The past recaptured by Aldo Palazzeschi. The moody and sardonic spirit of his early youth, ironic comments about experiences with "crepuscolarism" and "futurism". His poetry carefully captures w...
Just outside the old city walls of Rome, we find a mass of washed-out houses and bumpy streets arranged in a geometrical pattern that makes them anonymous and depersonalized. The documentary fil...
The first Norwegian film with international ambitions, Thin Ice is a story of young love, corporate ambition, and a daring nighttime caper. Tom, a strapping young student, gets his dream job as an adv...
Street scenes in Bethlehem, the Church of Saint Mary, the Gardens of Gethsemane, the Via Dolorosa, the Holy Sepulchre, the Valley of Kidron and (in silhouette) a tree where, according to legend, Judas...
From 1891 to 1945, a popular form of iconography thrived next to the official one documenting Italy’s political and social life. This alternative iconography can be found in humorous and satir...
Barbarians outside: yesterday as today. Who have centuries of civilization gone by for? Not even appearance has altered the Norman in his barbarism. This great work from the Ambrosio hotbed admi...
Napoleon is called up to the army, and says goodbye to Sally, and to the people in the film studio. He leaves. But Sally quickly chases after him, and together they arrive at "Fort Skiddoo". The chaot...
Rudi Schuricke bei den Dreharbeiten
John Taylor (PlasticsEurope) erklärt die Vorzüge von Plastik
"z.B. Otto Spalt" (1987)
"Die Tarantel" (1919)
Szene mit Reinhold Schünzel (im weißen Mantel)
Friedrich Domin, Albert Lieven (v.l.n.r.)
Edith Posca, Eugen Klöpfer, Frida Richard (v.l.n.r.)
Ilse Stobrawa, Gustl Stark-Gstettenbaur (v.l.n.r.)
As producer, actor and filmmaker, Richard Massingham managed to combine his passion for film and medical science.
A cartoon combining drawings and live footage, in which a drawing comes to life while its author isn't there. The film's director began as a political cartoonist and in 1914 founded Bray Studios, amon...
Film used against itself, in an essay on the entanglement of mistery and religious merchandising where the kino-spirit rules instead of the kino-eye.