Sanz the ventriloquist presents a show sparring his automata, which he gives movement and voice, providing them with their own personality. The naughty boy, the teacher, the old couple, the gentleman,...
The film is a miscellany of life shooting, related to the first conflict, showing: scenes of provisions using military vehicles with engine or pulled by horses in country and city roads; shootings of ...
In the beginning of this film, the camera is directed from the best known Zagreb café of its time out towards the street, from where a large group of adults and children are inquisitively looking thr...
Towns devasted by the war: San Martino del Carso; General Cadorna in the trenches of the Carso; General Cadorna and General Nivelle
Imperial army advances on the Isonzo front.
Scenes of battles, trenches, wounded and prisoners
Towns devasted by the war: San Martino del Carso; General Cadorna in the trenches of the Carso; General Cadorna and General Nivelle
Scenes of battles, trenches, wounded and prisoners
Still with Lyda Salmonova, Paul Wegener (third on the left)
Paul Hartmann, Henny Porten
"Der Golem, wie er in die Welt kam" (1920)
Still from "Der Diamantensucher"
Screenshot from "Hindenburgs 70. Geburtstag im Großen Hauptquartier"
Still from "Des Malers Bettelweib"
Henny Porten, Paul Hartmann
Screenshot from "Bilder aus der großen Schlacht. 5. Teil"
Dehnow, Fritz: „Zensur und Sittlichkeit“ Der Kinematograph 382 (1914). Die Mängel der Zensur lägen nicht in den Gesetzen, sondern in deren Anwendung. Die Zensur sei aber notwendig, um die öffen...
Horst Emscher, Der Film im Dienste der Politik, Der Kinematograph, 410, (1914), S. 15-16. Der Autor hebt hervor, dass die Kriegsführung auf publizistischer Ebene, mit der die Meinung des Auslands bee...
Edgar Költsch, Die Vorteile durch den Krieg für das Kinotheater, Der Kinematograph, 407, (1914), S. 11-12. Auch wenn es nicht so aussehe, habe das Kino durch den Krieg einen Aufschwung erlebt. Insbe...