You can help expand this article with text translated from
the corresponding article in German. (April 2010) Click [show] for important translation instructions.
View a machine-translated version of the German article.
Machine translation, like
DeepL or
Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Consider adding a topic to this template: there are already 9,118 articles in the
main category, and specifying|topic= will aid in categorization.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide
copyright attribution in the
edit summary accompanying your translation by providing an
interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing German Wikipedia article at [[:de:Georg Tressler]]; see its history for attribution.
You may also add the template {{Translated|de|Georg Tressler}} to the
talk page.
Georg Tressler (January 25, 1917 – January 6, 2007) was a Vienna-born
German film actor and film director. Also known as George Tressler, Hans Tressler, Hans Dressler, Hans Georg Keil and Hans Sternbeck (per
IMDb).
The son of actor
Otto Tressler, he began his acting career in the 1930s. George Tressler was drafted into the German army during
World War II and served on the Russian Front. He became ill and was released from the service and returned to
Vienna.
In the immediated post-war period Tressler was employed making films to help his Austrian compatriots better understand how to benefit from US
Marshall Plan aid.[1] According to
Maria Fritsche, author of "The American Marshall Plan Film Campaign and the Europeans: A Captivated Audience?" Tressler took special efforts to find ways to convince his audience accepting US aid was of genuine benefit to them. In particular, when he found Austrian farmers feared the techniques and technology used in America on much larger American farms was inapplicable to their much smaller farms Tressler found ways to show how those techniques could be adapted to Austrian farms.
When Tressler turned to directing feature films, many of them shared themes of youthful rebellion.[2][3] His 1956 film Die Halberstarken/Teenage Wolfpack was one of the most popular films in Austria.