SPCA inspects farm and transport of livestock, and shows the care of both working animals and pets. Also outlines SPCA's role in rehoming animals, and in educating children about pet care.
Holidaymakers setting out from Glasgow, and travelling by train and steamer down the coast to Rothesay and Ettrick Bay. Includes tracking shots from tram in Sauchiehall Street.
A demonstration on how to use a Seine net for trawling. This film was planned by the Marine Laboratory Aberdeen, as part of their research programme on the efficiency of fishing gear. "Grateful ackn...
A look at the social and economic changes in Scotland during the 1950s, after the upheaval of the war. From the restoration of Iona Abbey to the development of new industries.
A tour through various exhibitions in the Kelvingrove Art Gallery and Museum.
Made for screening at the 1925 World Educational Congress Edinburgh, the film gives a survey of the educational opportunities offered in Edinburgh from infants up to senior pupils.
The festival of the Braw Lads Gathering in the Borders town of Galashiels; the historic flag is presented and then carried on horseback through the town.
The people of Lochgelly at work and play, with footage of wash day and playing golf and bowls.
Women exercising during a keep-fit class.
Amateur footage of Townswomen's Guild events, including a coach trip to the Borders, music and theatrical productions and a fashion show.
Natasja Juul in "Near and Elsewhere" (2018)
Irmin Schmidt in "Can and Me" (2022)
"The Farmer and I" (2013-16)
Christobal Farais, Rifka Lodeizen in "Messi and Maud" (2017)
"Above and Below" (2012-14)
Enrique Fiss, Benny Techen (left to right) in "Near and Elsewhere" (2018)
Aus der Praxis, Der Kinematograph, 407, (1914), S. 18-22. Das Filmen auf dem Kriegsschauplatz sei nur noch mit Genehmigung des Generaltstabs erlaubt. Kommentierung vom Kriegsaufnahmen in Kinos durch â...
Dialogue list (excerpt) for "Die Privatsekretärin".
Trailer (draft) for "Liebe", handwritten.
"Ueberhaupt und so....", Der Kinematograph, 717, (1920). Polemik anlässlich einer Reichstagsdebatte, in der das Kino als Hauptdarsteller pronographischer Kunst bezeichnet wurde. Zitiert werden die Au...