The film uses a mixture of line drawings, animation, and actuality material. The exercise is for a Vickers machine gun section of gunner, loader, and two carriers, under the instruction of a lieutenan...
Unrelated scenes with no continuity or storyline, mainly taken from the GERMAN OFFENSIVE series of Spring 1918, showing the British sector of the Western Front between March and April 1918. An additio...
The men, from various regiments, all go into a building marked "Entrance for Troops for Dispersal". They are checked off against a list, each handed their discharge papers (?) and issued with civilian...
I. The first reel shows men of the Indian Corps (including British soldiers) in France in January 1916. It is taken unaltered, in a slightly re-edited form, from IWM 202 INDIAN TROOPS AT THE FRONT. II...
(Reel 1) A working class back street slum, with the men at war and the women largely unable to cope with growing children. Lizzie has a small baby that her husband Jim, a corporal serving in France, h...
An actress "Britannia" draws aside a curtain over a screen, flanked by silhouettes of two British soldiers. On the screen appears a genuine scene of refugees fleeing out of Belgium in 1914, followed b...
Very short film showing the front of the Ministry of Food building in London, probably spring 1918.
High-angle medium shot from cliffs overlooking the bay to starboard bow of War-Knight as she lies awash in slight sea - waves run over the focsle well deck. Similar shot from higher viewpoint - an ova...
Still with Henny Porten
Still with Alice Verden (top, on the left)
Henny Porten
Still from "Schuldig"
Erich Ponto (on the left), Hedda Lembach, Alice Verden, Wolfgang Filzinger (front, on the right)
Gustav Fröhlich
Still from "Auf den Trümmern des Paradieses"
Still from "Der Film von der Königin Luise. 3. Abteilung: Die Königin der Schmerzen"
Gedanken zur Lustbarkeitssteuer, Der Kinematograph, 694, (1920), S. 24-25. Plädoyer gegen die maßlos hohen Lustbarkeitssteuern, die Kulturschaffende in eine präkere Lage versetzen würden. Kino- un...
Hilda Blaschitz. „Tirol in Waffen (Andreas Hofer).“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III,8 (1913/1914): 207-208. Blaschitz lobt den Film und hebt insbesondere hervor...
Emil Gobbers, Das Filmdrama im Zeichen der Revolution, Der Kinematograph, 652, (1919), S. 15-16. Der Film sei dazu berufen, die Ausdrucksform einer neuen Kunst für eine neue Zeit zu sein. Wenn sich d...
O. Verf.. „Krieg und Kino.“ Der Kinematograph 397 (1914): 3-4. Bericht, wie bislang der Film in Kriegen eingesetzt worden sei. Ratschläge an Kinobesitzer, wie sie sich zu verhalten hätten. Mutma...