1. Intertitle: The airship is brought out of the hangar. Image: „L 60“ and „L 35“ are pulled out of the airship hangar and brought to the take-off site. 2. Intertitle: Ascension. Image: Ascens...
Since the 1910s, Oskar Barnack, the inventor of the Leica, has captured events around Wetzlar on film with his self-constructed film camera. He documented flood disasters, city festivals, medical expe...
March of French soldiers into the camp. The soldiers who got off the train are escorted to the camp by the gendarmerie and the Landsturm. One can see the gendarme Wallenreich. Since the 1910s, Oskar B...
Views of a boat trip in the Spreewald. The camera follows a boat in subjective perspective. Since the 1910s, Oskar Barnack, the inventor of the Leica, has captured events around Wetzlar on film with h...
Since the 1910s, Oskar Barnack, the inventor of the Leica, has captured events around Wetzlar on film with his self-constructed film camera. He documented flood disasters, city festivals, medical expe...
With this filmic documentation, Oskar Barnack paid tribute to the Lumière brothers by also recording workers leaving a factory. In Barnack's case they were workers exiting the Leitz factory in Wetzla...
Carnival in Wetzlar in 1914. At the beginning of the film the council of eleven introduce themselves, you see people with umbrellas, probably after the parade has ended. The guardsmen come out under t...
The footage shows the parade of the riflemen's festival in Wetzlar in 1914, with participants of the '27th Verbandsschiessen Wetzlar' among others. The procession consists of festively decorated cars ...
Screenshot from "Heimkehr"
Screenshot from "Heimkehr"
Szene mit Rudolf Biebrach (vorne)
Still with Rudolf Biebrach (on the right)
Screenshot from "Heimkehr"
Szene mit Carl Zickner (vorne, links)
Still from "Tirol in Waffen"
Screenshot from "Heimkehr"
Der Zensur ist tot- es lebe die Zensur !, Der Kinematograph, 623, (1918), S. 17-18. Die Abschaffung der Zensur stelle Filmemacher vor die Frage, was derzeit erlaubt sei und was nicht. Es solle keine Z...
Walter Thielemann, Der Film 1917, Der Kinematograph, 573, (1917), S. 12ff. Jahresrückblick. Positiv hervorgehoben wird die immer breitere Anerkennung, die dem Kino zuteil werde, da der immer mehr sei...
Colonia-Film-GmbH, Die Leute wollen mal wieder lachen !, Der Kinematograph, 508, (1916), S. 43.
Theodor Zimmermann, Zur Lage in der Zensurfrage, Der Kinematograph, 624, (1918). Bericht, dass das Innenministerium befohlen habe, alle Zensurverordnungen unverzüglich aufzuheben. Lediglich Verordnun...
Poldi Schmidl, Der Kinobesitzer als Staatsbeamter, Der Kinematograph, 607, (1918). Angesichts der geplanten Konzessionspflicht für Kinobesitzer wird die Möglichkeit einer Verstaatlichung der Filmind...
Deutsche Lichtbild Gesellschaft e.V., Die Arbeit unserer Heimarmee, Der Kinematograph, 566, (1917), S. 11.
Emil Perlmann, Wenn die Waffen ruhen...!, Der Kinematograph, 619, (1918). Erörterung der Lage der Filmindustrie angesichts des greifbaren Kriegsendes. Die Filmindustrie müsse den Kampf gegen die Zen...
Argus, Neuheiten auf dem Berliner Filmmarkte, Der Kinematograph, 614, (1918). "Kinder der Liebe" als Tendenz- und Aufklärungsfilm bezeichnet, dessen Absicht überzeuge. "Der Gefangene von Dahomey" se...