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 ...
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...