Jost Vacano,\u00a0<\/span>photo by Hermann J. Knippertz\/AP\/Eeat News<\/span><\/p>\n Jost Vacano<\/strong>\u00a0made his cinema debut with the feature film\u00a0Schonzeit f\u00fcr F\u00fcchse<\/em><\/span>, which won the Silver Bear in Berlin in 1966. His career took off in the mid-1970s, when he shot\u00a0The Lost Honor of Katharina Blum<\/span><\/em>\u00a0by Volker Schl\u00f6ndorff and Margarethe von Trotta and later\u00a0Lieb Vaterland Magst Ruhig Sein<\/em><\/span>\u00a0with Roland Klick. These films were widely recognized because of their impressive cinematography \u2013 and\u00a0Jost Vacano<\/strong>\u00a0was honored for both films with the Federal Film Prize. He had finally established himself in the cinema world, something he underlined by taking the risk of avoiding television work from 1974 onwards.<\/span><\/span><\/p>\n A breakthrough in his career came with his collaboration with Wolfgang Petersen<\/strong> on the giant Cinema- and TV-series-project\u00a0Das Boot<\/em><\/span>, one of the most important titles in the history of German cinema. International critics noticed the extraordinary innovation of\u00a0Jost Vacano’s<\/strong>\u00a0cinematography, which created a unique, claustrophobic atmosphere of the film. In order to film in extremely small, restricted spaces in a submarine, he had to develop gyro-stabilized hand-held camera work, which allowed for high mobility of the camera operator. For his dynamic, disturbing cinematography in\u00a0Das Boot<\/em><\/span>\u00a0he was nominated for an Oscar\u00ae.\u00a0Jost Vacano\u00a0met with Petersen again on the set of the cult\u00a0Neverending Story<\/span><\/em>\u00a0in 1984.<\/span><\/span><\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2021\/06\/AP_0106270804.jpg\")
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