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 from "Das blaue Zimmer"
Henny Porten, Alexander von Antalffy
Still with Asta Nielsen
Still from "Paragraph 80, Absatz II"
Still with Alice Verden, Erich Ponto (both on the left)
Still with Alexander von Antalffy (on the left)
Still from "Die rätselhafte Sphinx"
Szene aus "Der rote Baron"
Horst Emscher, Der Film im Dienste der Politik, Der Kinematograph, 410, (1914), S. 15-16. Der Autor hebt hervor, dass die Kriegsführung auf publizistischer Ebene, mit der die Meinung des Auslands bee...
Edgar Költsch, Die Vorteile durch den Krieg für das Kinotheater, Der Kinematograph, 407, (1914), S. 11-12. Auch wenn es nicht so aussehe, habe das Kino durch den Krieg einen Aufschwung erlebt. Insbe...
Kritik aus Breslauer Zeitung (15.07.1917) zu Der Golem und die Tänzerin.
Monopolfilm-Vertriebs-GmbH..“Patriotisches Kriegs-Programm.“ Der Kinematograph 399 (1914): 5. Werbung für das aktuelle Filmprogramm der Monopolfilm GmbH.
Der Krieg auf der Ranch !, Der Kinematograph, 701 /02, (1920). Werbung für einen Western.
Das Wichtigste der Woche, Der Kinematograph, 670, (1919), S. 25-26. Seit dem 2.11.1919 gebe es in Berlin eine freiwillige Filmzensur. Die USPD habe im Reichstag den Antrag gemacht, die Kinos zu versta...