The film opens with rolling fields, corn stacks at regular intervals. Soldiers line up for an open-air pay parade. Walking wounded come up a hill towards the camera, followed by some stretcher cases, ...
By 1916 the Artists Rifles was not a serving battalion but a holding unit for officer trainees. A group of trainees is shown drilling on a parade ground, probably at Montreuil, and being addressed by ...
(Reel 15) The episode starts with 'Justice'. Lloyd George, as Minister of Munitions, gives a public speech from an Army staff car. A montage of women and men operating various metal presses, drop hamm...
(Reel 23) The episode starts with 'Justice'. Bayonet drill and a marchpast by the Northamptonshire Regiment. A marchpast and open air meal from the Cheshire Regiment, and a portrait shot of "Private J...
(Reel 25) The episode starts with 'Justice'. The opening states that this was "the great final offensive, in which the whole might of Britain's arms was concentrated, with an overwhelming force, upon ...
General scenes of destruction with British troops in the middle distance, showing mainly the damage done to the church, inside and out, and a water-filled crater.
Damage done to the village of Ri...
I. A Machine Gun Section of seven men with one Lewis gun walking in line across an open field comes to a ridge, and the men form for action. Four men go forward to set up the machine gun (a gunner, a ...
The camp is mainly of wooden huts with a few permanent buildings, for German NCOs and other ranks. Roll-call is taken early in the morning by the Germans themselves. Most are wearing patched uniforms ...
Alice Verden, Erich Ponto
Paul Wegener, Lyda Salmonova
Screenshot from "Guerre 1914-1915. Le General Joffre en Alsace"
Still from "Der Graf von Cagliostro"
Screenshot from "Mit L.35 über Berlin und Potsdam"
Paul Hartmann, Adolf Klein (from left to right)
Ossi Oswalda, Julius Dewald
Film poster
Emil Perlmann, Wenn die Waffen ruhen...!, Der Kinematograph, 619, (1918). Erörterung der Lage der Filmindustrie angesichts des greifbaren Kriegsendes. Die Filmindustrie müsse den Kampf gegen die Zen...
Walter Thielemann, Der Film 1917, Der Kinematograph, 573, (1917), S. 12ff. Jahresrückblick. Positiv hervorgehoben wird die immer breitere Anerkennung, die dem Kino zuteil werde, da der immer mehr sei...
Colonia-Film-GmbH, Die Leute wollen mal wieder lachen !, Der Kinematograph, 508, (1916), S. 43.
Theodor Zimmermann, Zur Lage in der Zensurfrage, Der Kinematograph, 624, (1918). Bericht, dass das Innenministerium befohlen habe, alle Zensurverordnungen unverzüglich aufzuheben. Lediglich Verordnun...
Poldi Schmidl, Der Kinobesitzer als Staatsbeamter, Der Kinematograph, 607, (1918). Angesichts der geplanten Konzessionspflicht für Kinobesitzer wird die Möglichkeit einer Verstaatlichung der Filmind...
Mercedes-Film GmbH, Die Leibhusaren und ihre Geschichte, Der Kinematograph, 565, (1917). Die Werbung verweist darauf, dass der Film durch von Mackensens Frau gefördert wird.
Argus, Neuheiten auf dem Berliner Filmmarkte, Der Kinematograph, 614, (1918). "Kinder der Liebe" als Tendenz- und Aufklärungsfilm bezeichnet, dessen Absicht überzeuge. "Der Gefangene von Dahomey" se...
R. Genenchen, Kriegsunterstützung und Kinobesuch, Der Kinematograph, 506, (1916), S. 17. Bericht darüber, dass die Gemeinde Weida/Sachsen Soldatenfrauen, die Kinos besuchen, die städtische UnterstÃ...