1899 - 1976
The production designer Rudolf Pfenninger grew up in an artistic environment, his father was the painter Emil Pfenninger.
Rudolf Pfenninger was already interested in the film business from 1918 and he began to experiment in this field. Among others he was also active as animator. To these works belong the movies "Zwischen Mars und Erde" (25) and "Das Wunder des gezeichneten Tones" (32) which makes audio frequencies visible in a graphic way.
With the raise of the National Socialists experimental movies were no longer in demand and he dedicated to the production design for movies.
To his numerous movies in this function belong "Der ewige Quell" (39), "Das Fräulein von Barnhelm" (40), "Das Mädchen von Fanö" (41), "Hauptsache glücklich" (41), "Anuschka" (42), "Einmal der liebe Herrgott sein" (42) and "Orient-Express" (44).
He continued his career as a production designer till to the beginning of the 50s. To these works belong "Die seltsame Geschichte des Brandner Kaspar" (49), "Aufruhr im Paradies" (50), "Nachts auf den Strassen" (52) and "Einmal am Rhein" (52).
Rudolf Pfenninger was responsible for the special effects for the movie "Wasser für Canitoga" (39).