The film opens with an unrelated shot of troops digging a trench line. It continues as Portuguese mule-drawn field gun limbers come down a steep grassy bank towards the camera. They turn and wheel on ...
Gun limbers and GS wagons move up a sunken road in the rear areas of the battlefield. German prisoners are marched back in column of twos along the road, passing the horsed transport. A horsed vehicle...
Firstly, a column of Infantry marching through a town showing shell damage - the light values have been set wrongly and the film is far too dark. This is followed by British, or possibly Canadian, sol...
WAACs at a temporary shelter serve food to a waiting queue of other WAACs, all very camera-conscious. A WAAC platoon route marches across open moorland. WAACs erect bell tents in woodland with a villa...
The tanks, Males and Females, are all unarmed and instead of battalion numbers carry large training numbers on their noses. Firstly a pan over the instructing officers in front of two of the tanks. At...
Australian soldiers, probably of 5th Division, at the south end of the Saint Quentin tunnel at Bellicourt. A temporary bridge has been built just below the tunnel entrance. A view, from on top of the ...
The main street of the village is almost undamaged except for a prominent shell hole in the side of one barn. A British Cavalry signals section of four men, possibly Scots Greys, crouches in an open f...
Five small Commer lorries carry British troops up the road. Civilian refugees are evacuated by another lorry, which drives off. More lorryloads of troops move up the road. The view down from a wrecked...
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.
C.Z.K.. „Presseschau.“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III, 3/4 (1913/1914): 89-90. Der Autor zitiert mehrere Pressestimmen, die den kulturellen Wert des Films herv...
News of the exhibition in Lisbon of a group of “war films” in a tribute to the allied nations.
FILMEN is the most important Danish film industry magazine from the early silent film period. The journal was published in the period 1912-1919 (with 24 issues per year).
Wie steht das Volk zum Kino ?, Das Lichtbildtheater, 6.Jg, Nr.5, (1914). Bericht über die erste soziologische Untersuchung des Kinowesens durch Emilie Altenloth. Ihrem Ergebniss, dass maßgeblich Men...
H.v.W., Schund, Schmutz und Kino, Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie, IV, 12, (1914/1915), S. 255-256. Die Reaktionen auf "Fräulein Feldwebel" seien ähnlich wie die auf ...
O. Verf.. „Mit der Kamera in der Schlachtfront.“ Der Kinematograph 368 (1914).
O. Verf.. „Mit der Kamera in der Schlachtfront.“ Der Kinematograph 367 (1914). Werbung
Lynx. „Kritik.“ Bild & Film. Zeitschrift für Lichtbilderei und Kinematographie III, 3/4 (1913/1914): 80-84. Erläutert die Absicht, künftig in der Zeitschrift Filmkritiken zu veröffentlichen so...