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Konserven für den Winter - aber nur aus dem eigenen Betrieb: Gertrud David: documentary: Kreuz über der Großstadt: Gertrud David: documentary: Das Lämmchen : Rudi Klemm: animation: The Last Company: Curtis Bernhardt: Conrad Veidt, Karin Evans: Historical: Liebesspiel: Oskar Fischinger: Animation: Lieutenant, Were You Once a Hussar? Manfred ...
Another World (1937 film) Anton the Last; April, April! Ariane (film) Ariane, jeune fille russe (film) Artist Love; Artisten; Asew; Ash Wednesday (1931 film) At the End of the World (1934 film) At the Strasbourg; At Your Orders, Sergeant; L'Atlantide (1932 film) Augustus the Strong (film) An Auto and No Money; Autobus S; Ave Maria (1936 film)
a.k.a. Zwischen den Zügen: Brutality in Stone: Alexander Kluge, Peter Schamoni: Documentary: Short film Counsellor at Law: Franz Josef Wild Carl Heinz Schroth, Barbara Rütting, Eric Pohlmann: Drama: Daniella by Night: Max Pécas: Elke Sommer, Ivan Desny, Helmut Schmid: Spy: French-West German co-production The Dead Eyes of London: Alfred Vohrer
The Three from the Filling Station (German: Die Drei von der Tankstelle) is a 1930 German musical film directed by Wilhelm Thiele and starring Lilian Harvey, Willy Fritsch, Heinz Rühmann, and Oskar Karlweis. Produced by Erich Pommer, the film was a major success for the UFA studio, outgrossing even The Blue Angel. [2]
Commissioned by Reichsleitung der N.S.D.A.P., Abt. Film (Berlin) [19] Die steinernen Wunder von Naumburg: Rudolf Bamberger: documentary: Verkannte Menschen: Wilhelm Ballier: documentary: Wahlkampf 1932 (Letzte Wahl) Ella Bergmann-Michel: documentary: Available online here: Wo wohnen alte Leute: Ella Bergmann-Michel: documentary
The production of the TV receiver E1, that had just started was cancelled because of the war. Nevertheless, the Berlin station, along with one in occupied Paris (Fernsehsender Paris), remained on the air for most of World War II. A special magazine called Fernsehen und Tonfilm (i.e. Television and Sound film) was published.
The trilogy of films called Heimat by the German director Edgar Reitz (1984, 1992, and 2004) has been described as "post-Heimatfilm" because the director neither sets out to challenge the genre on political or social grounds nor idealizes the past to the extent that earlier Heimatfilme did.
Die Deutsche Monatsschau: The German Monthly Show; newsreel series Die Deutsche Wochenschau: The German Weekly Show; newsreel series Deutscher Sport im Kriegsjahr: Produced by IG Farben: Echo der Heimat: Die Frontschau: Fritz Hippler: The Front Show; Series of technical films shown to soldiers before they were sent to the Eastern Front: Junges ...