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The Kientopp (1907) / Hanns Heinz Ewers
Cinematographic theater (1909) / Max Brod
On living photography and the film drama (1909) / Gustav Melcher
A new task for the cinema (1909) / Kurt Weisse
New terrain for cinematographic theaters (1909) / Anon.
The career of the cinematograph (1910) / Anon.
The cinematograph (1911) / Karl Hans Strobl
On the psychology of the cinematograph (1911) / Ph. Sommer
Theater and cinematograph (1911) / Hermann Kienzl
The secret of the cinema (1912) / Adolf Sellmann
Sports on film (1912) / Arno Arndt
Thrills in film drama and elsewhere (1912-1913) / Carl Forch
Cinema (1912-1913) / Lou Andreas-Salome
The Kintopp as educator: an apology (1913) / Walter Hasenclever
Cinema and visual pleasure (1913) / Walter Serner
Illusions and hallucinations during cinematographic projections (1914) / Albert Hellwig
The cinematograph in the service of ethnology (1907) / Anon.
The cinematograph as modern newspaper (1913-1914) / O.Th. Stein
Cinema and geography: introduction (1914) / Hermann Ha?fker
The film drama (1920) / Yvan Goll
Africa and film (1922) / Hans Schomburgk
The value of the adventure film (1923) / Franc Cornel
Reel consciousness (1925) / Bela Balazs
Exotic journeys with a camera (1928) / Colin Ross
Lunar flight in film (1929) / Anon.
A new India film: a throw of dice (1929) / Lotte H. Eisner
Pictures-pictures (1929) / Erich Burger
The panic of reality (1930) / Alfred Polgar - The case of Dr. Franck (1931) / Bela Balazs
The weekly newsreel (1931) / Siegfried Kracauer
Cinematographic archives (1908) / Ludwig Brauner
In the cinematographic theater (1910) / Berthold Viertel
Cinematograph and epistemology (1911) / Eduard B?umer
Proposal for the establishment of an archive for cinema-films (1912) / Franz Goerke
Mechanized immortality (1912) / J. Landau
Why?-This is why! (1913) / Heinrich Lautensack
The film archive of the great general staff (1915) / E.W.
Slow motion (1917) / Hans Lehmann
The transcendence of the film image (1920) / Friedrich Sieburg
Film as historian (1921) / August Wolf
Will to style in film (1924) / Fritz Lang
Mountains, clouds, people (1925) / Siegfried Kracauer
The uncovered grave (1925) / Joseph Roth
On the question of a national film archive (1926) / Fritz Schimmer
Documentary and artistic film (1929) / Albrecht Viktor Blum
Where is the German sound film archive? (1931) / Bela Balazs
Film dramas and film mimes (1910) / Walter Turszinsky
Theater, pantomime, and cinema (1916) / Friedrich Freksa
Film and theater (1919) / Carl Hauptmann
Mimic expression in film (1922) / Oskar Diehl
The eroticism of Asta Neilsen (1923) / Bela Balazs
The magic of the body (1923) / Friedrich Sieburg
The nude body on film (1925) / Max Osborn
The educational values of film art (1925) / Bela Balazs
How I came to film...(1926) / Leni Riefenstahl
The Charleston in one thousand steps (1927) / Anon.
On the psychomechanics of the spectator (1927) / Leo Witlin
Film and dance belong together (1928) / Lotte H. Eisner and Rudolf von Laban
The art of mimic expression in film (1929) / Fritz Lang
Miming and speaking (1930) / Emil Jannings
Greta Garbo: a study (1933) / Siegfried Kracauer
Illusion in the cinematographic theater (1907) / Fred Hood
Theater of the little people (1909) / Alfred Do?blin
The education of moviegoers into a theater public (1910) / Arthur Mellini
The movie girl (1911) / Anon.
Various thoughts on the movie theater interior (1912) / Anon.
The cinema (1913) / Victor Noack
On the sociology of cinema (1914) / Emilie Altenloh
From Berlin North and thereabouts-In the movie houses of Berlin West (1919) / Resi Langer
Cinema (1920) / Milena Jesenska
Erotic films (1920) / Kurt Tucholsky
Film advertising and the advertising film (1920) / Herbert Tannenbaum
The spectator in cinema (1921) / August Wolf
Ufa Palace (1925) / Kurt Pinthus
The sociological foundations of the cinema industry (1926) / Karl Demeter
The movie theater as gathering place (1926) / Rudolf Harms
The cinema on M?nzstrasse (1932) / Siegfried Kracauer
Prologue before the film (1912-13) / Egon Friedell
The autorenfilm and its assessment (1913) / Anon.
The cinema ballad (1913) / Ulrich Rauscher
Quo vadis, cinema? (1913) / Kurt Pinthus
The student of Prague (1913) / Anon.
The call for art (1913) / Hermann Ha?fker
Problems of the film drama (1913-14) / Herbert Tannenbaum
The new illusion (11913-14) / Will Scheller
The photoplay (1914) / Kurt Pinthus
The onlookers of life in the cinema (1914-15) / Malwine Rennert
On the artistic possibilities of the motion picture (1917) / Paul Wegener
We lack film poetry (1920) / Ernst Lubitsch
Kitsch-Sensation-Culture and film (1924) / Friz Lang
Cinematograph and schoolchildren (1909) / Georg Kleib?mer
Cinema as educator (1909) / Franz Pfemfert
Trash films (1911) / Albert Hellwig
The dangers of the cinema (1911-12) / Robert Gaupp
The cinematograph from an ethical and aesthetic viewpoint (1912) / Konrad Lange
The sexual danger in the cinema (1912) / Ike Spier
Against a cinema that makes women stupid (1912-13) / P. Max Grempe
Against a cinema that makes women stupid: a response (1912-13) / Roland
The cinema's damaging effects on health (1913) / Naldo Felke
Today's cinematograph: a public menace (1913) / Karl Brunner
Cinematic mankind (1916) / Richard Gutmann
Homosexuality and Jewishness (1919) / Walther Friedmann
Homo cinematicus (1919) / Wilhelm Stapel
Cinema censorship (1920) / Kurt Tucholsky
The motion picture and the state (1924) / Albert Hellwig
Cinema (1931) / Aurel Wolfram
Film Bolshevism (1932) / Fritz Olimsky
The German Kaiser in film (1912) / Paul Klebinder
Cinematograph and crowd psychology (1912) / Hermann Duenschmann
War and cinema (1914) / Der Kinematograph
The cinematograph as shooting gallery (1914) / Anon.
Cinema and the educated class: a foreword (1914) / Hermann Ha?fker
The tasks of cinematography in this war (1914) / Hermann Ha?fker
The benefits of war for the cinema (1914) / Edgar K?ltsch
Made in Germany (1916) / Karl Kraus
State and cinema (1916) / Anon.
Art and cinema in war (1916) / Johannes Gaulke
Film propaganda for German affairs abroad (1917) / Gustav Stresemann
The Ludendorff letter (1917) / Erich Ludendorff
The triumph of film (1917) / Joseph Max Jacobi
Film as a means of agistation (1919) / Rudolf Genenncher
War films (1927) / Kurt Tucholsky
Film in the new Germany (1928) / Film-Kurier
All quiet on the western front (1930) / Seigfried Kracauer
Against the ban on the Remarque film (1931) / Kurt Tucholsky
American cinema (1920) / Claire Goll
The significance of conglomerates in the film industry (1920) / Erich Pommer
The significance of film for international understanding (1921) / Valentin
The style of the export film (1922) / Joe May
German cinema (1922) / Hans Siemsen
Film-America and us (1922) / Georg Jacoby
Film internationality (1924) / Ernst Lubitsch
Is film national or international? (1924) / Georg Otto Stindt
The twilight of film? (1926) / Axel Eggebrecht
The restructuring of Ufa (1927) / Anon.
Film German and Film America (1928) / Carl Laemmle
The first one back from Hollywood (1929) / Billie Wilder
Film statistics (1930) / Alexander Jason
Done with Hollywood (1931) / A.K.
Film-Europe, a fact! (1931) / Anon.
Internationality through the version systems (1931) / Anon.
The international talking film (1932) / Erich Pommer
The diva (1919) / Henny Porten
Henny Porten for president (1921) / Kurt Pinthus
Impression of a nai?f (1923) / Robert Musil
Only stars! (1926) / Bela Balazs
The automobile in film (1926) / Vicky Baum
Vienna is filming! (1926) / Anon.
Why we love film (1926) / Willy Haas
Film education (1928) / Hugo
What is film illusion? (1928) / K.W.
The representative of a generation (1928) / Hans Feld, Anita Berber
To an unknown woman (1930) / Marlene Dietrich
Love on film (1930) / Max Brod and Rudolf Thomas
All about film stars (1931) / Siegfried Kracauer
Destitution and distraction (1931) / Siegfried Kracauer
In the empire of film (1931) / Anon.
The revolutionary film (1922) / Bela Balazs
The Klieg lights stay on (1926) / Siegfried Kracauer
Potemkin and tendentious art (1927) / Oscar A.H. Schmitz
Reply to Oscar A.H. Scmitz (1927) / Walter Benjamin
The new youth and film (1928) / Lotte H. Eisner
Film und Volk: foreword (1928) / Franz Ho?llering
Film works for us! (1928) / Bela Balazs
Film and the people (1928) / Heinrich Mann
Who will create the German revolutionary film? (1928) / Ernst Toller
Mass-man in the cinema (1929) / Karl Ritter
Film and propaganda (1929) / Willi M?nzenberg
World film report (1929) / A.A.
Individual and montage (1930) / Lupu Pick.
The threepenny lawsuit (1931) / Bertolt Brecht
The banned Kuhle Wampe (1932) / Herbert Jhering
Film and conviction (1933) / Georg Wilhelm Pabst
Thoughts toward an aesthetic of the cinema (1911) / Georg Lukacs
The effects of the film theater (1912) / Alfred A. Baeumler
A substitute for dreams (1921) / Hugo von Hofmannsthal
The ethical potential of film (1923) / Kurt Pinthus
A film (1924) / Siegfried Kracauer
Film image and prophetic speech (1925) / Siegfried Kracauer
The public's attitude toward modern German literature (1926) / Adolf Behne
Revue and film (1928) / Fritz Giese
Chaplin in retrospect (1928) / Walter Benjamin
Chaplin in old films (1930) / Siegfried Kracauer
Kierkegaard prophesies Chaplin (1930) / Theodor W. Adorno
Mickey Mouse (1931) / Walter Benjamin
Painting and film (1931) / Ernst Kallai
Fantasy by the meter (1931) / Rene Fu?lo?p-Miller
The worker (1932) / Ernst Ju?nger
Expressionism and cinema (1916) / Bernhard Diebold
The expressionist film (1919) / Gertrud David
Expressionism in film (1920) / J.B.
An "Expressionist" film (1920) / Ernst Angel
If I only had the cinema! (1920) / Carlo Mierendorff
The future of film (1921) / Robert Mu?ller
Expressionism in film (1922) / Robert Wiene
An afterword to Caligari (1925) / Walter Reimann
Limitations of the Expressionist film (1926) / Rudolf Kurtz
The interpretation of dreams in film (1926) / Hanns Sachs
The film of factuality (1927) / Robert Breuer
Fantastic film (1929) / Henrik Galeen
Painting with time (ca.1919) / Walter Ruttmann
A new art: film's music for the eyes (1921) / Bernhard Diebold
Basic principles of the art of movement (1921) / Hans Richter
Film as a work of art (1921) / Adolf Behne
The absolute film (1925) / Rudolf Arnheim
Film at the Bauhaus: a rejoinder (1926) / Laszlo Moholy-Nagy
How I made my Berlin film (1927) / Walter Ruttmann
The "absolute" fashion (1928) / Walter Ruttmann
Abstract film (1928) / Seigfried Kracauer
The artist belongs to the industry! (1928) / Laszlo Moholy-Nagy
Living shadows (1929) / Lotte Reiniger
New means of filmmaking (1929) / Hans Richter
The isolated artist (1929) / Walter Ruttmann
Avant-garde in the realm of the possible (1929) / Hans Richter
"Candid" cinematography (1929) / Anon.
Avant-garde for the masses (1929) / Lotte H. Eisner
The end of the avant-garde? (1930) / Alex Strasser
Melody in the cinema, or immanent and transcendental music (1914) / Ernst Bloch
The muteness of the film image (1920) / Oskar Kalbus
Lighting design in film (1922) / Albin Grau
Intertitles (1923) / Hans Pander
The close-up (1924) / Bela Balazs
My ideal screenplay (1924) / Fritz Lang and F.W. Murnau
Architecture in film (1924) / Paul Leni
Film and fashion (1924) / Julie Elias
The delirious camera (1925) / Guido Seeber
Productive and reproductive film art (1926) / Bela Balazs
Looking toward the future (1926) / Fritz Lang
Behind my camera (1927) / Karl Freund
Subjective movement (1927) / Lotar Holland
Film and music (1928) / Giuseppe Becce
Farewell to silent film (1930) / Bela Balazs.
Cinematography in the service of neurology and psychiatry (1910) / Hans Hennes - The cinematograph in biological and medical science (1911) / Osvaldo Polimanti
The cultural mission of the cinematograph (1912) / Leonhard Birnbaum
Cinema in the light of medicine (1913) / Der Kinematograph
Film advertising (1913) / Julius Pinschewer
Artistic film porgram (1920) / Bruno Taut
Cinematography in the service of the police (1921) / Wilhelm von Ledebur
Film advertising and advertising films (1921) / Arthur Lassally
School and film (1924) / Edgar Beyfuss
Industrial films (1924) / Ulrich Kayser
Kulturfilm and cinema (1924) / Eugen R. Schlesinger
The trick film (1927) / Dietrich W. Dreyer
Film is promotion (1929) / Hans Cu?rlis
Advertising film and its psychological effects (1932) / Karl Nikolaus
How singing pictures (sound pictures) are made (1908) / Anon.
The acoustic film (1922) / Herbert Jhering
Film and music (1928) / Heinrich Strobel
Principles of the sound film (1928) / Walter Ruttmann
Sound-image film (1928) / Seigfried Kracauer
A conviction (1929) / Bela Balazs
The nature and value of sound film (1929) / Ernst Hugo Correll
Reality of sound film (1929) / Georg Wilhelm Pabst
Problems of the camera (1929) / Carl Hoffmann
Possibilities for the use of music in sound film (1929) / Walter Gronostay
Sound film friend and foe (1929-30) / Erwin Piscator
A commentary on the crisis facing montage (1930) / Rudolf Arnheim
Experiences in composing music for sound films (1930) / Edmund Meisel
Only the transformed author can transform film (1930) / Alfred Do?blin
Problems in sound film design (1931) / Film-Kurier, Fritz Lang
The conquest of the third dimension (1914) / Max Mack
The prehistory of the bioskop (1916) / Max Skladanowsky
Art and technology in film (1923) / Heinz Michaelis
The color film (1923) / Bela Balazs
The telefilm (1925) / S.E. Bastian
Film and radio (1925) / Herbert Jhering
Possibilities for absolute radio art (1925) / Kurt Weill
My process (1926) / Eugen Schu?fftan
Why we still do not have television (1929) / Arthur Korn
The elements once again (1929) / Laszlo Moholy-Nagy
The third dimension (1929) / Erich Grave
Telecinema in the home (1929) / Ernst Steffen
A glance into the future (1930) / Frank Warschauer
The color film (1930) / H. Baer
Radio-film (1932) / Rudolf Arnheim
The future of Mickey Mouse (1932) / Bernhard Diebold
On the border of yesterday (1932) / Siegfried Kracauer.
Cinematographic theater (1909) / Max Brod
On living photography and the film drama (1909) / Gustav Melcher
A new task for the cinema (1909) / Kurt Weisse
New terrain for cinematographic theaters (1909) / Anon.
The career of the cinematograph (1910) / Anon.
The cinematograph (1911) / Karl Hans Strobl
On the psychology of the cinematograph (1911) / Ph. Sommer
Theater and cinematograph (1911) / Hermann Kienzl
The secret of the cinema (1912) / Adolf Sellmann
Sports on film (1912) / Arno Arndt
Thrills in film drama and elsewhere (1912-1913) / Carl Forch
Cinema (1912-1913) / Lou Andreas-Salome
The Kintopp as educator: an apology (1913) / Walter Hasenclever
Cinema and visual pleasure (1913) / Walter Serner
Illusions and hallucinations during cinematographic projections (1914) / Albert Hellwig
The cinematograph in the service of ethnology (1907) / Anon.
The cinematograph as modern newspaper (1913-1914) / O.Th. Stein
Cinema and geography: introduction (1914) / Hermann Ha?fker
The film drama (1920) / Yvan Goll
Africa and film (1922) / Hans Schomburgk
The value of the adventure film (1923) / Franc Cornel
Reel consciousness (1925) / Bela Balazs
Exotic journeys with a camera (1928) / Colin Ross
Lunar flight in film (1929) / Anon.
A new India film: a throw of dice (1929) / Lotte H. Eisner
Pictures-pictures (1929) / Erich Burger
The panic of reality (1930) / Alfred Polgar - The case of Dr. Franck (1931) / Bela Balazs
The weekly newsreel (1931) / Siegfried Kracauer
Cinematographic archives (1908) / Ludwig Brauner
In the cinematographic theater (1910) / Berthold Viertel
Cinematograph and epistemology (1911) / Eduard B?umer
Proposal for the establishment of an archive for cinema-films (1912) / Franz Goerke
Mechanized immortality (1912) / J. Landau
Why?-This is why! (1913) / Heinrich Lautensack
The film archive of the great general staff (1915) / E.W.
Slow motion (1917) / Hans Lehmann
The transcendence of the film image (1920) / Friedrich Sieburg
Film as historian (1921) / August Wolf
Will to style in film (1924) / Fritz Lang
Mountains, clouds, people (1925) / Siegfried Kracauer
The uncovered grave (1925) / Joseph Roth
On the question of a national film archive (1926) / Fritz Schimmer
Documentary and artistic film (1929) / Albrecht Viktor Blum
Where is the German sound film archive? (1931) / Bela Balazs
Film dramas and film mimes (1910) / Walter Turszinsky
Theater, pantomime, and cinema (1916) / Friedrich Freksa
Film and theater (1919) / Carl Hauptmann
Mimic expression in film (1922) / Oskar Diehl
The eroticism of Asta Neilsen (1923) / Bela Balazs
The magic of the body (1923) / Friedrich Sieburg
The nude body on film (1925) / Max Osborn
The educational values of film art (1925) / Bela Balazs
How I came to film...(1926) / Leni Riefenstahl
The Charleston in one thousand steps (1927) / Anon.
On the psychomechanics of the spectator (1927) / Leo Witlin
Film and dance belong together (1928) / Lotte H. Eisner and Rudolf von Laban
The art of mimic expression in film (1929) / Fritz Lang
Miming and speaking (1930) / Emil Jannings
Greta Garbo: a study (1933) / Siegfried Kracauer
Illusion in the cinematographic theater (1907) / Fred Hood
Theater of the little people (1909) / Alfred Do?blin
The education of moviegoers into a theater public (1910) / Arthur Mellini
The movie girl (1911) / Anon.
Various thoughts on the movie theater interior (1912) / Anon.
The cinema (1913) / Victor Noack
On the sociology of cinema (1914) / Emilie Altenloh
From Berlin North and thereabouts-In the movie houses of Berlin West (1919) / Resi Langer
Cinema (1920) / Milena Jesenska
Erotic films (1920) / Kurt Tucholsky
Film advertising and the advertising film (1920) / Herbert Tannenbaum
The spectator in cinema (1921) / August Wolf
Ufa Palace (1925) / Kurt Pinthus
The sociological foundations of the cinema industry (1926) / Karl Demeter
The movie theater as gathering place (1926) / Rudolf Harms
The cinema on M?nzstrasse (1932) / Siegfried Kracauer
Prologue before the film (1912-13) / Egon Friedell
The autorenfilm and its assessment (1913) / Anon.
The cinema ballad (1913) / Ulrich Rauscher
Quo vadis, cinema? (1913) / Kurt Pinthus
The student of Prague (1913) / Anon.
The call for art (1913) / Hermann Ha?fker
Problems of the film drama (1913-14) / Herbert Tannenbaum
The new illusion (11913-14) / Will Scheller
The photoplay (1914) / Kurt Pinthus
The onlookers of life in the cinema (1914-15) / Malwine Rennert
On the artistic possibilities of the motion picture (1917) / Paul Wegener
We lack film poetry (1920) / Ernst Lubitsch
Kitsch-Sensation-Culture and film (1924) / Friz Lang
Cinematograph and schoolchildren (1909) / Georg Kleib?mer
Cinema as educator (1909) / Franz Pfemfert
Trash films (1911) / Albert Hellwig
The dangers of the cinema (1911-12) / Robert Gaupp
The cinematograph from an ethical and aesthetic viewpoint (1912) / Konrad Lange
The sexual danger in the cinema (1912) / Ike Spier
Against a cinema that makes women stupid (1912-13) / P. Max Grempe
Against a cinema that makes women stupid: a response (1912-13) / Roland
The cinema's damaging effects on health (1913) / Naldo Felke
Today's cinematograph: a public menace (1913) / Karl Brunner
Cinematic mankind (1916) / Richard Gutmann
Homosexuality and Jewishness (1919) / Walther Friedmann
Homo cinematicus (1919) / Wilhelm Stapel
Cinema censorship (1920) / Kurt Tucholsky
The motion picture and the state (1924) / Albert Hellwig
Cinema (1931) / Aurel Wolfram
Film Bolshevism (1932) / Fritz Olimsky
The German Kaiser in film (1912) / Paul Klebinder
Cinematograph and crowd psychology (1912) / Hermann Duenschmann
War and cinema (1914) / Der Kinematograph
The cinematograph as shooting gallery (1914) / Anon.
Cinema and the educated class: a foreword (1914) / Hermann Ha?fker
The tasks of cinematography in this war (1914) / Hermann Ha?fker
The benefits of war for the cinema (1914) / Edgar K?ltsch
Made in Germany (1916) / Karl Kraus
State and cinema (1916) / Anon.
Art and cinema in war (1916) / Johannes Gaulke
Film propaganda for German affairs abroad (1917) / Gustav Stresemann
The Ludendorff letter (1917) / Erich Ludendorff
The triumph of film (1917) / Joseph Max Jacobi
Film as a means of agistation (1919) / Rudolf Genenncher
War films (1927) / Kurt Tucholsky
Film in the new Germany (1928) / Film-Kurier
All quiet on the western front (1930) / Seigfried Kracauer
Against the ban on the Remarque film (1931) / Kurt Tucholsky
American cinema (1920) / Claire Goll
The significance of conglomerates in the film industry (1920) / Erich Pommer
The significance of film for international understanding (1921) / Valentin
The style of the export film (1922) / Joe May
German cinema (1922) / Hans Siemsen
Film-America and us (1922) / Georg Jacoby
Film internationality (1924) / Ernst Lubitsch
Is film national or international? (1924) / Georg Otto Stindt
The twilight of film? (1926) / Axel Eggebrecht
The restructuring of Ufa (1927) / Anon.
Film German and Film America (1928) / Carl Laemmle
The first one back from Hollywood (1929) / Billie Wilder
Film statistics (1930) / Alexander Jason
Done with Hollywood (1931) / A.K.
Film-Europe, a fact! (1931) / Anon.
Internationality through the version systems (1931) / Anon.
The international talking film (1932) / Erich Pommer
The diva (1919) / Henny Porten
Henny Porten for president (1921) / Kurt Pinthus
Impression of a nai?f (1923) / Robert Musil
Only stars! (1926) / Bela Balazs
The automobile in film (1926) / Vicky Baum
Vienna is filming! (1926) / Anon.
Why we love film (1926) / Willy Haas
Film education (1928) / Hugo
What is film illusion? (1928) / K.W.
The representative of a generation (1928) / Hans Feld, Anita Berber
To an unknown woman (1930) / Marlene Dietrich
Love on film (1930) / Max Brod and Rudolf Thomas
All about film stars (1931) / Siegfried Kracauer
Destitution and distraction (1931) / Siegfried Kracauer
In the empire of film (1931) / Anon.
The revolutionary film (1922) / Bela Balazs
The Klieg lights stay on (1926) / Siegfried Kracauer
Potemkin and tendentious art (1927) / Oscar A.H. Schmitz
Reply to Oscar A.H. Scmitz (1927) / Walter Benjamin
The new youth and film (1928) / Lotte H. Eisner
Film und Volk: foreword (1928) / Franz Ho?llering
Film works for us! (1928) / Bela Balazs
Film and the people (1928) / Heinrich Mann
Who will create the German revolutionary film? (1928) / Ernst Toller
Mass-man in the cinema (1929) / Karl Ritter
Film and propaganda (1929) / Willi M?nzenberg
World film report (1929) / A.A.
Individual and montage (1930) / Lupu Pick.
The threepenny lawsuit (1931) / Bertolt Brecht
The banned Kuhle Wampe (1932) / Herbert Jhering
Film and conviction (1933) / Georg Wilhelm Pabst
Thoughts toward an aesthetic of the cinema (1911) / Georg Lukacs
The effects of the film theater (1912) / Alfred A. Baeumler
A substitute for dreams (1921) / Hugo von Hofmannsthal
The ethical potential of film (1923) / Kurt Pinthus
A film (1924) / Siegfried Kracauer
Film image and prophetic speech (1925) / Siegfried Kracauer
The public's attitude toward modern German literature (1926) / Adolf Behne
Revue and film (1928) / Fritz Giese
Chaplin in retrospect (1928) / Walter Benjamin
Chaplin in old films (1930) / Siegfried Kracauer
Kierkegaard prophesies Chaplin (1930) / Theodor W. Adorno
Mickey Mouse (1931) / Walter Benjamin
Painting and film (1931) / Ernst Kallai
Fantasy by the meter (1931) / Rene Fu?lo?p-Miller
The worker (1932) / Ernst Ju?nger
Expressionism and cinema (1916) / Bernhard Diebold
The expressionist film (1919) / Gertrud David
Expressionism in film (1920) / J.B.
An "Expressionist" film (1920) / Ernst Angel
If I only had the cinema! (1920) / Carlo Mierendorff
The future of film (1921) / Robert Mu?ller
Expressionism in film (1922) / Robert Wiene
An afterword to Caligari (1925) / Walter Reimann
Limitations of the Expressionist film (1926) / Rudolf Kurtz
The interpretation of dreams in film (1926) / Hanns Sachs
The film of factuality (1927) / Robert Breuer
Fantastic film (1929) / Henrik Galeen
Painting with time (ca.1919) / Walter Ruttmann
A new art: film's music for the eyes (1921) / Bernhard Diebold
Basic principles of the art of movement (1921) / Hans Richter
Film as a work of art (1921) / Adolf Behne
The absolute film (1925) / Rudolf Arnheim
Film at the Bauhaus: a rejoinder (1926) / Laszlo Moholy-Nagy
How I made my Berlin film (1927) / Walter Ruttmann
The "absolute" fashion (1928) / Walter Ruttmann
Abstract film (1928) / Seigfried Kracauer
The artist belongs to the industry! (1928) / Laszlo Moholy-Nagy
Living shadows (1929) / Lotte Reiniger
New means of filmmaking (1929) / Hans Richter
The isolated artist (1929) / Walter Ruttmann
Avant-garde in the realm of the possible (1929) / Hans Richter
"Candid" cinematography (1929) / Anon.
Avant-garde for the masses (1929) / Lotte H. Eisner
The end of the avant-garde? (1930) / Alex Strasser
Melody in the cinema, or immanent and transcendental music (1914) / Ernst Bloch
The muteness of the film image (1920) / Oskar Kalbus
Lighting design in film (1922) / Albin Grau
Intertitles (1923) / Hans Pander
The close-up (1924) / Bela Balazs
My ideal screenplay (1924) / Fritz Lang and F.W. Murnau
Architecture in film (1924) / Paul Leni
Film and fashion (1924) / Julie Elias
The delirious camera (1925) / Guido Seeber
Productive and reproductive film art (1926) / Bela Balazs
Looking toward the future (1926) / Fritz Lang
Behind my camera (1927) / Karl Freund
Subjective movement (1927) / Lotar Holland
Film and music (1928) / Giuseppe Becce
Farewell to silent film (1930) / Bela Balazs.
Cinematography in the service of neurology and psychiatry (1910) / Hans Hennes - The cinematograph in biological and medical science (1911) / Osvaldo Polimanti
The cultural mission of the cinematograph (1912) / Leonhard Birnbaum
Cinema in the light of medicine (1913) / Der Kinematograph
Film advertising (1913) / Julius Pinschewer
Artistic film porgram (1920) / Bruno Taut
Cinematography in the service of the police (1921) / Wilhelm von Ledebur
Film advertising and advertising films (1921) / Arthur Lassally
School and film (1924) / Edgar Beyfuss
Industrial films (1924) / Ulrich Kayser
Kulturfilm and cinema (1924) / Eugen R. Schlesinger
The trick film (1927) / Dietrich W. Dreyer
Film is promotion (1929) / Hans Cu?rlis
Advertising film and its psychological effects (1932) / Karl Nikolaus
How singing pictures (sound pictures) are made (1908) / Anon.
The acoustic film (1922) / Herbert Jhering
Film and music (1928) / Heinrich Strobel
Principles of the sound film (1928) / Walter Ruttmann
Sound-image film (1928) / Seigfried Kracauer
A conviction (1929) / Bela Balazs
The nature and value of sound film (1929) / Ernst Hugo Correll
Reality of sound film (1929) / Georg Wilhelm Pabst
Problems of the camera (1929) / Carl Hoffmann
Possibilities for the use of music in sound film (1929) / Walter Gronostay
Sound film friend and foe (1929-30) / Erwin Piscator
A commentary on the crisis facing montage (1930) / Rudolf Arnheim
Experiences in composing music for sound films (1930) / Edmund Meisel
Only the transformed author can transform film (1930) / Alfred Do?blin
Problems in sound film design (1931) / Film-Kurier, Fritz Lang
The conquest of the third dimension (1914) / Max Mack
The prehistory of the bioskop (1916) / Max Skladanowsky
Art and technology in film (1923) / Heinz Michaelis
The color film (1923) / Bela Balazs
The telefilm (1925) / S.E. Bastian
Film and radio (1925) / Herbert Jhering
Possibilities for absolute radio art (1925) / Kurt Weill
My process (1926) / Eugen Schu?fftan
Why we still do not have television (1929) / Arthur Korn
The elements once again (1929) / Laszlo Moholy-Nagy
The third dimension (1929) / Erich Grave
Telecinema in the home (1929) / Ernst Steffen
A glance into the future (1930) / Frank Warschauer
The color film (1930) / H. Baer
Radio-film (1932) / Rudolf Arnheim
The future of Mickey Mouse (1932) / Bernhard Diebold
On the border of yesterday (1932) / Siegfried Kracauer.