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Robert J. Flaherty begleitete den Inuit Nanook und seine Familie über ein Jahr lang bei ihrem Nomadenleben im nördlichen Kanada. Der Film hatte enormen Erfolg und begründete das Genre des inszenierten Dokumentarfilms.
Der dokumentarische Film beschreibt einen Tag in der Großstadt Berlin, die in den 1920er Jahren einen industriellen Aufschwung erlebte, und gibt auch heute noch einen Einblick in die Lebens- und Arbeitsverhältnisse zu dieser Zeit.
Robert J. Flaherty's South Seas follow-up to Nanook of the North is a Gauguin idyll moved by "pride of beauty... pride of strength.".
Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. or stroll more languorously through a cemetery. Ranks of skyscrapers extrude columns of smoke and steam. In plain view. Or framed, as through a balustrade. A crane promotes the city's upward progress, as an ironworker balances on a high beam. A locomotive in a railway yard prepares to depart, while an arriving ocean liner jostles with attentive tugboats. Fading sunlight is reflected in the waters of the harbor. The imagery is interspersed with quotations from Walt Whitman, who is left unnamed.
Ein UFA-Kulturfilm par excellence, der den vollkommenen Körper als Gegenstand kultischer Verehrung feiert. Ausgehend von der Massensport- und Körperkulturbewegung der 1920er Jahre propagiert der 1925 entstandene Film körperliche Ertüchtigung. In stilisierten Dokumentar- und Spielszenen führt der Film Formen der Disziplinierung mit Gymnastik, Sport und Tanz vor, lässt Sportler nach dem Vorbild antiker Skulpturen posieren und zeigt dabei Körperbilder, die sich heute in der Fitness- und Bodybuildingästhetik wiederfinden.
Herbert Ponting travelled to Antarctica as part of Captain Scott's ill-fated South pole expedition and shot the footage that makes up this extraordinary documentary.
A silent documentary which follows a branch of the Bakhtiari tribe of Persia as they and their herds make their epic seasonal journey to better pastures.
Simba: The King of the Beasts is an 1928 American black-and-white silent documentary film, directed by Martin and Osa Johnson, which features the couple's four-year expedition to track the lion across Kenyan veld to his lair.
The Hefbrug may not be a remarkably beautiful bridge, but through a mix of close-ups, long shots, bird’s eye views and low angles, Joris Ivens conveys a sense of the bridge’s structure, its intricate mechanisms and ways of operating, the way it fits into the overall transport infrastructure and therefore the immense importance of this bridge for the whole city of Rotterdam.
Documentary short film depicting the filmmaking activity at the Paramount Studios in Hollywood, featuring dozens of stars captured candidly and at work.
The life of a great city (Paris) from dawn until dusk, including the beautiful and the ragged, the rich and the poor, with little or no comment from the director, Cavalcanti.
A documentary from Erkki Karu, one of the earliest pioneers of Finnish cinema: This government-run propaganda film introduces the nature, sports, military, agriculture and capital of Finland.
The official record of Mallory and Irvine's 1924 expedition. When George Mallory and Sandy Irvine attempted to reach the summit of Everest in 1924 they came closer than any previous attempt. Inspired by the work of Herbert Ponting (The Great White Silence) Captain Noel filmed in the harshest of conditions, with specially adapted equipment, to capture the drama of the fateful expedition.
Docudrama encouraging immigrants to master English and become successful, assimilated Americans.
A profile of the 1928 Olympic Games in St. Moritz, Switzerland.
Elephants disrupt the lives of a family deep in the jungles of Northern Siam, and an entire village.
This documentary depicts the creation of collective farms for Jews in Crimea. It shows them building their houses, digging a well, and farming the land.
The film was created as a compilation of footage that was, in some cases, nearly fifteen years old, and included stock footage such as medical reels containing footage of venereal diseases and films depicting white slavery. The basic plot was a cautionary tale about a young woman's journey into prostitution and white slavery, but, like the other films of the era, the plot was secondary to the sexual content. Many of the presentations were introduced at the front door, with live nude women in glass booths at the entrances. Inside, the films were usually accompanied by a medical slideshow about venereal disease and a lecture from an alleged sexual education specialist. This was a typical presentation template for the time, and set an example for later exploiters. (Wikipedia)
Educational film about the symptoms, treatment, and prevention of tuberculosis. Mr van den Heuvel, a cobbler, lives with his wife and two small children in a one-room hovel in a dingy alley. He wants to work, but is usually too tired and is continuously coughing. He ignores the advice of his doctor to go to a health centre. His little daughter, Annetje, is not well either. At school she is listless, never wanting to play with her classmates. A visiting school doctor examines the girl and gives her a note for her parents, advising them to consult their doctor. Father considers this as nonsense.
Weltweit bereichern sich die Kapitalisten an der Arbeit und dem Eigentum ihrer Sklaven und Kolonien, sie schwelgen im Luxus, während andere für sie leiden. Doch die verschiedenen einfachen, arbeitenden Völker des sowjetischen Staates sind Herren über ihr eigenes Land: Der Reichtum an Tieren, Pflanzen und Bodenschätzen kommt durch ihre Arbeit ihnen selbst zugute. Der Handel mit begehrten Exportgütern für das kapitalistische Ausland dient nur dazu, die Technologien zu erwerben, die für den Bau der benötigten Maschinen notwendig sind. Noch gibt es die verschiedensten Religionen in den teils entlegenen Teilen der Sowjetunion; sie alle wird der Fortschritt befreien und zu eigenständigen sozialistischen Menschen machen.
DIE GRUNDLAGEN DER EINSTEINSCHEN RELATIVITÄTSTHEORIE sollte dem Publikum die komplexe Theorie Albert Einsteins nahebringen, der 1921 den Nobelpreis bekommen hatte. Er war mit 80 000 Einzelbildern der bis daher aufwendigste Animationsfilm und erste große Wissenschaftsfilm. Die deutsche Fassung wurde so angelegt, dass sie immer wieder angehalten werden konnte und ein begleitender Vortrag von einem Wissenschaftler, die Konzepte erklären konnte. Zwar wurde der Film von der nationalkonservativen Presse als Faselei eines jüdichen Spinners verhöhnt, trotzdem wurde er zum Publikumserfolg, und eine englische Fassung von Fleischer Studios (POPEYE) in New York unter Aufsicht von Kornblum produziert - mit Texttafeln statt mit einem Vortrag. Die deutsche Fassung ist verloren, nur noch die englische existiert. Quelle: filmfest-muenchen.de.
The film focuses on the naval warfare around the Battle of Coronel and Battle of the Falkland Islands during the First World War. It was the last in a successful series of documentary reconstructions of First World War battles by British Instructional Films made between 1921 and 1927.
Films shot by newsreel companies and army cameramen are featured to tell the story of what it was like for soldiers during World War I.
"Though not given a New York showing until 1935, V. I. Pudovkin's Mechanics of the Brain (Mekhanika Golovnovo Mozga) was written and directed by Pudovkin in 1926. A full year in the making, this scientific documentary concentrates on the behavioral studies conducted by Prof. Ivan Pavlov. The laboratory dogs used in Pavlov's research don't seem too happy about it, and as a result this film might be hard to take for the more sensitive viewers (the vivisection sequence is particularly rough). The progress of the research is detailed with charts and graphs, hardly the "cinematic" touches one might expect from Pudovkin. Interestingly, Mechanics of the Brains was released two years before the results of Pavlov's studies were printed in book form.".
A little girl watches the craftsman at work while inter-titles explain the particulars of pottery-making.
The film portrays Shanghai, China in the early 1920s. It shows the contrasts between the world of Western expatriates (including Britons, Americans, New Zealanders, Australians, and Danes) who live in the luxurious Shanghai International Settlement, and that of the Shanghainese inhabitants, who spend their days laboring.
In 1925, with the cooperation of the War Office, British Instructional Films set out to make a dramatic, feature-length reconstruction of the five Ypres battles in which 1.7 million soldiers lost their lives. Directed by William Summers, the result is a silent classic. Unlike the famous 1916 documentary The Battle of the Somme, the Ypres footage is entirely ”faked” and the film shares some of Somme‘s propagandist approach. Regardless, the film is no less fascinating as an artistic endeavour of its time and it features some stunning images. A degree of authenticity is provided by real soldiers taking part and by the filming having taken place in the actual Ypres trenches.
S/w, Stummfilm Ein ungemein aufwendiger, seinerzeit von der Ufa vertriebener Kulturfilm, der das gesamte damalige Wissen der Menschheit über die Erde und über das Weltall darzustellen versucht. 15 Spezialeffekt-Experten und neun Kameramänner arbeiteten an dem Film, der dokumentarische Szenen und historische Dokumente, Spielszenen und Animationssequenzen, Abenteuerfilm- und Science-Fiction-Elemente miteinander verbindet und sehr effektvolle Einfärbungen aufweist. Sequenzen von einem Raumschiff, das zu den Planeten des Universum aufbricht, wirken wie direkte Vorbilder für Stanley Kubricks "2001: A Space Odyssey". Musik von Aljoscha Zimmermann und Sabrina Zimmermann.
Travelogue of a sailing from Glasgow to St Kilda (via other Scottish islands) showing life on St Kilda shortly before it was evacuated.
"Heroic Deed Among the Ice" ("Podvig vo I'dah" in Russian) is a 1928 Soviet silent documentary film. It is also known as "Exploit on the Ice" and "Ice-Breaker Kras(s)in". This film is the first collaboration between Georgi Vasilyev and Sergei Vasilyev. It details the mission of the ice-breaker Krasin to rescue the crashed crew of Umberto Nobile's arctic airship Italia. The raw material shot without any plan by cameramen who accompanied Krasin was used by Georgi and Sergei Vasilyev to create a coherent and powerful narrative in the tradition of Soviet montage school. Heroic Deed was released in October 1928 and its success helped Georgi and Sergei Vasilyev to realize their ambition to direct. All the editing notes by Vasilyev survive and have been published, but the film itself is partially lost. The actual ice-breaker Krasin survived and is now a (still fully operational) museum ship St Petersburg.
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