The airmen are shown seated with civilians, possibly in the hall of Queen's College, Birmingham, and then formed up to enter the building. A pan over a group of civilians, probably the organisers of t...
The first boat, a steamer, tows two barges, followed by a Victoria Shipping Line steamer 'pushing' its barges. A small steamer, marked as S35, and two melon boats pass through a swing bridge. Two conv...
The film has a very brief unrelated shot of three naval officers at its start. The remainder shows Mark V tanks moving down a dusty road through a damaged village. As they move out of the village the ...
The train consists of two open-sided trucks, guarded by British soldiers of the Machine Gun Corps. Four of these soldiers go up to one of the trucks, clearly marked with a Red Cross on its roof, and t...
A British soldier walks through a forest of long, hooked metal poles set in concrete, probably as a form of reinforcement. A barbed wire entanglement more than fifty metres deep. An RAMC man emerges f...
The procession is led by a car covered in Union Jacks. It includes a military band, a mock stagecoach, more cars, a display of troops marching, military cadets, the 6-inch howitzer drawn by a camoufla...
One of the guests gets out of a car outside the main door of the house. The car, along with another, leaves through the gates. A further party of four guests emerging from another car is greeted by tw...
Three members of the section, all from different regiments, use gas cylinders from a portable trailer to inflate two small weather balloons, using a lead weight to determine the gas pressure of each b...
Still with Carl de Vogt (on the left, sitting)
Paul Wegener
Alice Verden, Erich Ponto (both front)
Golem-figures by sculptor Rudolf Belling
Still from "Auf den Trümmern des Paradieses"
Still from "Der Film von der Königin Luise. 3. Abteilung: Die Königin der Schmerzen"
Alice Verden
Szene mit Henny Porten, Eduard von Winterstein (vorne), Lupu Pick (hinten, 4.v.l.)
Berthold Baer, Wie lange noch ?, Der Kinematograph, 415, (1914), S. 21-22 Klage über einseitig deutschenfeindliche Kriegsberichterstattung in amerikanischen Kinos. Forderung nach deutschen Aufnahmen,...
Mit der Kamera in der Schlachtfront.“ Der Kinematograph 397 (1914): 7. Werbeanzeige, die die Bedeutung der Filmaufnahmen gerade angesichts des drohenden Krieges hervorhebt.
Hellwig, Albert. „Die Plakatzensur in Preussen.“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III,5 (1913/1914): 104-106. Rekapitulierung der Rechtslage zu Filmplakaten.
O. Verf.. „Mars regiert die Stunde.“ Der Kinematograph 397 (1914): 5-8. Aufruf an die Kinoindustrie, sich angesichts des Krieges in die Dienste des Vaterlandes zu stellen. Vorschlag, möglichst ak...
Hermann Häfker, Berliner Höhe, Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie, IV,6, (1914/1915), S. 127-129. Das Kino sei auf einem Tiefpunkt angelangt. Kriegsfilme wie der besproc...
Aubinger, Josef: „Die Kinematographie in Kriegszeiten.“ Der Kinematograph 398 (1914): 3-5. Artikel, der die mögliche Zukunft des Kinowesens im Krieg beschreibt. Die wirtschaftliche Lage der Kinos...