Prisoners are searched after the battle. Mail is distributed to the Scottish. British soldiers show their spoils of war and return to the camp. Areas of Martinpuich and Beaumont-Hamel are destroyed an...
Little Ginette learns from a newspaper that Amama, a "Turco" (a soldier from the French colonies), has been decorated for his superb feats in battle. In admiration of his incredible bravery, the young...
In Champagne, relief of the 22nd regiment of dragoons, preceded by its music. Backlighting on the parade of horsemen. The deployment of signs on the ground for an airplane responsible for guiding the ...
A military plane's propellor rotations are seen from the side and from the front;
Verdun after six months of fighting: panoramas of the destruction on the banks of the Meuse River, downtown, at the citadel and in the cathedral. Firefighters taking action. General Dubois giving comm...
Setting up a battery of 160 mm and 140 mm cannons. Horse-drawn convoy on a flooded road. Relief of the Scottish and English troops. Laying down telegraphic lines. New 155 mm cannon and shots. A biv...
In 1917, the King's Liverpool soldiers and the King's Own Shropshire Light Infantry advance toward the front lines to take position. Stretcher-bearers attempt to cross a trench.
In 1917 in Seyne, members of the Invention Department technical assault artillery division attend the 1A tank tests on steep terrain. The machine then crosses wide trenches and ditches before passing ...
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...