A couple's suffering finally comes to an end when Jean, having lost his memory through shell shock, sees the cross of shame on Jenevieve's breast, gets his memory back and the two pledge their troth.
War-time report, probably released in August 1919.
Report on Poincaré's presidential visit to Belgium after the First World War.
Report on Poincaré's presidential visit to Belgium after the First World War.
News item showing the visit of King Christian X from Denmark to Belgium.
"Propaganda film consisting of newsreel items and fragments of fiction films about the destiny of ""poor little Belgium"" at the beginning of the war. Although the original nitrate film has two langua...
German propaganda documentary about the operations of the U-35, a German U-boat during World War One. This is a French version, together with the British version, released in november 1918.
Newsreel issue related to the commemoration of the First World War.
First World War commemorative parade, in attendance of members of the Belgian royal family.
Still from "Die Strafgefangene Nr. 63. Unschuldig verurteilt"
Still from "Dämonit"
G.W. Pabst (Mitte), André Saint-Germain (rechts) (Dreharbeiten)
Szene aus "Das Geheimnis des Ingenieurs Branting"
Paul Hartmann
Still from "Der unsichtbare Zeuge"
Hans Mierendorff
Still with Lyda Salmonova, Paul Wegener (on the right, front)
Warstat, W.. „Kino und Schule. Von Prof. Dr. A. Sellmann.“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III,5 (1913/1914): 116-117. Der Rezensent sieht die Verwendung von Filmen...
Kriegsecho in der Kinomusik, Der Kinematograph, 411, (1914), S. 18-19. Bericht über die musikalische Untermalung von Kriegsaufnahmen durch die Kinoorchester, die oft als störend empfunden würden.
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...