{"id":287,"date":"2015-09-08T08:49:21","date_gmt":"2015-09-08T08:49:21","guid":{"rendered":"http:\/\/www.thepromiseofcinema.com\/?page_id=287"},"modified":"2016-03-15T23:21:43","modified_gmt":"2016-03-15T23:21:43","slug":"documents-in-chronological-order","status":"publish","type":"page","link":"http:\/\/www.thepromiseofcinema.com\/index.php\/documents-in-chronological-order\/","title":{"rendered":"Documents in Chronological Order"},"content":{"rendered":"

Documents in Chronological Order<\/strong><\/p>

\u00a0<\/strong><\/p>

1907<\/strong><\/p>

Hanns Heinz Ewers, The Kientopp<\/a><\/p>

Anon., The Cinematograph in the Service of Ethnology<\/p>

Fred Hood, Illusion in the Cinematographic Theater<\/p>

\u00a0<\/strong><\/p>

1908<\/strong><\/p>

Ludwig Brauner, Cinematographic Archives<\/p>

Anon., How Singing Pictures (Sound Pictures) Are Made<\/p>

\u00a0<\/strong><\/p>

1909<\/strong><\/p>

Max Brod, Cinematographic Theater<\/p>

Gustav Melcher, On Living Photography and the Film Drama<\/p>

Kurt Weisse, A New Task for the Cinema<\/p>

Alfred D\u00f6blin, Theater of the Little People<\/p>

Georg Kleib\u00f6mer, Cinema and Schoolchildren<\/p>

Franz Pfemfert, Cinema as Educator<\/p>

 <\/p>

1910<\/strong><\/p>

Anon., New Terrain for the Cinematographic Theater<\/a><\/p>

Anon., The Career of the Cinematograph<\/p>

Berthold Viertel, In the Cinematographic Theater<\/p>

Walter Turszinsky, Film Dramas and Film Mimes<\/p>

Arthur Mellini, The Education of Moviegoers into a Theater Public<\/p>

Hans Hennes, Cinematography in the Service of Neurology and Psychiatry<\/p>

 <\/p>

1911<\/strong><\/p>

Karl Hans Strobl, The Cinematograph<\/p>

Ph. Sommer, On the Psychology of Cinematography<\/p>

Hermann Kienzl, Theater and Cinematograph<\/p>

Eduard B\u00e4umer, Cinema and Epistemology<\/a><\/p>

Anon., The Movie Girl<\/p>

Albert Hellwig, Trash Films<\/p>

Robert Gaupp, The Dangers of the Cinema (1911\/12)<\/p>

Georg Luk\u00e1cs, Thoughts Toward an Aesthetic of the Cinema<\/p>

Osvaldo Polimanti, The Cinematograph in Biological and Medical Science<\/p>

 <\/p>

1912<\/strong><\/p>

Adolf Sellmann, The Secret of the Cinema<\/p>

Arno Arndt, Sports on Film<\/p>

Carl Forch, Thrills in the Film Drama and Elsewhere (1912\/13)<\/p>

Lou Andreas Salom\u00e9, Cinema (1912\/13)<\/p>

Franz Goerke, Proposal for the Establishment of an Archive for Cinema-Film<\/p>

J. Landau, Mechanized Immortality<\/p>

Anon., Various Thoughts on the Movie Theater Interior<\/p>

Egon Friedell, Prologue Before the Film (1912\/13)<\/p>

Konrad Lange, The Cinematograph from an Ethical and Aesthetic Viewpoint<\/p>

Ike Spier, The Sexual Danger in the Cinema<\/p>

Max Grempe, Against the Stultification of Women in Cinema (1912\/1913)<\/p>

Roland, Against the Stultification of Women in Cinema (1912\/1913)<\/p>

Paul Klebinder, The German Kaiser in Film<\/em><\/p>

Hermann Duenschmann, Cinematograph and Crowd Psychology<\/p>

Alfred A. Baeumler, The Effects of the Film Theater<\/p>

Leonhard Birnbaum, The Cultural Mission of the Cinematograph<\/p>

 <\/p>

1913<\/strong><\/p>

Walter Hasenclever, The Movies as Educator: An Apology<\/p>

Walter Serner, Cinema and Visual Pleasure<\/p>

O. Th. Stein, The Cinematograph as Modern Newspaper (1913\/14)<\/p>

Heinrich Lautensack, Why?\u2014This is Why!<\/p>

Victor Noack, The Cinema<\/p>

Anon., The Autorenfilm <\/em>and Its Assessment<\/p>

Ulrich Rauscher, The Cinematic Ballad<\/p>

Kurt Pinthus, Quo vadis, Cinema?<\/p>

Anon., The Student of Prague<\/em><\/p>

Hermann H\u00e4fker, The Call for Art<\/p>

Herbert Tannenbaum, Problems of the Film Drama (1913\/14)<\/p>

Will Scheller, The New Illusion (1913\/14)<\/p>

Naldo Felke, The Cinema\u2019s Damaging Effects on Health<\/p>

Karl Brunner, The Cinematograph of Today: A Public Menace<\/p>

Anon., Cinema in the Light of Medicine<\/p>

Julius Pinschewer, Film Advertising<\/p>

Max Mack, The Conquest of the Third Dimension<\/p>

 <\/p>

1914<\/strong><\/p>

Albert Hellwig, Illusions and Hallucinations During Cinematographic Projections<\/p>

Hermann H\u00e4fker, Cinema and Geography<\/em>: Introduction<\/p>

Emilie Altenloh, On the Sociology of Cinema<\/p>

Kurt Pinthus, The Photoplay<\/p>

Anon., War and Cinema<\/a><\/p>

Anon., The Cinematograph as Shooting Gallery<\/p>

Hermann H\u00e4fker, Cinema and the Educated Class<\/em>: A Foreword<\/p>

Hermann H\u00e4fker, The Tasks of Cinematography in This War<\/p>

Edgar K\u00f6ltsch, The Benefits of War for the Cinema<\/p>

Ernst Bloch, Melody in the Cinema, or Immanent and Transcendental Music<\/p>

 <\/p>

1915<\/strong><\/p>

E.W., The Film Archive of the Great General Staff<\/p>

\u00a0<\/strong><\/p>

1916<\/strong><\/p>

Friedrich Freksa, Theater, Pantomime and Cinema<\/p>

Richard Guttmann, Cinematic Mankind<\/p>

Karl Kraus, Made in Germany<\/p>

Anon., State and Cinema<\/p>

Johannes Gaulke, Art and Cinema in War<\/p>

Bernhard Diebold, Expressionism and Cinema<\/p>

Max Skladonowsky, The History of the Bioscope and its First Public Demonstration on November 1, 1895<\/p>

\u00a0<\/strong><\/p>

1917<\/strong><\/p>

Hans Lehmann, Slow Motion<\/p>

Paul Wegener, On the Artistic Possibilities of the Motion Picture<\/p>

Gustav Stresemann, Film Propaganda for German Affairs Abroad<\/p>

Erich Ludendorff, The Ludendorff Letter<\/p>

Joseph Max Jacobi, The Triumph of Film<\/p>

 <\/p>

\u00a0<\/strong><\/p>

1919 <\/strong><\/p>

Carl Hauptmann, Film and Theater<\/p>

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

Walther Friedmann, Homosexuality and Jewishness<\/p>

Wilhelm Stapel, Homo Cinematicus<\/a><\/p>

Rudolf Genenncher, Film as a Means of Agitation<\/p>

Henny Porten, The Diva<\/p>

Gertrud David, The Expressionist Film<\/p>

Walter Ruttmann, Painting with Time (ca. 1919)<\/p>

\u00a0<\/strong><\/p>

1920<\/strong><\/p>

Yvan Goll, The Film Drama<\/p>

Friedrich Sieburg, The Transcendence of the Film Image<\/p>

Milena Jesenk\u00e1, Cinema<\/a><\/p>

Kurt Tucholsky, Erotic Films<\/p>

Herbert Tannenbaum, Film Advertising and the Advertising Film<\/p>

Ernst Lubitsch, We Lack Film Poetry<\/p>

Kurt Tucholsky, Cinema Censorship<\/p>

Claire Goll, American Cinema<\/p>

Erich Pommer, The Significance of Conglomerates in the Film Industry<\/p>

J.B., Expressionism in Film<\/p>

Ernst Angel, An \u2018Expressionist\u2019 Film<\/p>

Carlo Mierendorff, If I Only Had the Cinema!<\/p>

Oskar Kalbus, The Muteness of the Film Image<\/p>

Bruno Taut, Artistic Film Program<\/p>

 <\/p>

1921<\/strong><\/p>

August Wolf, Film as Historian<\/p>

August Wolf, The Spectator in Cinema<\/p>

Valentin, The Significance of Film for International Understanding<\/p>

Kurt Pinthus, Henny Porten for President<\/p>

Hugo von Hofmannsthal, A Substitute for Dreams<\/p>

Robert M\u00fcller, The Future of Film<\/p>

Bernhard Diebold, A New Art: Film\u2019s Music for the Eyes<\/p>

Hans Richter, Basic Principles of the Art of Movement<\/p>

Adolf Behne, Film as a Work of Art<\/p>

Freiherr Wilhelm von Ledebur, Cinematography in the Service of the Police<\/a><\/p>

Arthur Lassally, Film Advertising and Advertising Films<\/p>

\u00a0<\/strong><\/p>

1922<\/strong><\/p>

Hans Schomburgk, Africa and Film<\/p>

Oskar Diehl, Mimic Expression in Film<\/p>

Joe May, The Style of the Export Film<\/p>

Hans Siemsen, German Cinema<\/p>

Georg Jacoby, Film-America and Us<\/p>

B\u00e9la Bal\u00e1zs, The Revolutionary Film<\/p>

Robert Wiene, Expressionism in Film<\/p>

Albin Grau, Lighting Design in Film<\/p>

Herbert Jhering, The Acoustic Film<\/p>

\u00a0<\/strong><\/p>

1923<\/strong><\/p>

Franc Cornel, The Value of the Adventure Film<\/p>

B\u00e9la Bal\u00e1zs, The Eroticism of Asta Nielsen<\/p>

Friedrich Sieburg, The Magic of the Body<\/p>

Robert Musil, Impressions of a Na\u00efve Man<\/a><\/p>

Kurt Pinthus, The Ethical Potential of Film<\/p>

Hans Pander, Intertitles<\/p>

Heinz Michaelis, Art and Technology in Film<\/p>

B\u00e9la Bal\u00e1zs, The Color Film<\/a><\/p>

\u00a0<\/strong><\/p>

1924<\/strong><\/p>

Fritz Lang, Will to Style in Film<\/p>

Fritz Lang, Kitsch – Sensation – Culture and Film<\/p>

Albert Hellwig, The Motion Picture and the State<\/p>

Ernst Lubitsch, Film Internationality<\/a><\/p>

Georg Otto Stindt, Is Film National or International?<\/p>

Siegfried Kracauer, A Film<\/p>

B\u00e9la Bal\u00e1zs, The Close-Up<\/p>

Fritz Lang \/ Friedrich Wilhelm Murnau, My Ideal Screenplay<\/p>

Paul Leni, Architecture in Film<\/p>

Julie Elias, Film and Fashion<\/p>

Edgar Beyfu\u00df, School and Film<\/p>

Ulrich Kayser, Industrial Films<\/p>

E.R. Schlesinger, Kulturfilm<\/em> and Cinema<\/p>

\u00a0<\/strong><\/p>

1925<\/strong><\/p>

B\u00e9la Bal\u00e1zs, Reel Consciousness<\/p>

Siegfried Kracauer, Mountains, Clouds, People<\/p>

Joseph Roth, The Uncovered Grave<\/p>

Max Osborn, The Nude Body on Film<\/p>

B\u00e9la Bal\u00e1zs, The Educational Value of Film Art<\/p>

Kurt Pinthus, Ufa Palace<\/p>

Siegfried Kracauer, Film Image and Prophetic Speech<\/p>

Walter Reimann, An Afterward to Caligari<\/em><\/p>

Rudolf Arnheim, The Absolute Film<\/p>

Guido Seeber, The Delirious Camera<\/p>

Herbert Jhering, Film and Radio<\/p>

S.G. Bastian, The Telefilm<\/p>

Kurt Weill, Possibilities for an Absolute Radio Art<\/p>

 <\/p>

 <\/p>

1926<\/strong><\/p>

Fritz Schimmer, On the Question of a National Film Archive<\/p>

Leni Riefenstahl, How I Came to Film\u2026<\/p>

Karl Demeter, The Sociological Foundations of the Cinema Industry<\/p>

Rudolf Harms, The Movie Theater as Gathering Place<\/p>

Axel Eggebrecht, The Twilight of Film?<\/p>

B\u00e9la Bal\u00e1zs, Only Stars!<\/p>

Vicky Baum, The Automobile in Film<\/a><\/p>

Anon., Vienna is Filming!<\/p>

Willy Haas, Why We Love Film<\/p>

Siegfried Kracauer, The Klieg Lights Stay On<\/p>

Adolf Behne, The Public\u2019s Attitude Toward Modern German Literature<\/p>

Rudolf Kurtz, Limitations of the Expressionist Film<\/p>

Hanns Sachs, The Interpretation of Dreams in Film<\/p>

L\u00e1szl\u00f3 Moholy-Nagy, film at the bauhaus: a rejoinder<\/p>

B\u00e9la Bal\u00e1zs, Productive and Reproductive Film Art<\/p>

Fritz Lang, Looking Towards the Future<\/a><\/p>

Eugen Sch\u00fcfftan, My Process<\/p>

\u00a0<\/strong><\/p>

1927<\/strong><\/p>

Anon., The Charleston in 1,000 Steps<\/p>

Leo Witlin, On the Psychomechanics of the Spectator<\/p>

Kurt Tucholsky, War Films<\/p>

Anon., The Restructuring of Ufa<\/p>

Oscar A.H. Schmitz, Potemkin<\/em> and Tendentious Art<\/p>

Walter Benjamin, Reply to Oscar A.H. Schmitz<\/p>

Robert Breuer, The Film of Objectivity<\/p>

Walter Ruttmann, How I Made My Berlin Film<\/p>

Karl Freund, Behind My Camera<\/p>

Lotar Holland, Subjective Movement<\/p>

Dreyer, The Trickfilm<\/p>

\u00a0<\/strong><\/p>

1928<\/strong><\/p>

Colin Ross, Exotic Journeys with a Camera<\/p>

Lotte H. Eisner and Rudolf von Laban, Film and Dance Belong Together<\/a><\/p>

Film-Kurier, Film in the New Germany<\/p>

Carl Laemmle, Film Germany and Film America\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>

Hugo, Film Education<\/p>

K.W., What Is Film Illusion?<\/p>

Hans Feld, Anita Berber: The Representative of a Generation<\/p>

Lotte H. Eisner, The New Youth and Film<\/p>

Franz H\u00f6llering, Film und Volk<\/em>: Foreword<\/p>

B\u00e9la Bal\u00e1zs, Film Works for Us!<\/p>

Heinrich Mann, Film and the People<\/p>

Ernst Toller, Who Will Make the German Revolutionary Film?<\/p>

Fritz Giese, Revue and Film<\/p>

Walter Ruttmann, The \u201cAbsolute\u201d Fashion<\/p>

Siegfried Kracauer, Abstract Film<\/p>

L\u00e1szl\u00f3 Moholy-Nagy, The Artist Belongs to the Industry!<\/p>

Giuseppe Becce, Film and Music<\/p>

Heinrich Strobel, Film and Music<\/p>

Walter Ruttmann, Principles of the Sound Film<\/p>

Siegfried Kracauer, Sound-Image Film<\/a><\/p>

\u00a0<\/strong><\/p>

1929<\/strong><\/p>

Franz Osten, Living and Dead History<\/p>

Anon., Lunar Flight in Film<\/p>

Erich Burger, Pictures-Pictures<\/p>

Albrecht Viktor Blum, Documentary and Artistic Film<\/p>

Fritz Lang, The Art of Mimic Expression in Film<\/p>

Billie Wilder, The First One Back from Hollywood<\/p>

Karl Ritter, Mass Man in the Cinema<\/p>

Willy M\u00fcnzenberg, Film and Propaganda<\/p>

A.A., World Film Report<\/p>

Walter Benjamin, Chaplin in Retrospect<\/p>

Henrik Galeen, Fantastic Film<\/p>

Lotte Reiniger, Living Shadows<\/a><\/p>

Hans Richter, New Means of Filmmaking<\/p>

Walter Ruttmann, The Isolated Artist<\/p>

Hans Richter, Avant-garde in the Realm of the Possible<\/p>

Anon., \u201cCandid\u201d Cinematography<\/p>

Lotte H. Eisner, Avant-garde for the Masses<\/p>

Hans C\u00fcrlis, Film is Promotion<\/p>

B\u00e9la Bal\u00e1zs, A Conviction<\/p>

Ernst Hugo Correll, The Nature and Value of Sound Film<\/p>

Georg Wilhelm Pabst, Reality of Sound Film<\/p>

Carl Hoffmann, Problems of the Camera<\/p>

Walter Gronostay, Possibilities for the Use of Music in Sound Film<\/p>

Erwin Piscator, Sound Film Friend and Foe (1929\/30)<\/p>

L\u00e1szl\u00f3 Moholy-Nagy, The Elements Once Again<\/p>

Arthur Korn, Why We Still Do Not Have Television<\/p>

Erich Grave, The Third Dimension<\/p>

Ernst Steffen, Telecinema in the Home<\/p>

\u00a0<\/strong><\/p>

1930<\/strong><\/p>

Alfred Polgar, The Panic of Reality<\/p>

Emil Jannings, Miming and Speaking<\/p>

Siegfried Kracauer, All Quiet on the Western Front<\/p>

Alexander Jason, Film Statistics<\/p>

Marlene Dietrich, To an Unknown Woman<\/p>

Max Brod and Rudolf Thomas, Love on Film<\/p>

Lupu Pick, Individual and Montage<\/p>

Siegfried Kracauer, Chaplin in Old Films<\/p>

Theodor W. Adorno, Kierkegaard Prophesies Chaplin<\/p>

Alex Strasser, The End of the Avant-garde?<\/p>

B\u00e9la Bal\u00e1zs, Farewell to Silent Film<\/p>

Rudolf Arnheim, A Commentary on the Crisis Facing Montage<\/p>

Edmund Meisel, Experiences in Composing Music for Sound Films<\/p>

Alfred D\u00f6blin, Only the Transformed Author Can Transform Film<\/p>

Frank Warschauer, A Glance into the Future<\/p>

  1. Baer, The Color Film<\/li><\/ol>

     <\/p>

    1931<\/strong><\/p>

    B\u00e9la Bal\u00e1zs, The Case of Dr. Fanck<\/p>

    Siegfried Kracauer, The Weekly Newsreel<\/p>

    B\u00e9la Bal\u00e1zs, Where is the German Sound Film Archive?<\/p>

    Aurel Wolfram, Cinema<\/p>

    Kurt Tucholsky, Against the Ban on the Remarque Film<\/p>

    A.K., Done with Hollywood<\/p>

    Anon., Film-Europe, a Fact!<\/p>

    Anon., Internationality through the Version System<\/p>

    Siegfried Kracauer, All About Film Stars<\/p>

    Siegfried Kracauer, Destitution and Distraction<\/p>

    Anon., In the Empire of Film<\/p>

    Bertolt Brecht, The Threepenny Lawsuit<\/p>

    Walter Benjamin, Mickey Mouse<\/p>

    Ernst K\u00e1llai, Painting and Film<\/p>

    Rene F\u00fcl\u00f6p-Miller, Phantasy by the Meter<\/p>

    Fritz Lang, Problems in Sound Film Design<\/p>

    \u00a0<\/strong><\/p>

    1932<\/strong><\/p>

    Siegfried Kracauer, The Cinema on M\u00fcnzstra\u00dfe<\/p>

    Fritz Olimsky, Film Bolshevism<\/p>

    Erich Pommer, The International Talking Film<\/p>

    Herbert Jhering, The Banned Kuhle Wampe<\/em><\/p>

    Ernst J\u00fcnger, The Worker\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>

    Karl Nikolaus, Advertising Film and its Psychological Effects<\/p>

    Rudolf Arnheim, Radio-Film<\/a><\/p>

    Bernhard Diebold, The Future of Mickey Mouse<\/p>

    Siegfried Kracauer, At the Edge of Yesterday<\/p>

    \u00a0<\/strong><\/p>

    1933<\/strong><\/p>

    Siegfried Kracauer, Greta Garbo: A Study<\/p>

    Georg Wilhelm Pabst, Film and Conviction<\/p>","protected":false},"excerpt":{"rendered":"Documents in Chronological Order\u00a01907Hanns Heinz Ewers, The KientoppAnon., The Cinematograph in the Service of EthnologyFred Hood, Illusion in the Cinematographic Theater\u00a01908Ludwig Brauner, Cinematographic ArchivesAnon., How Singing Pictures (Sound Pictures) Are Made\u00a01909Max Brod, Cinematographic TheaterGustav Melcher, On Living Photography and the Film DramaKurt Weisse, A New Task for the CinemaAlfred D\u00f6blin, Theater of the Little PeopleGeorg

    READ MORE<\/a><\/div>","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6B84P-4D","_links":{"self":[{"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/pages\/287"}],"collection":[{"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/comments?post=287"}],"version-history":[{"count":6,"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/pages\/287\/revisions"}],"predecessor-version":[{"id":1723,"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/pages\/287\/revisions\/1723"}],"wp:attachment":[{"href":"http:\/\/www.thepromiseofcinema.com\/index.php\/wp-json\/wp\/v2\/media?parent=287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}