Der Kinematograph (December 1929)
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
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. -
Film Posters Das Höchste Gesetz Der Natur
Filmplakate Film Posters Das höchste Gesetz der Natur Die Überlieferung zu diesem Film ist recht What we know about this film is quite sparse. dünn. Weder Regisseur noch Mitwirkende sind Neither the director nor the cast are known, bekannt, auch die nationale Produktion bzw. and even the national production and its year das Entstehungsjahr bleiben unklar. Überlie- of origin remain uncertain. What is known is fert ist jedoch ein durch die Berliner Polizei that the Berlin police issued a ban on screen- erteiltes Verbot der Aufführung vor Kindern. ings for children. In 1916 the Lichtbild-Bühne, Die „Lichtbild-Bühne“ beschreibt den Film 1916 no. f20, described the film as a dramatic Wild als dramatisches Wildwestschauspiel in drei West spectacle in three acts “that even a well- Akten, „an dem auch der wohlgesittete Euro- mannered European will enjoy.” päer sein Gefallen findet“. The only colored photograph included here, Das einzig kolorierte und damit augenfälligste and therefore the most conspicuous, shows a Foto des Plakats zeigt ein betendes Kind mit praying child with properly folded hands and artig gefalteten Händen und empor gerichteten eyes cast upwards. The woman next to the Augen. Die Frau daneben scheint jemand an- child seems to have someone else in view. The deren im Blick zu haben. Die um den Textblock smaller photos grouped around the text block gruppierten kleineren Fotos führen uns durch lead us through the plot of the film. It is the die Handlung des Films. story of two lovers whose paths have parted. Es ist die Geschichte zweier Liebender, deren A jovial third party appears, but is spurned. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
Cinéma Français
la première revue de grand luxe du cinéma français PARIS Prix : 5 ffr. Juin 1929 APPAREIL STANDARD PASSANT LES FILMS SONORES et PARLANTS soit à disques, soit directement synchronisés sur film LIVRÉ AVEC UN CONTRAT RAISONNABLE iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim CINÉVOX HAÏK "La voix du Cinéma" 63, Champs-Elysées, 63 - PARIS PREMIÈRE GRANDE PRODUCTION FRANÇAISE DE FILMS PARLANTS avec Les Meilleures Vedettes llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllilllllllllllllf ATTENTION!!! NIC/EA-FILMS probubtiohI Le Roi de la Valse a présenté à l'EMPIRE « Ce film est fort intéressant et bien réalisé par Conrad avec le plus grand succès Wiene. La personnalité du personnage principal est for¬ LA DERNIERE RÉALISATION DE tement dégagée par le très bel artiste qu'est Alfred ROBERT PÉGUY A bel. » (Le Courrier Cinématographique.) mmiiimiiiiiimiiiiMiimiiiiiiiiiiiiiiiimiiiiiiiiiiiiiimiiiiiiiimiiiiiii LES MUFLES D après le roman 'Eugène | avec BARBIER 1 Alfred ABEL avec | SUZANNE BIANCHETTI | g JANINE LIEZER - YVETTE DUBOST - ALICE DESVERGERS - TEROFF g « Dollq Davis interprète avec une grâce touchante le rôle de la jeune fille. » (Le Courrier Cinématographique.) | = PIERRE STEPHEN = | g E. HARDOUX - Henry HOURY - Lino MANZONI g g Edy DEBRAY - DUTERTRE - MATRAT g Boulevards = Tragédie d'Amour Opér. : BRUN et STUCKER - Décor. - Assistant : BONNEFOI — « Elvira Codeanu en Mimi est gracieuse et sensible. Oskar Beregi (le ban¬ quier) a grande allure. » (La Cinématographie Française.) Illllllllflillllllllllllllllllllllllllllllllllllllllllllilllllllllllllllllllllllll -
DCP – Film Distribution 09/2018
DCP – Film distribution 09/2018 Friedrich-Wilhelm-Murnau-Stiftung Murnaustraße 6 65189 Wiesbaden Film distribution Patricia Heckert phone.: +49 (0) 611 / 9 77 08 - 45 Fax: +49 (0) 611 / 9 77 08 - 19 [email protected] Friedrich-Wilhelm-Murnau-Stiftung Film distribution (DCP) 09/2018 Film title / Year Silent film / Music Type Credits Languages / Length Subtitles Abschied sound film directed by: Robert Siodmak german 77'25" DE 1930 cast: Brigitte Horney, Aribert Mog, Emilie alternate ending on DCP Unda Akrobat Schö-ö-ö-n sound film directed by: Wolfgang Staudte german 84'06'' DE 1943 cast: Charlie Rivell, Clara Tabody, Karl Schönböck, Fritz Kampers Als ich tot war music: Aljoscha Zimmermann silent film directed by: Ernst Lubitsch german intertitles 37'43" DE 1915 arrangement: Sabrina Hausmann cast: Ernst Lubitsch, Helene Voß tinted ensemble: Sabrina Hausmann, Mark Pogolski Amphitryon sound film directed by: Reinhold Schünzel german 103'11" DE 1935 cast: Willy Fritsch, Paul Kemp, Lilian Harvey Anna Boleyn music: Javier Pérez de Azpeitia silent film directed by: Ernst Lubitsch german intertitles 123'47" DE 1920 cast: Emil Jannings, Henny Porten, tinted Paul Hartmann restoration 1998 Apachen von Paris, Die without music silent film director: Nikolai Malikoff german intertitles 108'08'' DE 1927 cast: Jaque Catelain, Lia Eibenschütz, Olga Limburg Asphalt music: Karl-Ernst Sasse without mus directed by: Joe May german intertitles 94'14'' DE 1929 recording: Brandenburgische Philharmonie cast: Betty Amann, Gustav Fröhlich, Albert restoration -
Der Kinematograph (January 1922)
Der iph — Düsseldorf No. 77t» KOOP CHARLOTTENBURG BERLINER STRASSE 46 TELEPHON WILHELM 6786 * DAS EREIGNIS DER NÄCHSTEN SAISON MACBETH * REGIE: HEINZ SCHALL Fabrikanten und Patentinhaber Aktien- Oes. ,Urun(Änrumlcrireain,,,< Mannheim Der Ktneinatograph Düsseldorf Vllerdmg» muß werden. duß die Hamburger Tbeaterpreiee l*xlen Rekord uushalten. Im Hamburger 8tadttheater ist ein einiger • näßen guter Platz nicht uuter 50,— Mk. zu haben, da» Publikum ■et« »ich daher auch durchweg nur au» Kreisen der ..neuen Keielien .msammen. Bi«h«r war da» Kinn noch da» Theater de» kleinen Maniu-s. aller die»er wird »ich bald auch dic«en <a>nuü verkneifen und »ein mühsam verdiente» Geld lielaw fiir l.cben«Tnittel ausgetieii Itaß die Behörde l*»-i die»««r X«>tläge de» Kinogewerbe» -»• wenig Verständnis zeigt, die enormen Steuern nirlit ermäßigt und — nach der Harburg»;- Katastrophe mit immer soharfereu Betrieb» Vorschriften aufwartet, muß um so mehr Wunder nehmen, al» di«- Ihgierenden in Hamburg sieh fast ausschließlich aus Sozialdemo kruten zusanuucnsetzen. «lie doch angeblich ein tiefe» Verständnis &ino*%ripffr&onfrenforen für soziale Dinge Juden. Sollten unter dem Druck der Nut einzeln** Theaterbesitzer zur Schließung ihrer Betrielje gezwungen werden, acoäf;rIcTfttn hurt^ so hat der Staat nicht nur für die Arbeit »losen zu sorgen. sondern ••r ist auch mit Schuld daran, wenn die pessimistische Volksstirnmm.g günstigere Sluenutjung ber lampe immer trostloser wird. Der Mensch braucht nicht nur Bmt zun beben sondern auch uichtmaterielle Genüsse. wenn er geistig frisch ohne örhöbung ber ©fromfetlcn bleiben soll. Jedenfalls fangt das neue Jahr für da- Hamburger Theaterbesitzer nicht gerade glückverheißend an. Sie können sich höchstens damit trösten, daß ihre Kollegen im Reiche auch -<-hwer bebeutenbe ©fetgerung ber zu ringen haben. -
April 27- May 1 the Virginia Theatre 203 W
THE COLLEGE OF MEDIA AT I LLINOIS PRESENTS 13th Annual April 27- May 1 The Virginia Theatre 203 W. Park, Champaign www.ebertfest.com Special support provided by the Academy of Motion Picture Arts and Sciences. FILM SCREENINGS AT THE VIRGINIA THEATRE LIVE WDWS ON-AIR INTERVIEW Wednesday, April 27, 2011 Please Tune In to WDWS-AM 1400! 7:00 pm Metropolis Wednesday, April 27, 2011 10:30 pm Natural Selection 9:00 am - 10:00 am Jim Turpin’s (WDWS)Ebertfest Interview Thursday, April 28, 2011 1:00 pm Umberto D ACADEMIC PANEL DISCUSSIONS 3:30 pm My Dog Tulip 8:00 pm Tiny Furniture Thursday, April 28, 2011 9:00 am – 10:15 am Friday, April 29, 2011 Personal Stories in Film 1:00 pm 45365 Moderated by Eric Pierson 4:00 pm Me and Orson Welles Pine Lounge, 1st Floor 8:30 pm Only You 10:30am -11:45 am Far Flung Correspondents: International Perspectives Saturday, April 30, 2011 in Film Criticism 11:00 am A Small Act Moderated by Omer Mozaffar Pine Lounge, 1st Floor 2:00 pm Life, Above All 6:30 pm Leaves of Grass Friday, April 29, 2011 9:30 pm I Am Love 9:00 am – 10:15 am Sunday, May 1, 2011 Ebert Presents: Reinventing the TV Show in the Digital Age Noon Louder Than a Bomb Moderated by Chaz Ebert Pine Lounge, 1st Floor SPECIAL POST-FESTIVAL SCREENING 10:30am -11:45 am Sunday, May 1, 2011 Choices: The Movies We Make, the Roles We Play 4:00 pm Louder Than a Bomb Moderated by Nate Kohn Pine Lounge, 1st Floor The Champaign County Anti-Stigma Alliance is pleased to announce that they will have a special showing of LOUDER THAN A BOMB immediately following the close of Ebertfest (May WORKSHOP 1). -
The Museum of Modern Art ,1 Wist 53 Street, New York 19, N
THE MUSEUM OF MODERN ART ,1 WIST 53 STREET, NEW YORK 19, N. Y. THlPHONIi CIRCUS 5-8900 520331-27 FOR RELEASE April 1, 1952 LIST OF EXHIBITIONS AND SPECIAL EVENTS - Current and Future Museum Hours: Daily 12-7 p.m., Sunday 1-7 P«m. Admission: Adults oO^, Children 20$^ EXHIBITIONS ON VIEW AND SPECIAL EVENTS DURING APRIL Current through April 20 PICASSO, HIS GRAPHIC ART (opened Graphic Arts Feb. 1J4) First survey in America of Picasso's graphic art. Includes etchings, woodcuts, lithographs from past 50 years, 1I4.O prints, 13 illustrated books. Current through April 20 ODILON REDON, DRAWINGS AND LITHOGRAPHS Graphic Arts (opened Feb. ll|) 20 drawings and 110 lithographs by a pioneer of 20th- century art (I8l|0-19l6). Current through May 11 POSTERS BY PAINTERS AND SCULPTORS Poster Design (opened March 5) Approximately 50 posters by kS American and European artists. Several done for this ex hibition, including posters by Calder, Stamos and Steinberg, * Current through April 22 THE HUMAN QUALITY IN CREATIVE EXPERI Education ENCE (opened March 20) A picture story for parents and teachers, told largely through, photographs, to show the importance of art activity in the growth of the individual child. # Current through April 22 MODEL FOR A CHILDREN'S PLAYGROUND Education (opened March 20) Desi gned by Isamu Noguchi and Julian Whi ttlesey for the UN, but rejected due t o protests from Robert Moses. Being s hown as " a par- ticularly striking ill ustration of the possibilities of s timulating the child's sense of space and form through a playground d esigned as architectural sculptur e." Current through June 1 NEW DESIGN TRENDS (opened March 26) Design A comparison of 11 pairs of objects illustrating changes from the geo metric forms of the '30s to the more fluid forms of today. -
Filmklassiker Bel Ami (1939)
Filmklassiker Bel Ami (1939)...........................................................................................................................2 Der blaue Engel (1930)...............................................................................................................2 Ein blonder Traum (1932)...........................................................................................................3 Bomben auf Monte Carlo (1931).................................................................................................4 Die Brücke (1960) ......................................................................................................................4 Des Teufels General (1955) ........................................................................................................5 Das doppelte Lottchen (1950) .....................................................................................................6 3 Männer im Schnee (1956) ........................................................................................................6 Die Drei von der Tankstelle (1956) .............................................................................................7 Emil und die Detektive (1931) ....................................................................................................8 Die Feuerzangenbowle (1944).....................................................................................................8 Frauenarzt Dr. Prätorius (1950)...................................................................................................9 -
Der Kinematograph (December 1931)
Die Tonwochen wurden von den Zuschaue n Lya de Putti gestorben mit Beifall begrüßt. Lya de Die in Nr. 64 der Ufa-Ton¬ Putti war eine schwierige Da woche gebrachten Kurzreferate Im Laufe des gestrigen Tages ausstellte. Weil sie eine Per¬ haben wir bereits erwähnt, fn xt Lya de Putti in New York sönlichkeit besonderer Art war, stellerin. die ihren Regisseur n der interessanten Zusammen¬ gestorben. Sie war vor 12 Jah¬ gelang es ihr scnnell, Star¬ das Leben schwer machte ui d stellung dieser Ausgabe sieht ren aus Budapest nach Berlin ruhm zu erringen, und eine die auch dadurch von sich man ferner zwei Männer am reden machte, daß sie im pi Mikrophon, die zur Ehre deut¬ vaten Leben die Rollen, d e schen Forschertums ihr Leben sie im Film zu verkörpern eingesetzt haben, Professor Dr. hatte, weiterzuspielen ve Kurt Wegener, der nach dem suchte. Einmal gelang es de i Tode seines Bruders die Lei¬ tung der Grönland - Expedition Regisseur E. A. Dupont, d.< übernommen hatte, und seinen unzweifelhaft vorhandene T Assistenten Dr. Loewe. Eine be¬ lent in Lya de Putti zu wecke sonders gelungene Reportage als er sie zur Partnerin von zeigt die großen Hindernisren¬ Emil Jannings in „Varietä" be¬ nen in Auteuil bei Paris; der stimmte. Der Film verschaffu- 77jährige populäre amerikani¬ ihr das bekannte Amerikaeng sche Marschkomponist Sousa gement, das indessen, wie b> i wird anläßlich seines Ge¬ burtstages im Bild gezeigt, man so vielen anderen europäische sieht einen sehr robusten Ring¬ Künstlern, kein künstlerisch kampf im freien Stil, ein Win¬ Gewinn für sie war. Wed zerfest in Bonn und Nordsee¬ „Lord Satanas" noch die aufnahmen während der Novem¬ „Scharlachlady " waren E - berstürme. -
The Concise Cinegraph
The Concise CineGraph Film Europa: German Cinema in an International Context Series Editors: Hans-Michael Bock (CineGraph Hamburg); Tim Bergfelder (University of Southampton); Sabine Hake (University of Texas, Austin) German cinema is normally seen as a distinct form, but this new series emphasizes connections, influences, and exchanges of German cinema across national borders, as well as its links with other media and art forms. Individual titles present traditional historical research (archival work, industry studies) as well as new critical approaches in film and media studies (theories of the transnational), with a special emphasis on the continuities associated with popular traditions and local perspectives. The Concise CineGraph: Encyclopaedia of German Cinema General Editor: Hans-Michael Bock Associate Editor: Tim Bergfelder International Adventures: German Popular Cinema and European Co-Productions in the 1960s Tim Bergfelder Between Two Worlds: The Jewish Presence in German and Austrian Film, 1910–1933 S. S. Prawer Framing the Fifties: Cinema in a Divided Germany Edited by John Davidson and Sabine Hake A Foreign Affair: Billy Wilder’s American Films Gerd Gemünden Destination London: German-speaking Emigrés and British Cinema, 1925–1950 Edited by Tim Bergfelder and Christian Cargnelli Michael Haneke’s Cinema: The Ethic of the Image Catherine Wheatley Willing Seduction: The Blue Angel, Marlene Dietrich, and Mass Culture Barbara Kosta Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language Hester Baer Béla Balázs’ Early Film Theory: Visible Man and The Spirit of Film Béla Balázs Translated by Rodney Livingstone Introduction by Erica Carter THE CONCISE CINEGRAPH Encyclopaedia of German Cinema General Editor: Hans-Michael Bock Associate Editor: Tim Bergfelder With a Foreword by Kevin Brownlow Published in 2009 by Berghahn Books www.berghahnbooks.com ©2009 Hans-Michael Bock Appendix: ©2009 Tim Bergfelder Die Herausgabe dieses Werkes wurde aus Mitteln des Goethe-Instituts gefördert.