A brief scene of Marshal Joffre receiving a civilian delegation outside his headquarters. Shells of various calibres stacked in a munitions dump, and Engineers pulling a box girder bridge into positio...
Some men of IX Corps emerge from a command post dugout in the recently captured German trench system before Roye. Views of Roye itself with X Corps troops clearing away the rubble, showing the Montdid...
A pan over the village of Laffaux, under fire from French guns. German prisoners walk through the village of Chévillecourt. French troops wander through the ruins of the château at Coucy-le-Château...
The English is flawed, telling that "the first Deutsch troops are living the town" (sic). Riders for the German horsed transport mount up and lead their carts out, past trams and watching civilians. G...
A sign in the town of Breisach, "1789-1918 Ici commence le pays de la Liberté", is shown to the camera. French and German soldiers converse and fraternise together quite happily on a bridge over the ...
French officers greet Luxembourg officers in Heiderscheid. The Luxembourg troops, all quite elderly, possibly 1870 veterans, march past followed by the French. The senior French officer is read a test...
In a formal ceremony, surrounded by dignitaries and cameramen, Poincaré lays a wreath at the base of the statue of General Kléber. The camera is some distance away and the President is not easily vi...
The film consists of stockshots and patriotic verse in Victorian style. It opens with Trafalgar Square on Trafalgar Day, 21st October: Nelson's column has floral wreaths, and there is a close-up of a ...
Hella Moja, Claire Selo (from left to right)
Paul Wegener
Hedda Lembach, Alice Verden (from left to right)
Alice Verden
"Der Golem, wie er in die Welt kam" (1920)
Szene aus "Der rote Baron"
Still from "Heimkehr"
Szene aus "Der rote Baron"
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...