Documents in Chronological Order
1907
Hanns Heinz Ewers, The Kientopp
Anon., The Cinematograph in the Service of Ethnology
Fred Hood, Illusion in the Cinematographic Theater
1908
Ludwig Brauner, Cinematographic Archives
Anon., How Singing Pictures (Sound Pictures) Are Made
1909
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
1910
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
1911
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
1912
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
1913
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
1914
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., 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
1915
E.W., The Film Archive of the Great General Staff
1916
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
1917
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
1919
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)
1920
Yvan Goll, The Film Drama
Friedrich Sieburg, The Transcendence of the Film Image
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
1921
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
1922
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
1923
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
1924
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
1925
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
1926
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
1927
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
1928
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
1929
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
1930
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
- Baer, The Color Film
1931
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
1932
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
Bernhard Diebold, The Future of Mickey Mouse
Siegfried Kracauer, At the Edge of Yesterday
1933
Siegfried Kracauer, Greta Garbo: A Study
Georg Wilhelm Pabst, Film and Conviction