.mw-parser-output .hidden-begin{box-sizing:border-box;width:100%;padding:5px;border:none;font-size:95%}.mw-parser-output .hidden-title{font-weight:bold;line-height:1.6;text-align:left}.mw-parser-output .hidden-content{text-align:left}@media all and (max-width:500px){.mw-parser-output .hidden-begin{width:auto!important;clear:none!important;float:none!important))You can help expand this article with text translated from the corresponding article in German. (August 2010) Click [show] for important translation instructions.
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After 1945, Staudte also looked at German guilt in the cinema. Alongside Helmut Käutner, he was considered the only German post-war director of any standing who, after 1945, could look back on continuous artistic filmmaking far removed from Heimatfilm and the suppression of history. Staudte's films stood for politically committed cinema as well as for professional craftsmanship, for film art and (good) entertainment with a social claim.
His most important work came in the ten years following World War II, in which he worked with the DEFA in East Germany. The main focus of his work was to highlight the limits of German national pride. His work in anti-Nazi films, such as Murderers Among Us (1946), was also a personal working-through of his film career under the Nazis (he acted in the anti-Semitic film Jud Süß). Following 1956, he worked in West Germany. By the 1970s, his work was no longer considered particularly modern and he moved to television. He appeared on shows such as Der Kommissar and Tatort.
He is the great-uncle of the German-Iranian director and novelist Andy Siege.
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