Documentary dedicated to the artillery assigned to the Italian troops in Africa, shot by Luca Comerio in 1912, while the war in Libya was underway. The video is a copy from the film print preserved in...
Luca Comerio is perhaps the greatest documentary filmmaker in Italian silent cinema. War films have an important place within his immense production, in particular the ones dedicated to the Italo-Turk...
Clay pits were operative near Cefalù in the 1910s. This brief documentary shows us the different stages of the manufacturing process: from the hard job of extracting and transporting it to the artisa...
The golden hollow is the site where the city of Palermo rises, with its most famed beauties are shown to us thanks to static takes, slow tracking and “split screen” shots inspired by picturesque p...
A documentary set in Italian-speaking Switzerland, whose beauties are revealed through “phantom rides” on the Brunate Cremagliera railway, through sunsets in backlight on Lake Como and footage of ...
Documentary dedicated to the submarines assigned to the Italian Military Navy, shot by Luca Comerio in 1912, while the war in Libya was underway. The drills shown take place near the port of Taranto. ...
The panoramic shot opening the film pinponts the true protagonists at once: the canals, water harnessed within circuits planned by man in order to wrench land from the sea. The camera travels at water...
Episode of the series produced by Comerio dedicated to the Italo-Turk war. It features the departure of Lt. Paolo Solaroli’s body from Africa to Italy. The video is a copy from the film print preser...
An Austrian soldier in underwear, three Russian soldiers around him.
Reunion of families after war. In the middle stand Tomeš, Janda and Bárta in uniforms of volunteers. Women sit behind and sons talk with fathers.
Volunteer Bárta (laborer) encounters his wife.
Volunteer Janda (smith) in Italian uniform encounters his family after the end of the war.
Janda´s son in the apron and volunteer Janda in Italian uniform.
From the left: Volunteer Bárta in French uniform, volunteer Janda in Italian uniform.
Tomeš encounters his wife and son after the return from the war. Tomeš hugs his son. His wife stands nearby and smiles at Janda and Bárta.
From the left: Tomeš (Russian uniform), Bárta (French uniform) and Janda (Italian uniform). Volunteers rest during their coming home.
Im Soldaten-Kino, Der Kinematograph, 469, (1915), S. 8-9. Bericht über ein Kino an der Front. Das Kino helfe den Soldaten, durch Unterhaltungsfilme, die sie im zivilen Leben als sehr abgeschmackt ang...
Fort mit den letzten Überresten polizeilicher Gewalten, Die Filmwelt, 12.Jg., 49, (1918). Aufruf, dass nach Wegfall der Zensur auch alle anderen polizeilichen Verordnungen wie Werbeverbote oder das k...
Argus, Neuheiten auf dem Berliner Filmmarkte, Der Kinematograph, 566, (1917), S. 21-22. Rezensionen zu "Aus des Deutschen Reiches Waffenschmiede", "Höhenluft mit Henny Porten" und "Der schwarze Chauf...
Josef Max Jacobi, Der Triumph des Films, Der Kinematograph, 563, (1917), S. 13-14. Die Macht des Films sei lange verkannt worden, im Krieg aber hätte sie sich bewiesen. Kinobesitzer sollten mit gutem...
Julius Urgiss, Oesel genommen, Der Kinematograph, 566, (1917), S. 22-24. Rezension der Aufnahmen des Königlichen Bild- und Filmamtes von der Eroberung der Insel Ösel (Estland, zum russ. Reich gehör...
Voigt, Hildegard L.. "Die Hetze gegen die Lichtbildbühnen." Lichtbildbühne 23 (1913): 1-4. Die Kritiker des Kinos würden nur deren Auswüchse sehen, hätten aber nie ein anständiges Kino besucht. ...
Egon Jacobsohn, Ferdinand Lassalle, Der Kinematograph, 615, (1918), S. 18-30. Bericht von der Uraufführung in Berlin. Die Aufführung sei ein voller Erfolg gewesen, zumal es besonders gut in die Zeit...