The Higher Invention Committee watches a Renault tank, armed with a 75mm gun, navigate rough terrain. Jules-Louis Breton gets to sit in the tank beside a soldier in charge of handling the gun;
The Higher Invention Committee tests the solidity of the manganese helmets thought up by Doctor Pollack.
In 1917, during World War I, rationing forces Parisians to wait in line to get coal, while the winter is particularly harsh.
Jean and Suzette, two orphans, are raised by the inn-keeper Frantz Hobscher who mistreats them. When World War I is declared, the imperial authorities order Hobscher to trick spies into thinking he's ...
Parade of French and allied troops under the Arc de triomphe and on the Champs-Élysées. The signing of the Treaty of Versailles: delegations arriving by car, a crowd on the terrace, troops on the Ch...
Troop movements by bike, horseback, and foot as the maneuver warfare begins again. Cannons are shooting despite a fire. A convoy of trucks and troops advances toward the lines. Shots are fired by a 75...
A woman learns, by letter, that her husband has died gloriously on the battlefield, struck by an enemy bullet while filming news footage on the front. As she weeps and worries about the future of her ...
After having created laws on practicing physical culture, the government, in collaboration with the American Committee, brings in American experts who adapt their principles to the French system. In J...
Still with Colette Corder (front, in the middle)
Joe May (second from the left), Gustav Fröhlich (third from the left) on the set
Henny Porten
Lyda Salmonova, Paul Wegener
Olga Engl, Henny Porten (from left to right)
Dita Parlo, Lars Hanson
Still from "Der Herzog von Reichstadt"
Pola Negri, Paul Wegener, Jenny Hasselquist (from left to right)
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...