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  1. Alexandre Trauner (born Sándor Trau; 3 August 1906 in Budapest, Hungary – 5 December 1993 in Omonville-la-Petite, France) was a Hungarian film production designer. After studying painting at Hungarian Royal Drawing School , he left the country in 1929, fleeing from the antisemitic government of Admiral Horthy . [1]

  2. Alexandre Trauner was a Hungarian-born French motion-picture art director whose studio-built sets—the fairground in Quai des brumes (1938; Port of Shadows), the St. Martin Canal in Hotel du Nord (1938), the metro station in Les Portes de la nuit (1946; Gates of Night)—formed the moviegoing public’s.

  3. Alexandre Trauner. Art Director: The Apartment. Hungarian-born Alexandre Trauner came to Paris in 1929 to escape the anti-semitic Horty regime in his native country, and to paint. Instead, he became involved in the film industry as an assistant to the famous art director Lazare Meerson.

  4. Alexandre Trauner. Art Director: The Apartment. Hungarian-born Alexandre Trauner came to Paris in 1929 to escape the anti-semitic Horty regime in his native country, and to paint. Instead, he became involved in the film industry as an assistant to the famous art director Lazare Meerson.

  5. Feb 1, 2009 · Alexandre Trauner is remembered for his highly evocative `poetic realist' designs in films such as Le Quai des brumes (1938), Hôtel du Nord (1938), Le Jour se lève (1939) and Les Enfants du paradis (1945). His designs intertwined familiar iconography with stylistic accentuation so that the decor became the narrative's organising image.

  6. Dec 21, 1993 · Alexandre Trauner, painter, designer, art director: born Budapest, Hungary 3 September 1906; twice married; died Omonville-La-Petite, Normandy 6 December 1993.

  7. Alexandre Trauner. (1906—1993) Quick Reference. (1906–93). A set‐designer (of Hungarian origin) with probably the longest continuing career in French cinema—from assistant on Clair's A nous la liberté (1931) through to Besson's Subway (1985). His great ... From: Trauner, Alexandre in The New Oxford Companion to Literature in French »