Documents in Chronological Order
Note: Linked texts provide full access
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., 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
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
- 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
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
- Béla Balázs, The Color 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
- Rudolf Arnheim, Radio-Film
- 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