German Films Poster Collection
About the Posters
The William Gillespie Collection
Veit Harlan's Jud Süß and Hippler's Der Ewige Jude
Recent loans from the collection
Potsdam poster exhibition 12 April–25 August 2019
Our most expensive & inexpensive finds!
Our first–ever acquisition!
Original Film Pressbooks & Scripts
Film Premiere Programmes
"Der Deutsche Film" Zeitschrift
Der Deutsche Film INDEX/REGISTER
Jahrgang 1 - page 1
Jahrgang 1 - page 2
Jahrgang 2 - page 1
Jahrgang 2 - page 2
Jahrgang 3 - page 1
Jahrgang 3 - page 2
Jahrgang 4 - page 1
Jahrgang 4 - page 2
Jahrgang 5 - page 1
Jahrgang 5 - page 2
Jahrgang 5 - page 3
Jahrgang 5 - page 4
Der Deutsche Film subscription letter
1935 Film Congress
Poster Exhibition in Berlin, March 1939
Riefenstahl's "Olympia" Film (1938)
"Ohm Krüger" (1941)
Karl Ritter Book
INDEX -"Karl Ritter" book, 2nd edition
"Blutendes Deutschland" (1933)
Blutendes Deutschland Copy
Hannes Stelzer ( † 1944)
Klaus Detlef Sierck ( † 1944)
Film censorship cards
Ostland Film G-m-b-H
The D F G production company
D I F U
"Alcazar" (1940, Genina)
"Der 5. Juni" (1943, banned)
Harlan "Jud Süß" trial 1949
"Hitlerjunge Quex" (1933)
"In der roten Hölle" (Edgar Neville)
Frente de Madrid / Carmen fra i Rossi / In der roten Hölle / In der roten Hoelle Copy
In the Red Hell. essay
The Spanish Civil War in Film
Uƒa Kulturfilm – Informationen
Ufa 25th Anniversary
Werner Krauss & JUD SÜß
Occupied Paris 1942
Wilhelm Althaus Estate
What was new in 2014?
What was new in 2015?
What was new in 2016?
What was new in 2017?
What was new in 2018?
What's new in 2019?
"Besatzung Dora" ( † 1943)
"The Making of The Crew of the Dora"
Excerpt from our "Dora" book
Karl Ritter after 1945
∆∆∆∆∆ High praise for our DORA book! ∆∆∆∆∆
Wir suchen noch BESATZUNG DORA Fotos!
Google Analytics 2018
In der Roten Hölle essay
Karl Ritter's Legion Condor (1939, unfinished)
Unsere KARL RITTER Bücher in Berlin liefbar!
§ § § § § Early Praise for our LEGION CONDOR book! § § § § §
WHERE to buy our books right now?
--view over 500 German film original posters from 1927–1954 from Germany and from across Europe!
A FEW CHOICE
RARE ITEMS FOR SALE !
Blutendes Deutschland Copy
Here is the way that the Stettin Lichtspiele Theater promoted the film in 1933:
(Director: Johannes Haußler, 1932, Terra-Film, running time: 36 Minutes / 978 meters.) The film depicted Germany from the establishment of the Reich by Bismarck in 1871, through to WWI, the Red uprisings, Ruhr occupation by French troops, Germans in the throes of the inflation–ridden Weimar Republic, and the rise of the NSDAP. It is considered an important film of "Zeitgeschichte" made prior to Hitler becoming Chancellor. A second longer version of the film was quickly released on 30 March 1933 running 68 Minutes / 1855 meters to incorporate footage of Hitler’s assumption of power on 30 January ’33 and the celebrations across Berlin by the Nazi Party and its members ––
and was the very first feature–length film of the Third Reich
. The famous iconic scene of the Sturmabteilung men and others marching through the Brandenburg Gate with torches is depicted on this poster
The film is today lost and only an 17 minute fragment exists in the Bundesarchiv. The poster was designed by graphic artist Erich Meerwald, who designed few motion
, and is most famous for his postage stamp designs for the Reichspost and post–1945 for the Bundespost.
When the film was imported into the United States via the Port of New York City, in 1935, it was subject, as per all foreign films, to American censorship. The importer had to translate the sound track/narration/dialogue into English, side by side with the German original text, and submit that translated film script along with the German print for censorship review. Here we present two pages from the American censorship office in NYC to the German importer, demanding changes and deletions to the film print shown in Nazi Germany in early 1933.
After the film was censored according to the US demands, the altered film print was then approved for public screenings across America.
There were 17 cinemas scattered across America which imported German films and screened them to German populations and to non-German speaking audiences as well. ( It was common practice in the larger cities such as New York to import film prints without subtitles, as well as the film's prints with English subtitles; to cater to both audiences simultaneously.) As America did not enter WWII officially until after Pearl Harbor in December 1941,
was shown in these US cinemas in 1940.
In Manhattan, there was the 96th Street Theatre in Yorkville, the Garden
Theatre on 8
Street and 1st Ave (also known as the "Tobis Theatre.") Other cities with such cinemas were in Newark, N.J. (the Hindenberg Theatre), in Buffalo, NY; in Milwaukee, two cinemas in Chicago, and then those in Los Angeles and in San Francisco.
The 96th Street Theater handbill, written in German for German–Americans, explains the plot of the film thusly:
"This fact-filled film was produced by National Socialists in 1933 shortly after the seizure of power. And when seen by today's eyes, it is as interesting and contemporary as it was then. The newspapers
are full of war reporting and full of unfriendly commentaries. One cannot really understand much, one cannot know the deep causes...
(but) here you see VERSAILLES
Germany senselessly dismembered, disenfranchised, patronized, sucked dry, the Ruhr occupied by the French, 46 political parties - hopelessness - despair. The struggling youth marches
Germany's future. Adolf Hitler speaks. Dr. Goebbels speaks.
Both of these speeches are perhaps the most interesting, given by the men of the New Germany. They were held long before the seizure of power. And they are just as fresh as then, yes, even more interesting, because in the meanwhile we have seen how serious and honest their words were really meant.
The last great public mass gathering before the seizure of power. The appointment of Hitler as Chancellor.
BLUTENDES DEUTSCHLAND is an historical document in the true sense of the word, which no German should miss. "
Shown here for background information, from the Gillespie Collection, are: a very rare B&W original still from this lost film, showing the wife of Kaiser Wilhelm alighting a horse–drawn carriage in WWI, an exceedingly rare original 96th Street Theater cinema handbill advertisement for the film in 1941 in Manhattan, the Illustrierter Film–Kurier program for the film, and a German newspaper page heralding the new film and its storyline.
[SCROLL to the bottom of this page to see the 96th Street Theatre handbill!]
The film's festive premiere at the UT-Kurfürstendamm in
Berlin (Deulig Tonwoche newsreel, 1933)
German Films Poster Collection
. All rights reserved.