlon, starring Marianne Sägebrecht, DECODER (1983) in Hamburg, directed by Muscha and Klaus Maeck, DOG’s NIGHT SONG (Kutya eji dala, 1982) in Budapest, directed by Gábor Bódy, and SUBWAY RIDERS (1979-81) in New York City, directed by Amos Poe, a film which she also produced.

In 1981, Hannah Heer declared Cinematography is “Painting with Light", and "Each Frame is a Painting". In her work on feature films, Hannah Heer transcended the story with great empathy and sensitivity into visuals through lighting and camera movements. "In doing so, I shape the colors in close context with symbolic, psychological, poetic, and personal experiential values".

Following the success of SUGARBABY at the New York Film Festival in 1985, Annette Insdorf, celebrated writer and Professor at Columbia University, interviewed Hannah Heer for the Sunday issue of the "New York Times" (Nov 17, 1985) for a feature article, entitled "In 'Sugarbaby', Style Enhances Content".
In May 1986, the "American Cinematographer Magazine" provided insight into Hannah Heer's innovative cinematography with an extensive article written by the author and film critic Joel L. Weinberg.

SUGARBABY (Zuckerbaby), distributed in the USA by Don Krim and Kino International, was a critical as well as a commercial success. The film was theatrically released in all major cities in the USA, e.g. in New York City it had a theatrical run at Lincoln Plaza Cinemas for several months.

After a period of research, Hannah Heer expanded her work into directing documentary films. Hannah Heer's groundbreaking documentary filmessays include THE OTHER EYE (1991) and THE ART OF REMEMBRANCE - SIMON WIESENTHAL (1995). Both films were produced and directed by Hannah Heer in collaboration with Werner Schmiedel, and photographed by Hannah Heer.

For THE ART OF REMEMBRANCE - SIMON WIESENTHAL renowned composer John Zorn provided the original soundtrack; the film was short-listed for an Oscar® in 1996.

Another sample for Hannah Heer's engaged work is the video installation ON MEMORY (in collaboration with Werner Schmiedel), which was commissioned by MAK, the Museum of Applied Arts / Contemporary Arts, Vienna, in 1998.

Hannah Heer's video art work include GOLD (1983-85), a 3-part-video, and GOLD - SUDDENLY GOLD IMAGES (1985). The multi-media installation GOLD - SUDDENLY GOLD IMAGES was commissioned by the World Wide Video Festival for the Gemeentemuseum in The Hague (NL), and the three part video GOLD was acquired for the collection of the Neue Berliner Kunstverein (n.b.k.).

Hannah Heer’s films, videos and art work have been invited to prestigious international film festivals, such as the Telluride Film Festival, the New York Film Festival, the Berlin Film Festival, the Jerusalem Film Festival, the London Film Festival, the World Wide Video Festival in The Hague, the San Francisco Video Festival, the Budapest Film Week, the Diagonale in Salzburg, the Bombay Film Festival, the Montreal Film Festival, the Sao Paulo Film Festival, the Viennale, and were screened at Museums, like The Whitney Museum in New York, and MAK, the Museum of Applied Arts / Contemporary Arts in Vienna, among others.

1987 - 1988 Hannah Heer taught at the University of Applied Arts in Vienna (then Hochschule für Angewandte Kunst).
1991 - 1993 Hannah Heer was professor at the University of Music and Performing Arts Vienna (Film Academy Vienna).
1997 - 1998 Hannah Heer taught at the School of Visual Arts (SVA) in New York, and she was invited to give lectures at colleges and universities in the USA.