(Reel 25) The episode starts with 'Justice'. The opening states that this was "the great final offensive, in which the whole might of Britain's arms was concentrated, with an overwhelming force, upon ...
(Reel 23) The episode starts with 'Justice'. Bayonet drill and a marchpast by the Northamptonshire Regiment. A marchpast and open air meal from the Cheshire Regiment, and a portrait shot of "Private J...
I. The first sequence consists of static or stop-action scenes of a number of gas masks or gashoods displayed one at a time against a white background. Firstly the British P or PH gashood of 1915 with...
The film starts with Griffith talking to the abbot and another monk outside the Cistercian abbey at Mont des Cats, used as a casualty clearing station. Griffith is then shown with two British officers...
Several images of Marshall Hindenburg and General Ludendorff: riding on an automobile, among the people, in the headquarters studying the map of occupation in Romania, etc.
The inhabitants of the centre are soldiers in hospital blues, all either with an arm or a leg missing, or in wheelchairs, or blind. A group of them assembles to hear a representative of the Ministry o...
I. The dogs, a mixture of terrier mongrels, are paraded with their handlers and taken for walking exercises. They are given a course to run over unescorted which includes fences and barbed wire to jum...
i. AMERICAN MISSION IN LIVERPOOL AND LONDON. DR PAGE WITH DELEGATES WHO WILL TELL U.S. OF OUR WAR WORK. U.S. Ambassador W.H. Page and his group embark from ship in Liverpool. They talk with women work...
Screenshot from "Zwei blaue Jungen"
Screenshot from "Tirol in Waffen"
Screenshot from "Erzherzog Joseph auf dem Kriegsschauplatz"
Still from "Tirol in Waffen"
Still with Rudolf Biebrach (on the right, standing)
Still from "Tirol in Waffen"
Screenshot from "Heimkehr"
Still with Rudolf Biebrach (in the middle, top)
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...