Max and Emil Skladanowsky publicly presented animated images at the Berlin Wintergarten using their bioscope, a dual-projector system, from November 1, 1895, more than a month before the first public demonstration of the Lumière Brothers.
Before the First World War, Germany had a significant cinematographic industry, with its researchers (Oskar Messter), its personalities often come from the theater (Paul Wegener, Max Reinhardt), its technicians and stars, sometimes borrowed from Denmark, like the actress Asta Nielsen. In https://free-putlockers.com/ you can have the best films in front of your eyes.
During the silent period, Paul Wegener produced feature films whose themes were drawn from 19th century German fantasy literature: The Prague Student and The Golem (1915, lost copy then 1920) .
- At the end of the First World War, and after the UFA (It was born in Nineteen Seventeen, Ernst Lubitsch became one of the main German filmmakers with his comedies and historical dramas).
- Immediately after the war, a few films were largely influenced by the expressionism of painting and theater by Robert Wiene. This film remained without real posterity, the main filmmakers, such as Fritz Lang, Friedrich Murnau, and Georg Wilhelm Pabst, developed their own style.
- German cinema then stages the imagination with surprising audacity and pharaonic budgets (Metropolis). It was the time of what film critic Lotte Eisner called the demonic screen. The main production sites were then Babelsberg near Berlin and Geiselgasteig (today the Bavariastudios) in Munich.
In parallel with a diversified and conquering fiction film production, documentary filmmakers laid the foundations for a realistic cinema which produced, in 1930, Men on Sundays, and several “proletarian” films engaged while experimenters worked on the assembly cinema. (Berlin symphony of a big city by Walter Ruttmann) and an animated cinema versed towards abstraction.
With the advent of speaking, the first success of which was the blue angel by Josef von Sternberg, we are witnessing the emergence of daring creations, taking good advantage of the use of sound, especially with Fritz.
Joseph Goebbels was interested very early on in the potential of cinema as a weapon of propaganda. He offered Fritz Lang a position in the Internationale Filmkammer, IFK (Camera internazionale del film / Bureau international du cinema).
Lang had, however, carried out successively. In the first, guilt relentlessly won over all strata of society with the deliberations of the underworld and the police united in a montage of prophetic lucidity. The second in which a mad bandit leads his gang from the asylum cell where he is locked up was banned by Goebbels.
The Nazis nevertheless need a Potemkin who they say will sing the National Socialist ideology and are also ready to move on to the Jewish origins of Lang. however, the very evening of this flattering proposal, Lang, who had cursed in advance the somber fascination to which a large people suddenly gives way, exiles himself definitively (in fact a few days later despite his declarations) first in France before joining the United States.