DOCSLIB.ORG

Manfred Noa Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Manfred Noa Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ Manfred Noa Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ The Man in the Saddle https://bg.listvote.com/lists/film/movies/the-man-in-the-saddle-21140940/actors The Sweet Girl https://bg.listvote.com/lists/film/movies/the-sweet-girl-1171621/actors Casanova's Legacy https://bg.listvote.com/lists/film/movies/casanova%27s-legacy-21869216/actors Love https://bg.listvote.com/lists/film/movies/love-60738558/actors The Girl and the Men https://bg.listvote.com/lists/film/movies/the-girl-and-the-men-60738619/actors The Queen of Sparta https://bg.listvote.com/lists/film/movies/the-queen-of-sparta-21869898/actors Bobby als Amor https://bg.listvote.com/lists/film/movies/bobby-als-amor-15631809/actors The Great Unknown https://bg.listvote.com/lists/film/movies/the-great-unknown-1198847/actors Young Blood https://bg.listvote.com/lists/film/movies/young-blood-14949943/actors Road to Rio https://bg.listvote.com/lists/film/movies/road-to-rio-15039230/actors Why Get a Divorce? https://bg.listvote.com/lists/film/movies/why-get-a-divorce%3F-17065657/actors Wibbel the Tailor https://bg.listvote.com/lists/film/movies/wibbel-the-tailor-17065721/actors Lieutenant, Were You Once a https://bg.listvote.com/lists/film/movies/lieutenant%2C-were-you-once-a-hussar%3F- Hussar? 17478812/actors Modern Pirates https://bg.listvote.com/lists/film/movies/modern-pirates-18026163/actors Nathan the Wise https://bg.listvote.com/lists/film/movies/nathan-the-wise-1966666/actors Crooks in Tails https://bg.listvote.com/lists/film/movies/crooks-in-tails-21869267/actors The Lady and the Chauffeur https://bg.listvote.com/lists/film/movies/the-lady-and-the-chauffeur-21869504/actors Malice https://bg.listvote.com/lists/film/movies/malice-21869567/actors My Heart Incognito https://bg.listvote.com/lists/film/movies/my-heart-incognito-21869650/actors My Sister and I https://bg.listvote.com/lists/film/movies/my-sister-and-i-21869655/actors Queen of the Boulevards https://bg.listvote.com/lists/film/movies/queen-of-the-boulevards-21869746/actors Should We Get Married? https://bg.listvote.com/lists/film/movies/should-we-get-married%3F-21869815/actors The Uncle from the Provinces https://bg.listvote.com/lists/film/movies/the-uncle-from-the-provinces-21869947/actors The Waltz King https://bg.listvote.com/lists/film/movies/the-waltz-king-21869976/actors Wrath of the Seas https://bg.listvote.com/lists/film/movies/wrath-of-the-seas-21870020/actors The Wonderful Adventure https://bg.listvote.com/lists/film/movies/the-wonderful-adventure-22977787/actors Revolt in the Batchelor's House https://bg.listvote.com/lists/film/movies/revolt-in-the-batchelor%27s-house-28196215/actors The Eighteen Year Old https://bg.listvote.com/lists/film/movies/the-eighteen-year-old-30643084/actors Hate https://bg.listvote.com/lists/film/movies/hate-30901595/actors Helena https://bg.listvote.com/lists/film/movies/helena-3144892/actors Sons of the Night https://bg.listvote.com/lists/film/movies/sons-of-the-night-64768072/actors.
Load more

Recommended publications
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • Der Weg Nach Rio in Brazil: Histoire Croisée, Public Diplomacy and Film-Historical Research
    Wolfgang Fuhrmann Der Weg nach Rio in Brazil: Histoire Croisée, Public Diplomacy and Film-Historical Research Abstract The article discusses the relevance of the histoire croisée approach that has been only marginally applied to film and cinema historical research. Histoire croisée is an approach to write history from a transnational perspective. It tries to overcome the conceptual shortcomings of comparative and transfer studies and integrates them into its theoretical framework. The case study of a cultural-diplomatic conflict etweenb Brazil and Germany illustrates some of the methodological advantages of the histoire croisée approach. The paper argues that writing historiography from a transnational perspective opens not only new areas of film historicalresearch, it also offers a better understanding of film historical events that otherwise might be overlooked by comparative or transfer studies. Keywords Brazil; diplomacy; histoire croisée; historiography; transnational On 17 March 1931, the Brazilian newspaper Diário de Noticias, based in Rio de Janeiro, published a front-page article with the lurid headline ‘A Film Insulting For Brazil and Its Civilization.’12 The article reported the screening of the German film Der Weg nach Rio/Road to Rio (Manfred Noa, DE 1931), a white slavery genre film, hich,w according to the journalist, depicted Brazil in a derogatory manner and the countries’ then capital as the international centre of white slavery.3 Der Weg nach Rio was never screened in Brazil but only viewed by a small number of Brazilians living in Berlin at the time of its release. However, the article made the film the talk of the day in Brazil.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Film Front Weimar’ 30-10-2002 14:10 Pagina 1
    * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3
    [Show full text]
  • DVD-Liste SPIELFILME
    DVD-Liste Der Bibliothek des Goethe-Instituts Krakau SPIELFILME Abgebrannt / [Darsteller:] Maryam Zaree, Tilla Kratochwil, Lukas Steltner... Regie & Buch: Verena S. Freytag. Kamera: Ali Olcay Gözkaya. Musik: Roland Satterwhite Frankfurt: PFMedia, 2012.- Bildtonträger.- 1 DVD-Video (Ländercode 0, 103 Min.) : farb. Sprache: dt. - Untertitel: engl., franz.- FSK-Freigabe ab 12 Jahren. - Spielfilm. Deutschland. 2010 The Adventures of Werner Holt / Darsteller: Klaus-Peter Thiele, Manfred Karge, Arno Wyzniewski ... Kamera: Rolf Sohre. Musik: Gerhard Wohlgemuth. Drehbuch: Claus Küchenmeister... Regie: Joachim Kunert. [Nach dem Roman von Dieter Noll] - 1 DVD (163 Min.) : s/w. Dolby digital EST: Die@Abenteuer des Werner Holt <dt.> Sprache: dt. - Untertitel: eng. - Extras: Biografien und Filmografien. - Spielfilm, Literaturverfilmung. DDR. 1964 Abfallprodukte der Liebe / Ein Film von Werner Schroeter. Mit Anita Cerquetti, Martha Mödl, Rita Gorr... Berlin: Filmgalerie 451, 2009.- Bildtonträger.- 1 DVD Abschied : Brechts letzter Sommer / Josef Bierbichler, Monika Bleibtreu, Elfriede Irrall ... Buch: Klaus Pohl. Kamera: Edward KÚosiõski. Musik: John Cale. Regie: Jan Schütte München: Goethe-Institut e.V., 2013.- Bildtonträger.- 1 DVD (PAL, Ländercode-frei, 88 Min.) : farb., DD 2.0 Stereo Sprache: dt. - Untertitel: dt., engl., span., franz., port.. - Spielfilm. Deutschland. 2000 Absolute Giganten / ein Film von Sebastian Schipper. [Darst.]: Frank Giering, Florian Lukas, Antoine Monot, Julia Hummer. Kamera: Frank Griebe. Musik: The Notwist. Drehbuch und Regie: Sebastian Schipper Notwist München: Goethe-Institut e.V., 2012.- Bildtonträger.- 1 DVD (PAL, Ländercode-frei, 81 Min.) : farb., DD 2.0 Sprache: dt. - Untertitel: dt., span., port., engl., franz., ital., indo.. - Spielfilm. Deutschland. 1999 Absurdistan / ein Film von Veit Helmer. Mit: Maximilian Mauff, Kristýna MaléÂová und Schauspielern aus 18 Ländern.
    [Show full text]
  • RAQUEL MELLER Magnifique Interprète De « Carmen », Que Jacques Feyder Réali Pour Les Films Albatros
    RAQUEL MELLER magnifique interprète de « Carmen », que Jacques Feyder réali pour les Films Albatros. Le numëro : 1 fr. 50 0' Année. -— N° 12 (1er trimestre) 19 Mars 1926 Organe des Paraît tous "Amis du Cinéma" (jémagazine les Vendredis C'est "LA REVUE CINÉMATOGRAPHIQUE", "PHOTO-PfiATIQUE" et "LE FILM" réunit ABONNEMENTS Directeur : JEAN PASCAL ABONNEMENTS PARAMOUNT France Un an. 60 fr. Bureaux : 3, rue Rossini. PAMS-IX* (Tél. : Gutenberg 32-32) ETIMIGER. Pars ayant adhéré à la — Six mois . • 32 (r. Adresse Télépephigne : C1N EM AG AZ1-P ARI5 Comantion ds Stockholm, Un an. 70 fr. Pays ajant décliné cet accord. — 80 tr. — Trois mois . 17 fr. Les abonnements partent du 1" de chaque mots qui distribuerai la grande production française (La publicité eit reçue »ua Bureau» du Journal) Chèque postal N" 309 08 Reg. du Comra. de la Seine N° 212.039 Paiement par chique on mandat-carte ^MiiiiMiiiiniiiiiiiiiiiiiiiiiiHiiHiiiiiiiHiiiiiiiiiniiiiMiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiMinMiniiiniiniu SOMMAIRE Pages ~ STARS : MARY ASTOB, par Albert Bonneau ; 567 E LE DERNIER DÉCOR DE « CARMEN », par M. P 570 E 1 NITCHEVO CONSIDÉRATIONS SUR « L'AIGLE NOIR », par Philippe Malonc. 571 E CORRESPONDANCE D'ETOILES : LA LEVÉE EST FAITE, par Juan Arroy 572 E LIBRES PROPOS ; IL Y A DES COUPABLES DANS TROIS CATÉGORIES, par E E Lucien Wahl 576 E Réalisation de r LA VIE CORPORATIVE : LES MANIFESTATIONS DU PUBLIC, p P. de la Sorte 577 E L'ART DE CHARLES CHAPLIN, par Louis Thibaud 578 E E COURRIER DES STUDIOS '. 578 ~ Jacques de BARONCELLI E PHOTOGRAPHIES D'ACTUALITÉ de 570 à. 586 3 E LA TECHNIQUE DU CINÉMA : LES ECRANS, par M.
    [Show full text]
  • Festivalteilnahmen Deutscher Filme Auf Internationalen Filmfestivals 2018
    FESTIVALTEILNAHMEN DEUTSCHER FILME AUF INTERNATIONALEN FILMFESTIVALS 2018 KOPRODUKTIONSLÄNDER DATUM BEGINN FESTIVAL DATUM ENDE FESTIVALS SEKTION FILMTITEL REGIE (bei rein deutschen Produktionen FESTIVAL kein Eintrag) Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Special Presentation AUS DEM NICHTS Fatih Akin DE/FR New Voices/New Visions Competition for Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 DREI ZINNEN Jan Zabeil DE/IT Directorial Debut Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film A FANTASTIC WOMAN Sebastián Lelio CL/US/DE/ES Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film FÉLICITÉ Alain Gomis FR/SN/BE/DE/LB Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film FOXTROT Samuel Maoz DE/IL/FR/CH Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film LOVELESS Andrey Zvyagintsev RU/BE/DE/FR Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film MEN DON'T CRY Alen Drljevic BH/SL/HR/DE Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film THE WOUND John Trengove ZA/DE Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film TOM OF FINLAND Dome Karukoski FI/SE/DK/DE Palm Springs International Film Festival 2. Januar 2018 15. Januar 2018 Awards Buzz: Best Foreign Language Film UNDER THE TREE Hafsteinn Gunnar Sigurdsson IS/PL/DK/DE Palm Springs International Film Festival 2.
    [Show full text]
  • Introduction 1. See the Excerpts from Revolution in Poetic Language and Desire in Language in the Portable Kristeva, Especially Pages 32–39 and 104–07
    Notes Introduction 1. See the excerpts from Revolution in Poetic Language and Desire in Language in The Portable Kristeva, especially pages 32–39 and 104–07. 2. As Deryn Rees-Jones notes in Modern Women Poets (2005), modern and contemporary women poets are often drawn to dramatic mono- logue, “a genre which highlights women poets’ anxieties about their self-presentation and poetic determination” (19). Gill’s critical survey also highlights contemporary poets’ reworkings of the form, which has renewed prominence with the rise of Carol Ann Duffy. 3. Juhasz drew her title from Adrienne Rich’s poem “Blood-Sister.” 4. In 1980, Gilbert and Gubar continued to open the field with the spe- cial double issue of Women’s Studies they co-edited, Women Poets. 5. Emily Stipes Watts’s earlier The Poetry of American Women from 1632 to 1945 conveys a similar sense that American women’s poetry constitutes “an opening up, an extending” (8). 6. In Lacan’s psycho-linguistic theory, subjectivity forms through the key transition from the Imaginary to Symbolic order. See Montefiore 97–112. 7. We see a similar position in Sharon Bryan’s cross-Atlantic collection Where We Stand: Women Poets on Literary Tradition (1993). 8. See, for example, A Dangerous Knowing: Four Black Women Poets (1984), Naming the Waves: Contemporary Lesbian Poetry (1989), Sisters of Caliban: Contemporary Women Poets of the Caribbean 190 ● Notes (1996), Woman Who Has Sprouted Wings: Poems by Contemporary Latin American Women Poets, 2nd ed. (1988), and Yellow Pencils: Contemporary Poetry by New Zealand Women (1988). 9. In addition to Frost’s and Kinnahan’s books, critical work in this key signature includes the collections Feminist Measures: Soundings in Poetry and Theory (1994), edited by Lynn Keller and Cristanne Miller; and We Who Love to Be Astonished: Experimental Women’s Writing and Performance Poetics (2002), edited by Laura Hinton and Cynthia Hogue.
    [Show full text]
  • Reading Barbara Köhler's Niemands Frau As a Radical Poetic
    Reading Barbara Köhler’s Niemands Frau as a Radical Poetic Response to Homer’s Odyssey German Department University College London Rebecca May Johnson August 2016 Supervisor Dr Judith Beniston Second Supervisor Dr Mererid Puw Davies Dissertation submitted to University College London in fulfilment of the requirements for the degree of PhD 1 Abstract This thesis presents the first sustained analysis of Niemands Frau (2007), Barbara Köhler’s radical poetic engagement with Homer’s Odyssey. Köhler weaves together a vast web of intertextual references including Ovid’s Metamorphoses, T.S. Eliot’s The Waste Land and a biography of Alan Turing, and subjects including quantum mechanics, computers and cloning. To provide a coherent structure and facilitate navigation of the potentially overwhelming network of references, I anchor analysis to Köhler’s engagement with classical tradition and the major Odyssean figures that feature in the cantos. Key to my methodology is close reading, essential to gain access to complex and often syntactically irregular cantos. As Niemands Frau resists the total application of a single theoretical or philosophical approach, I draw selectively on the work of thinkers including Deleuze, Barthes, Freud, Cavarero, and Adorno and Horkheimer, in order to elucidate specific aspects. While the introduction provides a review of secondary literature and discussion of the physical construction of Niemands Frau, the first chapter examines Köhler’s text as a feminist critical and creative response to the German tradition of Odyssey translation and reception, as a radical, ‘minor’ translation. Subsequent chapters analyse the literary traditions surrounding Penelope, Helen of Troy, Tiresias and Odysseus to show how Köhler has used elements for her own poetic purposes.
    [Show full text]
  • The Distribution, Censorship and Reception of German Films in Soviet Russia of the 1920S
    Natalja Poljakowa The Distribution, Censorship and Reception of German films in Soviet Russia of the 1920s School of Modern Languages, Literatures & Cultures Royal Holloway, University of London, United Kingdom A dissertation submitted in fulfilment of the degree of Doctor of Philosophy 2015 2 Declaration I declare that this dissertation was composed by myself, the work contained herein is my own except where explicitly stated otherwise in the text and that this work has not been submitted for any other degree or professional qualification except as specified. Natalja Poljakowa 3 Abstract Despite the huge amount of research on European cinema of the 1920s, little attention has been paid to the influence of cross-cultural encounters on the trajectory of national film histories. This study argues that Soviet film was shaped by the reception of German film to an extent that existing scholarship has not acknowledged. It focuses on the impact of German and Austrian films on the revival of the Soviet film industry in the period of the New Economic Policy. German films helped to fill in the gaps in Soviet film distribution, as until the mid- 1920s Soviet Russia was not able to revive its own film production and entirely relied on foreign film imports. However, all imported films were thoroughly examined, classified and, in most of cases, ‘adjusted’ to the Soviet ideology through re-editing. This thesis explores previously ignored aspects of the film exchange between the Weimar Republic and Soviet Russia: the process of selection and purchase, the censorship control over content, the reception of the films in little-known periodicals and film brochures and, finally, the influence of the imported productions on the Soviet audience.
    [Show full text]
  • Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
    Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998,
    [Show full text]
  • Der Kinematograph (March 1926)
    aCRlIM'SW.66 +20.JAMK&. NR.99¥ * MiLTON SILLS spielt die Hauptrolle in dem neuen, großen SensationsfHrn der first National Produktion in Verleih der Phoebus-TlCm CCS KNOCK OUT dessen körßl. Uraufführg sich zu emem neuen Phoebus €rfolg gestaltete. -V- BERUN, DEN 91 MARJ fp26 PREIS : 50 PFENNIG Aufnahmen soeben beendet! DEUTSCHE ai\/i HE 2m Ei l\t DEUTSCHEN RHEIN SIEBEN AKTE AUS DEUTSCHLANDS JÜNGSTER VERGANGENHEIT REGIE: FRED SAUER Hauptdarsteller: 6RETE REINWALD, ADELE SANDROCK, MANJA WALOW5KA H. A. y. SCHLETTOW, HANS ALBERS, JULI US v. SZÖREGHJ VERKAUFT: Für Berlin O an LLOYD KINO FILMS, BERLIN, Friedrichstraße 224 Für Mitteldeutschland ar RUDOLPH-FILM VERLEIH Für Norddeutschland an RITTER FILM, HAMBURG, Mönckebergstraße 10 Für Süddeutschland an LLOYD KINO FILMS, BERLIN, F'iecirichstraße 2£4 URAUFFÜHRUNG DEMNÄCHST IM PRIMUS - PALAST NOCH FREI: RHEINLAND-WESTFALEN inkl. Saargebiet unu das AUSLAND BOSTON-FILMS-CO., BERLIN I Fernruf: Dönhoff 5491 / Friedrichstraße 12 / Tel.-Adr.: Bostonsfilm I 20 .lultrj{an]£ Nr 901 lUrlm Jen 7. M^irz 192t* t nctnatogvaplt Regimentsbefehl vom 6. März Der Titel DER STOLZ DER KOMPAGNIE unseres REINHOLD SCHÜNZEL GROSSFILMS wurde durch eine einstweilige Verfügung verboten Der völlig unveränderte Film läuft VON JETZT AB unter dem Titel )IE PERLE DES REGIMENTS IliilUllllltl HtililtlllltllllillllHIifil IIHHHHi IlflltlllllltllllltWtlWtlllllllflttlllltlltttllHtlll! I f 1IHI IIHIINtmN in der 2. WOCHE bei täglich dreimal ausverkauftem Hause im I RIMUS PALAST, Potsdamerstr. O'e Verleih-Kommandantur Der Produktions-Kommandeur " auss'Film-Verleihgesellschaft Domo Film 6. m. b. H. m b. H. Seile 2 Rmemotogroph Nummer <*>4 Unsere Zwischen DÜRFEN WIR SCHWEIGEN? REGIE: RICHARD OSWALD IN DER HAUPTROLLE: CONRAD VEIDT FRITZ KORTNER / ELGA BRINK / MARY PARKER / FRIEDA RICHARD / WALTER RILLA DIE FÜRSHN DER RIVIERA IN DER TITELROLLE: ELLEN kt'RTI REGIE: GEZA v.
    [Show full text]