Documents in Chronological Order



Hanns Heinz Ewers, The Kientopp

Anon., The Cinematograph in the Service of Ethnology

Fred Hood, Illusion in the Cinematographic Theater



Ludwig Brauner, Cinematographic Archives

Anon., How Singing Pictures (Sound Pictures) Are Made



Max Brod, Cinematographic Theater

Gustav Melcher, On Living Photography and the Film Drama

Kurt Weisse, A New Task for the Cinema

Alfred Döblin, Theater of the Little People

Georg Kleibömer, Cinema and Schoolchildren

Franz Pfemfert, Cinema as Educator



Anon., New Terrain for the Cinematographic Theater

Anon., The Career of the Cinematograph

Berthold Viertel, In the Cinematographic Theater

Walter Turszinsky, Film Dramas and Film Mimes

Arthur Mellini, The Education of Moviegoers into a Theater Public

Hans Hennes, Cinematography in the Service of Neurology and Psychiatry



Karl Hans Strobl, The Cinematograph

Ph. Sommer, On the Psychology of Cinematography

Hermann Kienzl, Theater and Cinematograph

Eduard Bäumer, Cinema and Epistemology

Anon., The Movie Girl

Albert Hellwig, Trash Films

Robert Gaupp, The Dangers of the Cinema (1911/12)

Georg Lukács, Thoughts Toward an Aesthetic of the Cinema

Osvaldo Polimanti, The Cinematograph in Biological and Medical Science



Adolf Sellmann, The Secret of the Cinema

Arno Arndt, Sports on Film

Carl Forch, Thrills in the Film Drama and Elsewhere (1912/13)

Lou Andreas Salomé, Cinema (1912/13)

Franz Goerke, Proposal for the Establishment of an Archive for Cinema-Film

J. Landau, Mechanized Immortality

Anon., Various Thoughts on the Movie Theater Interior

Egon Friedell, Prologue Before the Film (1912/13)

Konrad Lange, The Cinematograph from an Ethical and Aesthetic Viewpoint

Ike Spier, The Sexual Danger in the Cinema

Max Grempe, Against the Stultification of Women in Cinema (1912/1913)

Roland, Against the Stultification of Women in Cinema (1912/1913)

Paul Klebinder, The German Kaiser in Film

Hermann Duenschmann, Cinematograph and Crowd Psychology

Alfred A. Baeumler, The Effects of the Film Theater

Leonhard Birnbaum, The Cultural Mission of the Cinematograph



Walter Hasenclever, The Movies as Educator: An Apology

Walter Serner, Cinema and Visual Pleasure

O. Th. Stein, The Cinematograph as Modern Newspaper (1913/14)

Heinrich Lautensack, Why?—This is Why!

Victor Noack, The Cinema

Anon., The Autorenfilm and Its Assessment

Ulrich Rauscher, The Cinematic Ballad

Kurt Pinthus, Quo vadis, Cinema?

Anon., The Student of Prague

Hermann Häfker, The Call for Art

Herbert Tannenbaum, Problems of the Film Drama (1913/14)

Will Scheller, The New Illusion (1913/14)

Naldo Felke, The Cinema’s Damaging Effects on Health

Karl Brunner, The Cinematograph of Today: A Public Menace

Anon., Cinema in the Light of Medicine

Julius Pinschewer, Film Advertising

Max Mack, The Conquest of the Third Dimension



Albert Hellwig, Illusions and Hallucinations During Cinematographic Projections

Hermann Häfker, Cinema and Geography: Introduction

Emilie Altenloh, On the Sociology of Cinema

Kurt Pinthus, The Photoplay

Anon., War and Cinema

Anon., The Cinematograph as Shooting Gallery

Hermann Häfker, Cinema and the Educated Class: A Foreword

Hermann Häfker, The Tasks of Cinematography in This War

Edgar Költsch, The Benefits of War for the Cinema

Ernst Bloch, Melody in the Cinema, or Immanent and Transcendental Music



E.W., The Film Archive of the Great General Staff



Friedrich Freksa, Theater, Pantomime and Cinema

Richard Guttmann, Cinematic Mankind

Karl Kraus, Made in Germany

Anon., State and Cinema

Johannes Gaulke, Art and Cinema in War

Bernhard Diebold, Expressionism and Cinema

Max Skladonowsky, The History of the Bioscope and its First Public Demonstration on November 1, 1895



Hans Lehmann, Slow Motion

Paul Wegener, On the Artistic Possibilities of the Motion Picture

Gustav Stresemann, Film Propaganda for German Affairs Abroad

Erich Ludendorff, The Ludendorff Letter

Joseph Max Jacobi, The Triumph of Film




Carl Hauptmann, Film and Theater

Resi Langer, From Northern Berlin and the Surrounds/In The Movie Houses of Berlin West

Walther Friedmann, Homosexuality and Jewishness

Wilhelm Stapel, Homo Cinematicus

Rudolf Genenncher, Film as a Means of Agitation

Henny Porten, The Diva

Gertrud David, The Expressionist Film

Walter Ruttmann, Painting with Time (ca. 1919)



Yvan Goll, The Film Drama

Friedrich Sieburg, The Transcendence of the Film Image

Milena Jesenká, Cinema

Kurt Tucholsky, Erotic Films

Herbert Tannenbaum, Film Advertising and the Advertising Film

Ernst Lubitsch, We Lack Film Poetry

Kurt Tucholsky, Cinema Censorship

Claire Goll, American Cinema

Erich Pommer, The Significance of Conglomerates in the Film Industry

J.B., Expressionism in Film

Ernst Angel, An ‘Expressionist’ Film

Carlo Mierendorff, If I Only Had the Cinema!

Oskar Kalbus, The Muteness of the Film Image

Bruno Taut, Artistic Film Program



August Wolf, Film as Historian

August Wolf, The Spectator in Cinema

Valentin, The Significance of Film for International Understanding

Kurt Pinthus, Henny Porten for President

Hugo von Hofmannsthal, A Substitute for Dreams

Robert Müller, The Future of Film

Bernhard Diebold, A New Art: Film’s Music for the Eyes

Hans Richter, Basic Principles of the Art of Movement

Adolf Behne, Film as a Work of Art

Freiherr Wilhelm von Ledebur, Cinematography in the Service of the Police

Arthur Lassally, Film Advertising and Advertising Films



Hans Schomburgk, Africa and Film

Oskar Diehl, Mimic Expression in Film

Joe May, The Style of the Export Film

Hans Siemsen, German Cinema

Georg Jacoby, Film-America and Us

Béla Balázs, The Revolutionary Film

Robert Wiene, Expressionism in Film

Albin Grau, Lighting Design in Film

Herbert Jhering, The Acoustic Film



Franc Cornel, The Value of the Adventure Film

Béla Balázs, The Eroticism of Asta Nielsen

Friedrich Sieburg, The Magic of the Body

Robert Musil, Impressions of a Naïve Man

Kurt Pinthus, The Ethical Potential of Film

Hans Pander, Intertitles

Heinz Michaelis, Art and Technology in Film

Béla Balázs, The Color Film



Fritz Lang, Will to Style in Film

Fritz Lang, Kitsch – Sensation – Culture and Film

Albert Hellwig, The Motion Picture and the State

Ernst Lubitsch, Film Internationality

Georg Otto Stindt, Is Film National or International?

Siegfried Kracauer, A Film

Béla Balázs, The Close-Up

Fritz Lang / Friedrich Wilhelm Murnau, My Ideal Screenplay

Paul Leni, Architecture in Film

Julie Elias, Film and Fashion

Edgar Beyfuß, School and Film

Ulrich Kayser, Industrial Films

E.R. Schlesinger, Kulturfilm and Cinema



Béla Balázs, Reel Consciousness

Siegfried Kracauer, Mountains, Clouds, People

Joseph Roth, The Uncovered Grave

Max Osborn, The Nude Body on Film

Béla Balázs, The Educational Value of Film Art

Kurt Pinthus, Ufa Palace

Siegfried Kracauer, Film Image and Prophetic Speech

Walter Reimann, An Afterward to Caligari

Rudolf Arnheim, The Absolute Film

Guido Seeber, The Delirious Camera

Herbert Jhering, Film and Radio

S.G. Bastian, The Telefilm

Kurt Weill, Possibilities for an Absolute Radio Art




Fritz Schimmer, On the Question of a National Film Archive

Leni Riefenstahl, How I Came to Film…

Karl Demeter, The Sociological Foundations of the Cinema Industry

Rudolf Harms, The Movie Theater as Gathering Place

Axel Eggebrecht, The Twilight of Film?

Béla Balázs, Only Stars!

Vicky Baum, The Automobile in Film

Anon., Vienna is Filming!

Willy Haas, Why We Love Film

Siegfried Kracauer, The Klieg Lights Stay On

Adolf Behne, The Public’s Attitude Toward Modern German Literature

Rudolf Kurtz, Limitations of the Expressionist Film

Hanns Sachs, The Interpretation of Dreams in Film

László Moholy-Nagy, film at the bauhaus: a rejoinder

Béla Balázs, Productive and Reproductive Film Art

Fritz Lang, Looking Towards the Future

Eugen Schüfftan, My Process



Anon., The Charleston in 1,000 Steps

Leo Witlin, On the Psychomechanics of the Spectator

Kurt Tucholsky, War Films

Anon., The Restructuring of Ufa

Oscar A.H. Schmitz, Potemkin and Tendentious Art

Walter Benjamin, Reply to Oscar A.H. Schmitz

Robert Breuer, The Film of Objectivity

Walter Ruttmann, How I Made My Berlin Film

Karl Freund, Behind My Camera

Lotar Holland, Subjective Movement

Dreyer, The Trickfilm



Colin Ross, Exotic Journeys with a Camera

Lotte H. Eisner and Rudolf von Laban, Film and Dance Belong Together

Film-Kurier, Film in the New Germany

Carl Laemmle, Film Germany and Film America                                                      

Hugo, Film Education

K.W., What Is Film Illusion?

Hans Feld, Anita Berber: The Representative of a Generation

Lotte H. Eisner, The New Youth and Film

Franz Höllering, Film und Volk: Foreword

Béla Balázs, Film Works for Us!

Heinrich Mann, Film and the People

Ernst Toller, Who Will Make the German Revolutionary Film?

Fritz Giese, Revue and Film

Walter Ruttmann, The “Absolute” Fashion

Siegfried Kracauer, Abstract Film

László Moholy-Nagy, The Artist Belongs to the Industry!

Giuseppe Becce, Film and Music

Heinrich Strobel, Film and Music

Walter Ruttmann, Principles of the Sound Film

Siegfried Kracauer, Sound-Image Film



Franz Osten, Living and Dead History

Anon., Lunar Flight in Film

Erich Burger, Pictures-Pictures

Albrecht Viktor Blum, Documentary and Artistic Film

Fritz Lang, The Art of Mimic Expression in Film

Billie Wilder, The First One Back from Hollywood

Karl Ritter, Mass Man in the Cinema

Willy Münzenberg, Film and Propaganda

A.A., World Film Report

Walter Benjamin, Chaplin in Retrospect

Henrik Galeen, Fantastic Film

Lotte Reiniger, Living Shadows

Hans Richter, New Means of Filmmaking

Walter Ruttmann, The Isolated Artist

Hans Richter, Avant-garde in the Realm of the Possible

Anon., “Candid” Cinematography

Lotte H. Eisner, Avant-garde for the Masses

Hans Cürlis, Film is Promotion

Béla Balázs, A Conviction

Ernst Hugo Correll, The Nature and Value of Sound Film

Georg Wilhelm Pabst, Reality of Sound Film

Carl Hoffmann, Problems of the Camera

Walter Gronostay, Possibilities for the Use of Music in Sound Film

Erwin Piscator, Sound Film Friend and Foe (1929/30)

László Moholy-Nagy, The Elements Once Again

Arthur Korn, Why We Still Do Not Have Television

Erich Grave, The Third Dimension

Ernst Steffen, Telecinema in the Home



Alfred Polgar, The Panic of Reality

Emil Jannings, Miming and Speaking

Siegfried Kracauer, All Quiet on the Western Front

Alexander Jason, Film Statistics

Marlene Dietrich, To an Unknown Woman

Max Brod and Rudolf Thomas, Love on Film

Lupu Pick, Individual and Montage

Siegfried Kracauer, Chaplin in Old Films

Theodor W. Adorno, Kierkegaard Prophesies Chaplin

Alex Strasser, The End of the Avant-garde?

Béla Balázs, Farewell to Silent Film

Rudolf Arnheim, A Commentary on the Crisis Facing Montage

Edmund Meisel, Experiences in Composing Music for Sound Films

Alfred Döblin, Only the Transformed Author Can Transform Film

Frank Warschauer, A Glance into the Future

  1. Baer, The Color Film



Béla Balázs, The Case of Dr. Fanck

Siegfried Kracauer, The Weekly Newsreel

Béla Balázs, Where is the German Sound Film Archive?

Aurel Wolfram, Cinema

Kurt Tucholsky, Against the Ban on the Remarque Film

A.K., Done with Hollywood

Anon., Film-Europe, a Fact!

Anon., Internationality through the Version System

Siegfried Kracauer, All About Film Stars

Siegfried Kracauer, Destitution and Distraction

Anon., In the Empire of Film

Bertolt Brecht, The Threepenny Lawsuit

Walter Benjamin, Mickey Mouse

Ernst Kállai, Painting and Film

Rene Fülöp-Miller, Phantasy by the Meter

Fritz Lang, Problems in Sound Film Design



Siegfried Kracauer, The Cinema on Münzstraße

Fritz Olimsky, Film Bolshevism

Erich Pommer, The International Talking Film

Herbert Jhering, The Banned Kuhle Wampe

Ernst Jünger, The Worker                                                       

Karl Nikolaus, Advertising Film and its Psychological Effects

Rudolf Arnheim, Radio-Film

Bernhard Diebold, The Future of Mickey Mouse

Siegfried Kracauer, At the Edge of Yesterday



Siegfried Kracauer, Greta Garbo: A Study

Georg Wilhelm Pabst, Film and Conviction