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Jun New Taschenbuch Quantity Available: 1. The Reichsfilmstelle and the Reichsarchiv re-released many of the BUFA films—sometimes slightly altered versions-- and presented them to the national board of censorship between This vagueness pertains to many films on this website. Especially when it comes to fragments, which make up a large part of the filmographic remains from the World War I era, the censored version could often not be distinctly identified.
Furthermore, after the war the Ufa re-released a number of BUFA-films under its own name and presented it to the national board of censorship. World War II and the German separation meant a further fragmentation of archival records from the years Official BUFA records partially ended up at the German Federal Archives in Koblenz, but a greater part was first integrated into the collection of the Reichsfilmarchiv Potsdam, which was founded in , and later ended up at the Staatliches Filmarchiv [State Film Archive of the GDR] Non-official film records remained mostly in private hands.
After both the German Federal Archives and the State Film Archive of the GDR made significant purchases from private sources: the estate of the film pioneer and film producer Oskar Messter and the estate of Ariel Schimmel, a film distributor who also sold cinematographs. Archival Appraisal and Processing Prior to the digitization process the selected film records, which had been chosen from the German Federal Archives holdings from the World War I era for online presentation, had to undergo vast archival—and sometimes also conservatory—work.
We identified all available censorship information of the selected films, whereby we were able to assemble a filmographic documentation of German Federal Archives owned films from the World War I era and determine the content for the master. One of the difficulties we encountered was properly matching the material with the first and second censorship. Most of the censorship information dates back to the time of nationally centralized film censorship after To create an index of the content we had to match information from the three previous archives, filmographic data and the German Federal Archives filmstock.
Our website provides access to basic filmographic information and content information in the form of supplementary metadata, which facilitate detailed access to the contents of each film. We also created indices of persons and of places. In both cases we were able to identify the original cinematographic works, thanks to the existing censorship information and by comparing the material. In the few cases where we were not able to do so the fragments were conserved as such and received an archival title.
Warschau, 5. Right before we went into the digitizing process the technical aspects of the selected films were checked, while conservatory and technical criteria were decisive in determining appropriate master files. This sometimes necessitated additional conservatory work—such as creating copies or fixing spliced elements.
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Hildesheim Film Culture in Transition, Amsterdam Nachtrag, Berlin Weltkrieg, Berlin Sachthematisches Inventar des Bundesarchivs, Koblenz The earliest photographs date back to the year The focus of this database is events and persons. Federal Press Office owned photos are stored here as well. Later on the military photo collection, which contained approx.
The collection documents war-related events and daily war routine between These are censored photos, prior to publication clearance was required. The majority of this collection was photographed at the Western front, while only a few photos from the Eastern front have survived.