User:MinorProphet/Draft subpages/Deutsche Bioscop

123 Chausseestraße Berlin, Deutsche Bioscope's offices and studio from 1906-1912. Most of Asta Nielsen's earliest films were filmed here in 1911.

Asta Nielsen in 1911

Deutsche Bioscop GmbH, (with many alternative confusing spellings), later Decla-Bioscop, was a Berlin-based German film production company of the silent era with its origins in 1897 when Jules Greenbaum started a film company under his own name, Greenbaum-Bioscope. He renamed it as Deutsche Bioskop Gesellschaft in 1899, and incorporated it as Deutsche Bioskope GmbH in 1902. After an injection of share capital in 1908 it became Deutsche Bioscope GmbH with more directors on the board.

These Greenbaum companies produced topical and actualité silent documentary films, along with varieté items: and from 1907 to 1910, early sound films (Tonbilder) incorporating the sound-on-disc format. In competition with Oskar Messter's 'Biophon', which electrically synchronised a gramophone record with a silent film, Greenbaum patented his own invention, the manually-operated Synchroscope (film) and produced hundreds of short sound films of operetta, cabaret, and music-hall routines to show in his own specially-equipped cinemas.

The brief interest in early sound films (originally twice the price of silent films) ended when prices fell substantially and they became uneconomical to make. After a period of financial difficulties Greenbaum sold his interest in the firm completely in 1909 to pursue his own career. The new owners changed the name again to Deutsche Bioscop GmbH. From 1911 to 1915 the firm partnered with Paul Davidson's PAGU (Union-Film) to produce many of Asta Nielsen's first films, initially shot at 123 Chausseestraße Berlin; after February 1912 at the specially-built Babelsberg Studio; and for a third series at PAGU's Tempelhof Studios.

During WWI Ufa was formed by the German government in 1917 with Messter-Film, Nordisk-Film and Union-Film (PAGU). A number of other film production companies gathered around Deutsche Bioscop GmbH to form the Bioskop-Konzern and the associated Rheinische Lichtbild AG based in Cologne, although few films were made. In the winter of 1919/1920 Richard Oswald joined, perhaps at the same time re-forming as Deutsche Bioscop AG (stock company). Within a few months another merger took place in April 1920 with Eric Pommer's Decla-Film, to become Decla-Bioscop. A final merger occurred the following year (1921) with the giant Ufa conglomerate, with Pommer becoming the head of production at Ufa. Decla-Bioscop continued to release films under its own name until around 1924, after which the Ufa brand assumed its full corporate identity and control over production.

The above companies produced a number of well-known films in the first 30 years of the 20th century, with directors and film stars such as Urban Gad and Asta Nielsen, Otto Rippert, Paul Wegener, Fritz Lang, et al.

The numerous changes of management and company names have led to considerable confusion about which films were produced by which firm or producer. In particular, Greenbaum is often given as producer for Deutsche Bioscop films after he had left the company in September 1909. Greenbaum, a busy man, was concurrently owner of his own separate existing film equipment and cinema theatre businesses Vitascope-Theater Betriebs (1907) and Bioscope-Theater (1908): after leaving Deutsche Bioscope in 1909 he founded another film production company, Deutsche Vitascope (1909), later simply Vitascope (1910), re-constituted as Greenbaum-Film (1915).

History

Founding by Greenbaum

Lots at (Müller 1994), eg p. 288 + search for 'Greenbaum'. Working on this atm.

Beginning in the textile business in his native Germany, Jules Greenbaum went to the USA aged 17 in November 1884 and spent eight years working in Chicago, becoming a naturalised US citzen on 6 April 1894.

He worked in vaudeville from around 1887 with an illusion trick in which a female performer named Aimée appeared to walk or do acrobatic tricks in thin air. (not the singer Marie Aimée, managed by Maurice Grau...) Later billed as 'Astarte'. He married the actress, Emma Kerstein, and their first son George was born in January 1889. The couple were back in Germany by c 1895, still touring the illusion trick, and in London, as a side-show in the "International Universal Exhibition" at Earl’s Court in 1898, promoted by Imre Kiralfy.

On his return to Germany, he started a film company under his own name in 1897, Greenbaum-Bioscop, selling Kinematograph equipment (his own Vitascope brand and other film cameras, and later Powers projectors ref pls) and imported [American] films.

* Move to sources! 
Anke Mebold
Auftakt einer klangvollen Zukunft. Die Tonbilder der Sammlung Neumayer im Archiv des Deutschen Filminstituts
2017
Filmblatt 61/62 ∙ 2017 
https://doi.org/10.25969/mediarep/21549
https://mediarep.org/server/api/core/bitstreams/2e75d8f9-0a09-4fbc-91a3-8753111f3a70/content

Lots on Greenbaum, german Synchroscop patent p. 49

In 1899 he changed its name to Deutsche Bioskope Gesellschaft (ie Deutsche Bioskope Company). His first release that year was Frühjahrsparade, featuring Kaiser Wilhelm II of Germany

The already-experienced cameraman de:Georg Furkel was in Amsterdam, working for nl:Anton Nöggerath at the end of 1899: Greenbaum arrived, wanting to buy a camera. Furkel went back to to Berlin for a month "on loan" to initiate Greenbaum into the secrets of cinematography. But Greenbaum managed to retain his services and in early 1900 Furkel went to Breslau to Liebich's Etablissement (i fink beautiful beyond belief, find refs! in Nollendorf article or related drafts - later leased/owned from 1912/13 by Al. Woods and Godsoll) to film Variety acts. A year later he was in Vienna at the Ronacher Etablissement, blscklisted ref § a popular variety theatre, staying there for a whole year, making variety films and local newsreels. Furkel wrote an article published in 1926 recounting his experiences in the early days:

"Most of the pictures dealt with local events, because travel was only possible to a very limited extent due to the expenses involved. From time to time, of course, it was possible to obtain recordings from other cities, but this did not happen very often, since the films were the property of the establishment in which they were shown. On the date of the recording nobody came. On the contrary, the monopoly on the film strips was jealously guarded. Admittedly, the production costs were very low, and every picture of a current event meant a sensation for the public, which was not at all spoiled at the time. A year later [eg 1902] my boss called me to Berlin. He had founded Bioscop with his brother, and now we set up a small film factory in Friedrichstrasse and Karlstrasse."

Greenbaum produced ten topical films in 1901 and eight in 1902. He probably imported a range of films from the USA, France and Great Britain.) He incorporated Deutsche Bioscope GmbH, Berlin, on 18 June 1902 with a capital of 20,000 marks, with himself as managing director. The main offices were at 131d Friedrichstraße, where the firm supplied equipment (including the American 68mm Biograph camera), devised to circumvent Edison's patents, and offered an 8-hour guaranteed film copying service.

His cameramen travelled to Vienna, Munich, Leipzig, Halle, Nuremberg, Kiel, Hamburg, Poznań, Lemberg and Riga to record films to be shown at the end of theatre variety shows. He was also involved in apparatus construction: in 1902, Bioscope successfully launched the first 'Vitascope' camera apparatus in Germany. In the first decade of the 20th century, Greenbaum was probably the second largest film producer in Germany after Oskar Messter.

Corinna Muller notes that for Greenbaum, the actualité film, real-life reportage, was the genuine drama, a kind of service or Dienst. In this respect he was similar to Charles Urban, who also only made reportage and documentaries, and had little aptitude for making standard dramas. The Spielfilm, the drama film, appers to have been less important for Greenbaum until after 1910 when the ability of sound-on-disc technology had failed to keep pace with increasing length of feature films.

Émile Louis Lauste (the son of Eugene Augustin Lauste) joined in 1904 and started Deutsche Bioscope's technical laboratory.

Greenbaum produced acualité and documentary films for two nationalist pressure/lobbying groups, the Navy League or Fleet Association (Deutscher Flottenverein), and the German Colonial Society (Deutsche Kolonialgesellschaft, DKG). As early as 1904, Greenbaum's stationery stated: "Supplier to the German Fleet Association": the German Imperial Naval Office had granted "permission to produce cinematographic recordings". Bioscope operators filmed ship launches and fleet parades in Wilhelmshaven and Gdansk.

George Furkel continues his recollections:

"I traveled a lot again with my camera, from 1903 onwards every year for a few weeks on a liner of the fleet. First on the battleship SMS Wittelsbach, a year later on SMS Bremen and SMS Braunschweig, active in the German naval maneuvers, under the direction of the privy councilor Mr. Sturz, chairman of the naval association, and all of my recordings were later presented on February 23, 1905, after the Neuer Marstall was set up especially for the German Emperor and his high court."

The Kaiser had arranged for a presentation of photographs from the life of the fleet in the Neuer Marstall "for first circles", in which primarily films from Deutsche Bioscope were shown. In 1906, Greenbaum concluded a contract with the presidential office to carry out cinematographic presentations for the German Fleet Association. Bioscope cameras filmed Kaiser Wilhelm's Baltic and Mediterranean voyages on the SMY Hohenzollern II and to photograph the Kaiser repeatedly on board.

In 1906 Deutsche Bioscope, previously located at at 131d Friedrichstraße, moved into new offices and loft 'studio' on the upper floors of 123 Chausseestraße. Grunbaum apperently retained a connection with the building until he finally moved to Lindenstraße in October 1912 (see #Greenbaum's other firms and addresses).

Deutsche Bioskope filmed the 1907 New Year parades at the Tempelhofer Feld, Berlin, attended by the German emperor, and by the Austro-Hungarian emperor Franz Joseph I in Vienna.

Deutsche Bioskope was still the official film production coompany for DKG in 1907, and in February that year Greenbaum's cameraman Georg Furkel went to Togo, Cameroon and German South West Africa (now Namibia) to film the construction of colonial railways and the Herero uprising (Aus dem Kriegsleben in Süd-Westafrika). This African expedition was co-financed by the the colonial and railway construction company Lenz & Co. Furkel and Guido Seeber were behind the camera to shoot the short documentary de:Zeppelin III in Berlin am 29.8.1909.

Sound films and the Synchroscope

Main: Synchroscope (film) - copy a few bits from Appendix B

Greenbaum's Deutsche Bioskope expanded rapidly, beyond producing topical and actualité newsreels.

In September 1907, Greenbaum applied for a patent for his Synchroscope (film) invention, an early sound-on-disc application which facilitated the manual synchronization of phonograph records with moving pictures in an early example of sound films. For some years Oskar Messter had been making Tonbilder, Messter's own patented design to project films by electrically synchronising the moving picture with playback of an acoustic gramophone record. Greeenbaum's device, also patented, was a manually-operated version of Messter's original eletrical design. Alfred Duskes was Messter's other main competitor.

Making sound films was twice as expensive as producing silent films.Find ref below, Laemmle section?

Re-financing

Main article: Jules Greenbaum § Sale of Deutsche Bioscope

In search of more capital, on 12 February 1908 Greenbaum signed a contract to spin off/diversify Deutsche Bioskope as a film manufacturing, copying and sales operation with Carl Moritz Schleussner of the photochemicals firm Dr. C. Schleussner AG in Frankfurt/M as the principal investor/stockholder. The Schleussner company had been involved since 1896 in producing negative film stock and plates for Röntgen photography soon after its discovery.

On 27 February 1908 Greenbaum's Deutsche Bioskope GmbH was re-registered as Deutsche Bioskop GmbH with new directors, with Carl M. Schleussner AG supplying 140,000 marks (two-thirds of a total share capital of 210,000 marks), and one third (70,000 marks) being provided by Greenbaum and his brother Max, an experienced banker familiarly called "Uncle Max".

Greenbaum retained his own separate cinema business and film rental/distribution company as Bioskope Theater-Gesellschaft m.b.H. (ie Bioskope Theater Company Ltd., with the final 'e'). Thus Bioskope-Theater GmbH and Deutsche Bioscop GmbH appear to have been legally registered separate companies, although they were both owned by Greenbaum.

• NB The Rollkrug cinema appears to have been transferred at some point to the Schleussner-owned company. See #Greenbaum's other firms and addresses.

So it may be the case that while concentrating on developing/marketing the Synchroscope through his new Vitascope company, Greenbaum remained with Deutsche Bioskop (main offices at 123 Chausseestr.? with Erich Zeiske as MD from April 1909) with a seat on the board from February 1908 until September 1909.

• ??? Did Greenbaum move out of 123 in February 1908?, possibly straight away, and perh. into new offices of Bioscope-Theater at 20 Friedrichstr.? But he seems to have been still somehow around 123 until October 1912? when he moved into 5-7 wossname Friedrichstrasse in Weissensee...? But he did have other premises, see again #Greenbaum's other firms and addresses.
  • NBB! Make a reverse database of addresses eg Friedrichstr. uzw, and match them up with company names... ?

• ??? So, the re-capitalised Dt.B continued to make newsreels, documentaries, actualités, even standard comedy vaudeville fare, even? It seems that everyone (not that there were many anyway, I suspect) stayed on at 123 Chausseestr. as the main offices. Maybe the lone roving cameramen made actualités, and Greenbaum made loads of musical sound films at other premises.

So - after the merger from February 1908, was Deutsche Bioscope the parent company of Greenbaum's Vitascope-Theater? I suspect not - it seems Vitascope was a wholly separate company owned/controlled by Greenbaum. But you simply don't know... But why would the new directors of Deutsche Bioskop complain that he was spending their money on his own sound film project? Perhaps he was using the investors' money to finance his own sound films: but the efforts of Furkel (and any other cameramen) making vaudeville, actualités etc. weren't making a profit.(WP:OR...)

While Greenbaum concentrated on sound films using his patented Synchroscope invention, Deutsche Bioskop's cameramen continued to make topical and actualité films.

NB! Most of this can be reduced to a couple of paragraphs when you have arrived at the approximate truth.

Laemmle: Synchroscope in the USA

Copy bits of Laemmle section from Appendix B here.

Hampicke: "An expansion of foreign business was planned. On May 26, 1908, Greenbaum traveled to North America on behalf of the company. He signed contracts with the Laemmle Film Service Company in Chicago for the exclusive distribution of the products in the USA, with Mr. Seavolt for Canada and the Charles Urban Trading Company in London. This expansion of business makes it necessary to strengthen the commercial and especially the technical staff. "The existing workshop would, with only a few additional staff, be sufficient for the manufacture of the machines to be delivered under the contracts, especially synchroscopes, but a separate recording studio would absolutely have to be set up in America. The costs for setting up this studio are Laemmle's Film Service Company ready to take over."

Because of the general success of sound films, the establishment of a separate department for recordings was also considered in Berlin, in order to become independent of foreign companies. The creation of a collection of decorations and costumes for the recording studio turns out to be unavoidable. Furthermore, it was planned "to take up the eminently important production of the so-called silent films on a modest scale and to enable regular production." In this field of silent feature films, the company has suffered significant financial losses in the past due to lack of experience."

Anyway, Greenbaum accompanied by his wife Emma travelled to the USA from Bremen on the Konprinzessin Cecilie arriving 2 June 1908, and sold the Synchroscope idea to Carl Laemmle, and to Warwick Trading in the UK. (Charles Urban had left by this time i fink). I imagine the cost of the trips would have been met by the company thanks to Schleussner's extra capital...

Financial difficulties and departure of Greenbaum

Soldiers in traditional costume during the 1908 Jubilee Parade

The camera operators of several production companies often filmed particularly important events in direct competition. Thus Deutsche Bioscop, Raleigh & Robert, and Eclipse all filmed the Vienna Jubilee Parade, 12 June 1908, the 60th anniversary of Emperor Franz Joseph I.

However, during 1908 Deutsche Bioscope ran into serious financial difficulties, partly because of expenses making sound films. At the shareholders' meeting of Bioscop in December 1908, the representatives of Dr. C. Schleussner AG "criticized the level of expenses and, with the approval of all parties, emphasized the urgent need to work towards reducing general expenses as consistently as possible in the next financial year."

New managers were appointed in May 1909 in order to improve the financial situation : Erich Zeiske was appointed as managing director of Deutsche Bioscope, along with Ernst Mirre as manager of Deutsche Bioskop-Theater, Greenbaum's cinema operation. Ernst Mirre was associated with Deutsche Mutoscope Theater-Gesellschaft, the German branch of the US Mutoscope and Biograph Company. Mutoscope had been the preferred supplier for naval films to the Navy League before Greenbaum.

• It is this snippet of info that leads me to wonder how distinct Greenbaum's companies were at the time of the merger/injection of capital from Schleusner in Feb. 1908. That Mirre should be nominated manager of Deutsche Bioskop-Theater in May 1909 points towards an attempt to rein in all Greenbaum's expenditure. By August 1909 he had formed Vitascope and in September they had completed parted.

However, according to Greenbaum, although both companies were doing well, his business interests had become too constricted, he having only a say in 1/3 of the company's direction. He came to an agreement with Schleusner AG that they would acquire his remaining interest, to free him from a non-competition clause in their agreement, and allow him to work completely independently. In order not to further restrict Greenbaum's expansion plans, his former partners acquired the Greenbaums' remaining shares on 8 September 1909 to reach a mutual happy understanding; both parties were fully satisfied with the new agreement and—according to Greenbaum—parted very amicably.

September 1909: under new management

Zeppelin LZ 3 airship at Tegel artillery firing range in 1909. Still photo by de:Max Missman

A compilation film for the 50th birthday of Kaiser Wilhelm II was advertised on the front page of Der Kinematograph, Nr. 107, 13.1.1909. Guido Seeber joined the re-financed Deutsche Bioscope's as their new cameraman in 1908. Georg Furkel and Guido Seeber were behind the cameras to shoot the short documentary de:Zeppelin III in Berlin am 29.8.1909 featuring the Zeppelin LZ3.

Gasometer Hamburg Explosion 1909

"In December 1909, Deutsche Bioscop had the rare opportunity to be on the spot with pictures even faster than the print media on the occasion of their topicality. The terrible Die furchtbare Explosion der Hamburger Gasanstalt (Explosion of the Hamburg Gas Plant) - "Magnificent advertising film, since no illustrations have been published in illustrated magazines up to now." 28 Advertisement in: Der Kinematograph, No. 155, December 15, 1909." (front cover, [pdf 49] plus funny cartoon illustration.)

There were only 6 employees at Deutsche Bioscop in 1910.

Addresses: from the 1911 Berliner Addressbuch

NBB! The p. 463 Berlin Addressbuch for 1911 !!! Link Possibly from Walzertraum youtube vid? !!! with information valid for the previous year (NB This info comes from de:Kottbusser Damm, see), still has an entry for Deutsche Bioskop Gesellschaft mbH [NOTE spelling, with 'k'!] with Zeiske as MD. Main offices, Fabrik = manufactory/copying, and laboratory at 236 Friedrichstr, with recording studio (Aufnahmeatel.) at 123 Chausseestr., director Erich Zeiske.

Deutsche Vitascope GmbH still has offices at 22 Friedrichstrasse, Greenbaum as MD. p. 465 Berlin Addressbuch for 1911, very last entry on page. So does Vitascope Gesellschaft mbh at 22 Friedrichstrasse, Greenbaum as MD: p. 3095 Berlin Addressbuch for 1911, as does his Bioscope Theater GmbH also at 22 Friedrichsstr. p. 216 Berlin Addressbuch for 1911

The Vitascope-Theater "Rollkrug", Berlinerstr. 1. 2. has Inhaber Max Walter. p. 3095 Berlin Addressbuch for 1911

Hmm, by 1920 it had become the 'Decla Lichtspiele Rollkrug'. See photo at I wonder how Decla grabbed it? See again #Greenbaum's other firms and addresses...?

Vitascope-Theater-Betriebs was formed in March 1907, changed its name to Deutsche Vitascope GmbH on 17 August 1909 (a month before Schleussner renamed Greenbaum's old Deutsche Bioskop to Deutsche Bioscop in September 1909 - for refs, see #Bioskop-Theater) and to Vitascope GmbH in October 1910. Moved to Weissensee Studios in October 1913. And then to Greenbaum-Film in January 1915, still as Greenbaum-Film in the newly uploaded pic in 1918.

Therefore it seems possible that Greenbaum divested himself of his cinema business (Vitascope-Theater-Betriebs) during the split with Schleussner AG (August–September 1909). So, Decla merged in April 1920 with Deutsche Bioscop, who certainly had a connection with Greenbaum. Decla (under Pommer) was rescuing Deutsche Bioscop, and was the dominant partner. "We'll have that, then."

Bollox alert! The offices at 123 Chausseestraße seem NOT to have been enlarged around this time, with the glasshouse studio being built on the roof. Good pic of the studio on the top of 123 (NOT) - almost two storeys high, tho'.

• Well, it's actually a pic of Friedrichstraße 236, Deutsche Bioskop's main offices, with a bloody great roof studio (no date??), but don't let that bother your incompetent ass. Plus the original glasshouse (YES!) at Babelsberg with the main film processing and copying factory behind.
  • So, good pic of Friedrichstraße 236, then.

The following table compiled from a number of tables in (Jung & Loiperdinger 2005, pp. 181–2) shows the releases of acualité/documentary films from 1907 to 1913. The fall-off after the departure of Jules Greenbaum from Deutsche Bioscope in 1909 is very noticeable.

Production firm      1907 1908 1909 1910 1911 1912 1913  Total

Deutsche Bioscop           15    24    6    5    5   10    65
Messter                     9    11   10   19   12    5    66
Duskes                     16     6    6         3         31
Weltkinematograph          18     8   37   48   60   48   219
Edison                 3          6   16   15   45   42   127
Pathé                 60   70   133  158  149  178  129   877
Gaumont               11   14    48   80  124  115  118   510
Eclipse               28   59    87   92   99   74   54   493
Raleigh & Robert   34   51    29   37   79    9        239

1911: The first international film star: Asta Nielsen

Asta Nielsen with Urban Gad at Deutsche Bioscop's new Babelsberg studios in 1912, during a pause in shooting Der Totentanz

Although the first German film star was Kaiser Wilhelm II of Germany (see "'Kaiserbilder'. Wilhelm II. als Filmstar" in (Jung & Loiperdinger 2005, pp. 253-268, esp. 267) it was the German premiere in November 1910 in Düsseldorf of Afgrunden, starring Asta Nielsen and directed by her husband Urban Gad which launched the career of the first international film star. The screenings were organised by Ludwig Gottschalk who owned the German exhibition rights. It was a runaway success, and a competitor Christoph Mülleneisen senior, who owned the rights for Afgrunden in Austro-Hungary and also operated around 15 cinemas in the Rhine and Ruhr regions, determined to sign Nielsen for himself.

After a short but intense period of negotiations, Mülleneisen made a deal on 27 May 1911 with Gad and Nielsen to produce 10 feature films and 20 shorts produced by the new management team of Deutsche Bioskop (still with Eric Zeiske as managing director) to be distributed by Paul Davidson's PAGU. PAGU owned the Union-Theater (U-T) cinemas, the biggest chain in Germany. (PAGU was the first Aktien-Gesellschaft in German cinema - founded? in 1910 with 500.000 marks, by 1912 had a million marks capital. {sfn Muller p. 48, p. 270 nn108-111} FIX ME!) On 1 June 1911 a holding company, Internationale Films-Vertrieb-Gesellschaft (IFVG) ('International Film Sales Company'), was formed to exploit the contract and registered in Vienna with Davidson as senior partner and MD.

This means that at least some of the early Nielsen films might have been shot at 123 Chausseestrasse. Interesting... HAHA! I was absolutely right. In fact, apart from Der schwarze Traum, made in Denmark by Fotorama, all the first Nielsen series of films made in summer 1911 were made at 123, with Der Totentanz being the first to be made at Babelsberg.

Asta Nielsen was a bit scathing about 123 Chauseestrasse:

"At that time, in 1911, film production was at a surprisingly low level in such a large country as Germany. To that point, only a kind of “living pictures” had been produced in Bioscop’s studios, which consisted of a few primitive [dürftige, 'poor'] attic rooms in the northern part of Berlin. Some of these productions, such as The Island of the Dead, used paintings by [Swiss artist Arnold] Böcklin as their foundation, with white-clothed apparitions moving slowly and aimlessly between black poplar trees.[2] Yet it was still a major technical improvement over the filming conditions for The Abyss in the prison courtyard in Copenhagen Eh?? to find ourselves in an atelier with glass walls and half a dozen spotlights. On the other hand, the artistic aspect, as far as the casting of my fellow actors was concerned, was catastrophically inferior to The Abyss."

Move to Sources! *Allen, Julie K., ed. (2022). The Silent Muse: The Memoirs of Asta Nielsen. Boydell & Brewer. ISBN 9781800105829.

"Ultimately, it is thanks to the Danish diva that Babelsberg became a film city. The 'Bioscop' was already building a large studio in Neu-Babelsberg for the recording of my films," Asta Nielsen recalled in her autobiography "The Silent Muse" and was in no way exaggerating. Previously, Deutsche Bioscop GmbH only had “a few meager attic rooms in the north of Berlin” – to be precise: at Chausseestrasse 123. The makeshift recording studio had long since reached its limits, the rooms were dark, and because of the large lamps there was constant trouble with the fire department/fire police." ("...gab es ständig Ärger mit der Feuerpolizei.")

However, looking at the photo of 123, then only some 15 years old and built in the popular Jugendstil in 1896 i fink, it's difficult to see how it could be described as 'poor' or 'dark' - the whole building is mostly windows. Morons.

Well, well, lolissimo: "1911: The fire department evicted the Bioscop film company from their loft studio in Berlin. Guido Seeber, cameraman and technical director, discovered a vacant factory building surrounded by a large area of waste land in Babelsberg."

• This would tend to explain why Continental-Kunstfilm's 1912 film In Nacht und Eis was shot in a small glasshouse studio in the courtyard/garden and not in the loft: - filming inside the building was forbidden by the Fire Dept because of the risk from the high-wattage carbon arc lamps.

At any rate, Davidson's Vienna-based Internationale Films-Vertrieb-Gesellschaft (IFVG) oversaw the making of nearly 30 Nielsen/Gad films, two-thirds produced by Deutsche Bioskop for PAGU, and the remainder produced by PAGU alone. A number of these are non-extant. Guido Seeber was the cameraman for about half of these films.

Before the Nielsen/Gad contract, Deutsche Bioscop only had 6 employees in 1910, a figure which had grown to 150 by 1913.

There were three "Asta Nielsen series" of Monopolfilm feature/drama/comedy films:

• 8 films (first series) made by Deutsche Bioscop Gesellschaft (DBG) for PAGU, filmed in summer 1911 at 123 Chauseestrasse and on location, and released in 1911/12; Under the pseudonym of 'D. J. Rector', Zeiske wrote the script for Die Verräterin, the 5th in the initial Asta Nielsen series of 1911/12, shot at 123 Chauseestr.
• A further 8 films made in 1912/13 (second series), again all made by Deutsche Bioscop and commissioned by PAGU, and filmed at DBG's newly-built Babelsberg Studio from February 1912;
• and 7 films (third series) made in 1913/14, made by PAGU alone with Davidson flexing his film-making muscles, probably filmed at Tempelhof Studios; releases were delayed in Germany until 1915/16 because of the war.

Monopolfilm

NB Split off to separate article!

In Germany the film production firms used various different methods of distributing films to cinemas: the Staffelmieten-System and the Terminfilm, superseded by the Monopolfilm of which Afgrunden (1910) was an early example.

"[E]xhibitors themselves set up local or regional distribution networks, which, from 1908 onwards, were structured around a film rental system priced according to the running times of a complete program, the so-called Staffelmieten-System, with the consequence that older films were recycled and new ones suffered rapid devaluation."

The production companies replaced this by the Terminfilm system: single films with limited release dates were heavily advertised in the trade press in advance. However, the film producers were unable to make enough films in the short time available, and this marketing ploy was abandoned fairly soon. However, it marked the change from selling films to renting them; and the number of specialised distribution firms increased to 22 by 1910. Asta Nielsen's Heißes Blut (although it was made shortly after Afgrunden} is an example of the relatively short-lived Terminfilm method, with multiple copies bought by major distributors from the producers, advertised in trade journals like de:Lichtbild-Bühne (LBB) and then rented out to individual cinema owners who were guaranteed to receive the film on the advertised release date. Film production companies judged a film's profitability by the number of copies they sold. This also opened up a lucrative second-hand market where multiple copies of films from the big distributors were sold on to lesser buyers, for viewing in smaller cinemas away from the increasing number of premium venues like those of Paul Davidson's Union-Theater (U-T) chain. From the production companies' point of view, this practice reduced the length of time new films could be shown (and thus profits) before they appeared in 'room upstairs' picture houses through the second-hand market. This had depressed the price of films generally, and led theoretically to lower quality films.

The Monopolfilm ('exclusive film') concept was the next way of selling films to cinemas through a single distributor usually the production firm or a sole appointed agent. Ludwig Gottschalk introduced it with Afgrunden, and Davidson's PAGU (and Deutsche Bioscop) followed suit with the rest of the "Asta Nielsen" series. Film-buyers for the major distributors were prevented from purchasing physical copies of films, but instead had to buy the rights to exhibit a film for a given period and in a given region (i.e. it was only possible to rent the films under restrictive conditions, rather than buy them outright.) Cinema owners were often obliged to buy the rights a number of films sight unseen (possibly before they had even been made), in order to access the most desirable ones. This approach had a great impact on Nielsen's rise to stardom. The 'Monopolfilm system 'worked' for the bigger companies by driving the small cinema owners out of business and into bankruptcy, since the latter couldn't afford the higher prices, thus benefiting the production firms and the larger movie theatres/chains. PAGU also owned the Union-Theater (U-T) chain of cinemas where the Nielsen films were shown - an excellent example of capitalist vertical distribution, where the film production companies also owned the cinemas.

Deutsche Biscop's first Nielsen eight releases using the Monopolfilm system were advertised as: Der schwarze Traum; Im Grossen Augenblick; Zigeunerblut (Gypsy Blood NB not Heißes Blut); Der fremde Vogel; Die Verräterin (script by Erich Zeiske); Die Macht des Goldes; and Die arme Jenny Several of these are considered lost.

According to Julie Allen, "Historian Andreas Hansert documents that Nielsen agreed, in exchange for an annual salary of 80,000 German marks, 33.3% of the revenues generated by her films, full artistic freedom in choosing her screenplays, costumes, and supporting actors, and, perhaps most importantly, the right to be directed exclusively by her soon-to-be husband Gad." For the film makers, the contract meant almost guaranteed success from Nielsen's films for nearly three years from June 1911.

"Working closely with Gad on each year’s Asta Nielsen Series, a collection of eight to ten films that had been pre-sold to distributors around the globe, Nielsen exercised a degree of control over her work on an artistic, technical, and economic level that was extraordinary for a woman at the time."

Films made by Deutsche Bioscope at 123 Chauseestrasse with release dates:

Apart from Afgrunden, all the Dt.Bio films were shot in spring-summer of 1911

• 1911: Gipsy Blood short, missing)
• 1911: The Moth (missing)
• [1911: Den sorte drøm] - Denmark
• 1911: Im großen Augenblick (short)
• [1911: Balletdanserinden] - Denmark
• 1911: Der fremde Vogel
• 1911: The Traitress (fragments preserved)
• 1912: Die Macht des Goldes (missing)
• 1912: Zu Tode gehetzt (missing)
• 1912: Poor Jenny (short)

And if they got evicted from 123 because the arc lamps were a fire risk, they would have had to get a move on.

1912: Babelsberg Studio

Main article: Babelsberg Studio

With the success of the Nielsen/Gad series, Deutsche Bioscop started looking for much larger studio premises. Guido Seeber, as technical director of Deutsche Bioscop since 1909, was put in charge of finding a site, and of designing and supervising the building of the new studio and film factory.

In the south-west Berlin suburb of Neubabelsberg Seeber found a semi-derelict 3-floor factory built in 1898 by a company which made artificial plants, flowers and leaves. According to Seeber,

"'Around this property was a fairly wide, completely open field, so that the sun did indeed shine on the property from dawn to dusk. The condition of the building itself was almost dilapidated, only a few windows and doors etc. were to be found, so that a complete renovation was necessary. But the circumstances for preparing this building for a film factory seemed extraordinarily favorable. First, the state railway offered a triple and fast connection. There were no houses to be found in the vicinity, so that even in the event of a fire the area could not be endangered. The location of the property, with a gable pointing directly to the south, made it advisable to erect a glass studio as an extension of the building, because then it would always be in the sun, i.e. the most favorable light, from morning to night."

Deutsche Bioskop started construction of its new Babelsberg Studio (otherwise known as Bioscop-Atelier Neubabelsberg) from November 1911. The new studio had a floor area of 300 m² (15 x 20 m, x 9m high). It was one of the first glass-house studios in Germany.

On 12 February 1912 the studio was inaugurated with the first shot of the Asta Nielsen film Der Totentanz. This is also the exact same date that the newly-formed Continental-Kunstfilm moved into the old premises of Deutsche Bioskop at 123 Chausseestraße which Jules Greenbaum had occupied since 1906. Greenbaum appears to have maintained a presence at 123 until he moved out to Weissensee in 1913/1914. A second glasshouse (Großes Glashaus) with a floor area of 450 m² was built in 1913. With 4 hectares (9.9 acres) of land available, there was plenty of room for the construction of outdoor sets.

Jugend und Tollheit, Lost Films

Paul Davidson appears to have understood very clearly the fundamental change for the film industry which Asta Nielsen's groundbreaking Afgrunden represented. He claimed that he built the Tempelhof studio for her, and transformed her into an international star.

"I had not been thinking about film production. But then I saw the first Asta Nielsen film. I realised that the age of short film was past. And above all I realised that this woman was the first artist in the medium of film. Asta Nielsen, I instantly felt could be a global success. It was International film Sales that provided Union with eight Nielsen films per year. I built her a studio in Tempelhof, and set up a big production staff around her. This woman can carry it ... Let the films cost whatever they cost. I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world."

After Deutsche Bioskop's success in making the first two Nielsen series for Union-Film, PAGU produced and made the third series at Tempelhof themselves, swiftly becoming German's primary production company. Greenbaum would make a brief merger with PAGU in early 1914 as Union-Vitascope which lasted until the start of World War I.

Hanns Heinz Ewers joined as a staff writer, leading to The Student of Prague (1913).

Shortly after the move to Babelsberg, probably as a result of an economic crisis at his Frankfurt company before the start of the First World War, Carl Moritz Schleussner (who had bought Deutsche Bioscop in 1909) nevertheless wanted to get out of the film business. He was only able to sell his shares in Bioscop at a high loss in 1917. The issue was only finally settled in 1922, when inflation had already set in.

World War I

Nielsen and Gad went back to Denmark, and all her films that had been shot in 1914 were slowly released (by PAGU?) during the war in Germany in 1915/16.

The 6-part serial Homunculus directed by Otto Rippert was released in 1916 and 1917, later edited and re-released in 1920 by Decla-Bioscop. See also other stuff from Filmography.

1917–1918: Bioscop-Konzern and Rheinische Lichtbild AG

The establishment of Ufa in December 1917 as a film propaganda outlet provoked reactions from the film industry.

In late 1917 a number of film production and rental firms (including Deutsche Kinematographen-Gesellschaft GmbH (Kölner Dekage FilmVertrieb), came together to form the Bioscop-Konzern (Bioscop Group), with its headquarters at 58 Breite Straße, Cologne. The managing director was Peter Heuser. Heuser was MD of Harmonie-Film, Köln, which made de:Der fliegende Holländer (1918), filmed in May 1918 at the Bioscop-Atelier in Neubabelsberg.

"The 'Bioscop Group' has so far only made small public appearances, it comprises four manufacturing companies that sell their pictures through seven of their own branches in Germany. These rental shops are based on around 30 theaters that spread throughout Germany, but are mostly in the Rhineland and Westphalia. — Recently, it has often been said that the merger of so many companies in one hand poses a threat to the German cinema industry. But that is not the case, as anyone who learns that the number of German movie theaters is between two and three thousand will immediately recognize."

A 1918 advertisement for a series of Dagny Servaes films lists the partners of the Bioskop-Konzern: "In Deutschland verleihen wir selbst durch unsere Filialen: Bioscop, Berlin; Bioscop, Munich; [Johann Paul] Wolfram, Dresden; Wolfram, Leipzig; Mitteldeutsche, Frankfurt; Dekage, Cologne; Schlesische, Breslau. Generaldirektion des Bioscop-Konzerns Köln, Bioscophaus."

In Der Kinematograph for 24 April 1918, Bioscophaus had an advertisement spread over four full pages, including the release of Harrison and Barrison directed by a young Alexander Korda. The illustration of the Bioscophaus building in Cologne incorporates the letters DBG (Deutsche Bioscop Gesellschaft) and the logo of a bear holding a shield.

Similar layout for Kinematograph, issue 593, 15 May 1918? [pdf 104], Der letzte Dollmond and on [pdf 114] Pique Dame with Alexander Moissi. Also, "Aus der Praxis", [pdf 129], Decla ends a lease on Friedrichstrasse 23.

Haha lol, excellent pic of Greenbaum-Film's studios in 5-7 Franz Joseph Strasse, Weissensee: Lichtbild-Bühne Vol 11, No. 14, 6 April 1918 [pdf 77] - and good drawing of Neubabelsberg in an ad for Deutsche Bioscop, back cover, [pdf 98]. (saved in My Docs)

In Februry or April 1918, Heuser converted the Bioskop-Konzern into a stock corporation, Rheinische Lichtbild AG. The second major German film company came into being as a kind of 'counter-Ufa', incorporating Deutsche Bioscop and its studio premises in Babelsberg as its core.

"The purpose of the company is to produce, acquire, distribute and distribute films... The area of activity should extend in particular to western Germany. It is intended to acquire a number of existing manufacturing, distribution and demonstration businesses and to establish others. By bringing together previously fragmented and not uniformly organized companies, the company wants to gain a stronger influence on film production and film presentation, and in particular to help national, economic and educational problems to their advantage."

Well-known bankers and lawyers from Cologne, Mönchengladbach and Berlin were among the co-founders of the joint-stock company.

"The film industry at the service of big business.

"A company with a fully paid-up capital of 5.5 million marks was set up in Cologne under the name "Rheinische Lichtbild-Aktiengesellschaft Köln". The shares are issued at a price of 106%. The start-up costs are to be covered from the premium. The company's purpose is the production, acquisition, rental and distribution of films and the presentation of films (Lichtbildern). The area of activity should extend in particular to western Germany. It is intended to acquire a number of existing manufacturing, operating and demonstration businesses and to establish others. By bringing together previously fragmented and not uniformly organized companies in the area mentioned, the company wants to gain a stronger influence on film production and film presentation, and in particular to help to bring national economic and educational problems to bear.

"The founders of the company are: Barmer Bankverein, Hinsberg, Fischer and Co., Cologne; Commercial councillor de:Richard Sichler - Berlin; Lichtbilderei GmbH, Mönchengladbach; Attorney Dr. Bosch - Cologne. Forming the first supervisory board (Aufsichtsrat): Councilor of Commerce Hinzberg (business owner of the Barmer Bankverein, Hinsberg, Fischer and Co.) - Barmen (now in Wuppertal); Councilor of Commerce Sichler - Berlin. Bank director Bendix (Barmer Bankverein-Cologne); Judicial Councillor Mannheim; Dr. W. Hohn - Mönchengladbach; Director Ludwig Sachs - Berlin. Forming the main board (Vorstand): Director Kleinmann - Cologne (Preußische Treuhand- und Revisions-A.G.); Bank officer Drescher - Cologne (Barmer Bankverein).

"We shall come back to these matters, which are of extreme importance."

Peter Heuser remained general director and also brought in his Harmonie-Film-Gesellschaft, which in April 1918, after a much-vaunted world premiere in Cologne, launched the Beethoven biopic Martyr of His Heart starring Fritz Kortner with 26 copies in the cinemas. The repertoire of the Rheinische Lichtbild mainly consisted of film adaptations of fairy tales, but above all "works that stood up for national ideas" and "for Germany's greatness".

Rear outside cover of Der Kinematograph, 2 May 1918 [pdf 74] ("Bioscop Konzern - unsere Produktion 1918/19") has a full-page ad graphically depicting 12 series of forthcoming films as stars over the cities where the member firms were located: Köln - Dekage; Berlin - Bioscop; Frankfurt - Mitteldeutsche; Leipzig and Dresden - Wolfram; Breslau - Schlesich; and Munich.

Der Kinematograph, 12 June 1918, Front cover, [pdf 29], lists all the forthcoming Bioscop-Konzern films by 10 stars (mostly 6 apiece) & 2 prod. companies, Harmonie (Peter Heuser) and Corvin (Alexander Korda).

The writer de:Alfred Rosenthal developed into a busy multi-functionary in the field of film. He worked as a delegate for the Rhenish-Westphalian film distributors' association in Berlin and as press spokesman for Bioscop-Concerns and then Rheinische Lichtbild AG. Rosenthal was chief editor of Der Kinematograph from 1923 to 1933.

When the Bioskop Group, Cologne's largest film production and distribution company, moved its offices to Berlin in November 1918, Cologne lost its status as the "film trading city of the West".

Heinrich Lautensack

April 1918: "de:Heinrich Lautensack (Schriftsteller), the successful film script writer and dramaturg of Bioscop-Gesellschaft in Berlin has gone insane and had to be taken to the psychiatric clinic. He had come to Munich from Berlin to take part in the funeral of Frank Wedekind, with whom he had joined the eleven executors at the time. When the coffin was lowered into the grave, Lautensack threw himself on the ground and cried out in heartbreaking tones: "I am your most unworthy, your last student. Keep still, it's being filmed..." In the evening he discussed this quite seriously with Principal Stollberg from the Munich Schauspielhaus and a few other gentlemen, a repetition of the funeral service in order to record it for the film. The well-known comedy director Carl Rößler took pity on the poor man and took him by car to the psychiatric clinic, where he is still."

Terrible fire at Deutsche Bioscope Rentals

June 1918: (Directly after full-page ads by Bioscophaus for Der lachende Tod, Der fluch alten Mühle and Der Taktstock Richard Wagners):

Big fire accident at the Bioscop film distribution company, Berlin.

On Friday, June 21, at around 11 a.m., something happened in the upper Friedrichstadt, the headquarters of the film industry, in the offices at Friedrichstrasse 235, one of those accidents that fortunately have to be regarded as something extraordinary and, that may be said, quite unforeseen.

In a manner that has not yet been elucidated, film positives caught fire, the jets of fire of unheard-of size and power swept from the first floor up to the third and destroyed everything that came within reach. Unfortunately, numerous lives were lost in the process. Only a few of the people staying in the rooms of Bioscop and the rooms above it of the "Telefunken" company escaped with their lives. The visit to the "Bioscop" was particularly busy because it was a day of "program change", and many customers were present. The sight of the unfortunates jumping out of the window, burning in their fear of death, will remain unforgettable for all who witnessed these terrible hours. Only a few of the company's employees were saved, they died as victims of their profession.

To comment on the cause of the fire. will be impossible, since its emergence can only be based on conjecture. It shouldn't be an explosion. Experts consider such a possibility to be completely impossible. Rather, it is believed that an external cause has caused the inflammation. perhaps a carelessness, although it seems by no means certain that this was committed by employees. Another version wants to know that during the thunderstorm that prevailed shortly before the accident, lightning struck the power line of the "Telefunken", carried on through the rooms of the "Bioscop", smashed it, ignited the cable and then continued to burn it until the catastrophe struck. Perhaps it will be possible to determine the cause.

Nevertheless, it seems questionable, if there are fire-hazardous establishments in a building that bottles filled with hydrogen gas are kept in the immediate vicinity. 32 such bottles were found. These bottles belonged to the "Telefunken" company.

The unfortunate tragedy will likely mean that the rules governing the film industry will be re-examined, although today the rules are narrowly defined. The largest ftil XXX of the film companies has its storage rooms on the top floor. All film explosions have taught us, including the accident with the "Bioscop", that the jets of flame shoot upwards. The regulation is therefore not only to be understood, but to be fully approved. The regulation also exists, only a certain quantity of films, in others rooms than the top floors. As reasonable as this regulation is, it seems difficult to follow it, for example on exchange days. Immediately after the accident, many companies were subject to revisions by the authorities.

The film industry, for its part, will undoubtedly do everything. to comply with regulations. The Minister of the Interior, Dr. Drews, the Chief Constable v. Oppeln and other gentlemen and women asked for explanations. What must be urged, and with all energy, is the ruthless implementation of all police regulations, which should not only deal with the handling and storage of the film material, etc., but also with the rescue regulations. Every sin, on the other hand, is a sin against one's fellow human beings.

The general public is naturally inclined to throw out the baby with the bath water. Explanatory! But why isn't everything possible done to clarify the truth, completely in accordance with the truth, without embellishment, by the people who are really called to do it?

Only the active chairman of the Association of Photo Theater Owners in Greater Berlin, Mr. Simon, recognized the importance of immediate clarification. He sent the following letter to the trade press:

"The great fire disaster in the Friedrichstrasse prompts the board of the Association of Cinema Owners in Greater Berlin and the Province of Brandenburg. E.V. to declare that there is no threat to public safety in the cinema theaters. Quite apart from that that at the moment it is not yet certain whether the accident caused by the fire was caused by the ignition of the films, but that one tends to believe that an incident in a very fire-hazardous facility domiciled in the building that caught fire - the 'Telefunken' company caused the catastrophe.

It must be emphasized that this misfortune did not take place in a movie theatre, but in a film rental business. To reassure the public, the association points out that a cinema theater only ever contains a maximum of three to four films, while a film rental business naturally keeps a much higher number of films in stock, which often extends to several hundred. In addition, there are very strict police security regulations for cinema theaters that have been tried and tested in practice, so that an accident like today's in a cinema theater is out of the question. The individual films and the projection rooms from which they are thrown onto the white wall are separated from the auditorium by absolutely fireproof walls."

But where is the "Association for the Protection of Common Interests"? Once again it has failed, completely! It lacks the initiative. It has become strangely quiet up there as far as the expansion of the secretariat is concerned. Overwork must not result in such serious omissions. We learn that a meeting of the entire committee for Wednesday is urgently required. Hopefully this request will be granted. The entire industry has to speak up about the fire accident.

In the fire in the rooms of the "Bioscop-Verleih" not only the copies but also the business books, contracts etc. were destroyed. However, the operation will hardly suffer a stagnation, since the company has the rooms in the offices of the central management of the "Bioscop-Verleih", Markgrafenstrasse 21, which are still available. — In the Sunday editions of the Berliner Tageszeitungen the 'Bioscop-film-Verleih G.m.b. H.' dedicates the following obituary for the victims of the catastrophe:

In the accident that affected our company, our employees, faithfully fulfilling their duties, were snatched from us by death: Marie Baerwald; Wilhelm Böhnke; Gertrude Dorn; Marie Geyer; Luise Hohmann; Max Pochman; Louise Spies; Anna Spies; Oscar Szymowski; Karl Walter; Anna Weiss.

Unfortunately, the following business friends who were present on our premises and employees of other companies on site also fell victim to the catastrophe: Herman Dreikant; Karl Drews (soldier); Karl Richter; Paul Schmidt; Friedrich Wendt. Deeply shaken, we will always keep an honorable memory of all those who passed away so suddenly.

The entire industry also commemorates the unfortunate victims and their families.

11 employees and 5 business visitors lost their lives.

Post-war: Rheinische Lichtbild AG becomes Deutsche Bioscop AG

Background

Although Germany had been physically almost untouched by the war, the immediate years after WW1 were very precarious. The Allied naval blockade still carried on in 1919 until the Treaty of Versailles was signed in late June. There had been a swift, genuine revolution: the old German Empire had been overthrown and the Weimar Republic had been established.

The trend towards operational concentration and expansion, and the transition to even bigger films continued apace after the war. The financial structure of the German film industry in the late 1910s and early 1920s changed from limited liability companies (GmbH) to stock corporations (AG), with the stock corporations successively increasing their capital and 'swallowing up' other companies and groups.

Lack of profits and merger with Richard Oswald

In the summer of 1919, Rheinische Lichtbild AG published a few issues of its own illustrated house magazine, Der schwarze Bär, edited by Alfred Rosenthal from Neubabelsberg. It included articles on forthcoming films, stars, and other film-related items. Three issues seem to have been included in Kinema, published in Zurich, Switzerland, in Volume IX: Heft 1 in No. 25, 21 June 1919: Heft 2 in No. 26, 28 June: Heft 3 in No. 27, 5 July 1919: and Heft 2 (again, mistakenly) in No. 28, 12 July.

• "Der+schwarze+Bär" Search page at ETHzurich

• Der schwarze Bär, Jahrg. 1, Heft 1 Click on "Details & Teilen" at top right to download pdf.
• Der schwarze Bär, Jahrg. 1, Heft 2
• Der schwarze Bär, Jahrg. 1, Heft 3

In November 1919 Bioscop (or Rheinische Lichtbild AG) merged with Richard Oswald's production firm, which brought in an increased capital of 30,000 million marks. Bioscop had an excellent distribution system and a large cinema chain.

According to a December 1919 report in the US trade journal Camera! ("The Digest of the Motion Picture Industry"), Rheinische Lichtbild AG had made no money since it was formed:

"The biggest producing firms in Germany at the present time are, (1) The Universum Film AG, [Ufa], which has absorbed the following concerns: the Union Projection Company [PAGU], the Messter Film Co., the Oliver Concern with all its theaters, the May Film Company. (2) The Decla Concern. (3) The Rheinische Lichtbild Company. (4) The Munich Lichtspielkunst Company.

"The Rheinische Lichtbild Company, which has existed little over a year, seems to have worked without profit during the period. Here a new organization is being formed, backed by one of the biggest banks of Berlin, which up to the present time had held aloof of all film interests; a transfer of headquarters to Berlin and a change of name to Deutsche Bioscop AG is proposed. The present capital is five and one-half million Marks. The concern owns two well-equipped studios at Babelsberg, twenty theaters in Berlin and twenty more in other German cities; nine film exchanges in Germany and one in Vienna; it has further concluded a community of interests in Copenhagen and is also negotiating for connections in Holland."

Thus, Rheinische Lichtbild AG was re-incorporated as Deutsche Bioscop AG in 1919. However, the name Bioscop-Konzern continued to be used.

The report cited above also contains a summary of Decla Film's business up to the end of 1919:

"The Decla Concern has a capital of eleven million Marks, several millions of which are now in the hands of Mr. Pommer, whose concern was chiefly devoted to film production and film leasing. The remaining and biggest part of the stock is owned by a banker in Bremen and by a Rhenish Glass factory. Besides these eleven million Marks the Decla Concern disposes of more than three million Marks in credits abroad. The moving spirit of this combination is Mr. Oliver (de), who left the Universum Film Co., a few months ago. The Decla plans to dedicate itself not only to producing, but also to exhibiting; besides the cultivation of its German interests it aspires foreign relations, especially the Russian market, for which purpose it already has opened a branch office at Riga. In Berlin it intends to construct a huge motion picture theater in a building, which until now was used for different sports. It has further leased Hagenbecks Zoological Garden; fifty acres of which were set aside exclusively for producing purposes and the building of a vast studio."

To counter Ufa's rapid rise to prominence, a number of the remaining independent production studios and exhibitors joined together to form Decla-Bioscop.

Merger with Decla-Film to become Decla-Bioscop

To properly compete with Ufa, Decla needed Bioscop's theatres and distribution: and, conversely, Bioscop (allegedly suffering from lack of management, discipline and even competence) needed Erich Pommer's management ability. So in around April 1920 Deutsche Bioscop AG merged with Decla-Film to form Decla-Bioscop AG, increasing the capital to 50 million marks. Rudolf Meinert was the first head of production, having recently merged his production firm with Decla in November 1919.

At a celebration in Treptow, Berlin, for the 10th anniversary of Agfa Rohrfilmfabrik in July 1920, Ufa Generaldirektor Bratz was present, and for Decla-Bioscop Pommer and Oliver. Managing director Paul Davidson, on behalf of Ufa, the 'Decla-Bioscop Konzern', and for the Firma Karl Geyer, made a congratulatory speech about the positive relations between Afga and the whole film industry.

Decla-Bioscop made an offer for the Zirkus Schumann in Frankfurt (de), intending to turn it into a 5,000 seat cinema,

Verlag Ullstein & Co. made a deal with Decla-Bioscop in July 1920, forming Uco-Film Gesellschaft. This allowed Pommer's company exclusive access to Ullstein's literary publications. Uco-Film's productions include F.W. Murnau's Schloß Vogelöd, 1921 and Phantom (1922 film); and Fritz Lang's Dr. Mabuse the Gambler of 1922, based on Norbert Jacques' novel serialised in Ullstein's Berliner Illustrirte Zeitung.

Another subsidiary company, Russo-Film, produced quality drama films based on world literature, such as Dostoievsky's Irrende Seelen of 1921, directed by Carl Froelich and starring Asta Nielsen, Alfred Abel, and Walter Janssen.

Although the two production companies had merged financially, Decla and Bioscop films were distributed separately by Decla-Verleih and Bioscop-Verleih, including foreign films. Under the terms of an August 1921 contract between Decla-Verleih and Goldwyn Films, Decla purchased distribution rights to eight Goldwyn pictures for 150,000 marks each, plus 50% of the net box office exceeding that figure.(Saunders, page needed)

Merger with Ufa

By the summer of 1921 the first signs of hyperinflation in the Weimar Republic were beginning to appear, and Germany's banking system came under severe pressure.

Ufa had been set up by the German government during World War I in 1917, and Deutsche Bank had purchased the state's 30% share in 1919 to become a major stockholder.

Paul Davidson's Union-Film (along with PAGU, his cinema chain) was one of the original three companies which formed Ufa in 1917, along with Messter and Nordisk. Famous Players Lasky (Paramount) had previously tried to get control of 51% of Ufa in April 1921, but was rebuffed. Ben Blumenthal and Sam Rachmann of Paramount then negotiated with Ernst Lubitsch (whose Madame Dubarry had had such great success in America) and Davidson to leave Union and start a new production firm, which they did in summer 1921, forming Europäische Film-Allianz (Efa). Also involved were Max Reinhardt and Joe May, Pola Negri, Emil Jannings and Paul Wegener and various technical crew/set designers/script writers. Thus a merger with Decla-Bioscop to replace the core of Ufa's artistic team became advantageous to both firms.

Before its 1920 merger with Deutsche Bioscop, Decla had improved its finances in 1919 through a share purchase by the Deutsche Nationalbank in Bremen (founded in 1871). In 1920 Deutsche Nationalbank in Bremen was absorbed by the the similarly-named but unconnected Berlin-based Nationalbank für Deutschland, which also had interests in Ufa. However, within a year or so of the merger Decla-Bioscop's finances had again become precarious. National-Film, who had previously offered to make a merger with Pommer's company, made another informal bid to the directors on 26 August 1921 for Decla-Bioscop. NB! Who was backing National-Film? New managers from National-Film had already moved into Decla's premises.

• Move to sources! Traub, Hans (1943). Die UFA: ein Beitrag zur Entwicklungsgeschichte des deutschen Filmschaffens (in German). Berlin: UFA-Buchverlag. NB For .pdf file, click 'Download' tab on left, then 'Download all'.

Decla-Bioscop's stockholders rejected this bid and accepted a matching offer from Ufa. This was hardly surprising, since Nationalbank had shares and directorships in both firms. The day before Decla's next stockholders' meeting on 20 September when it was expected to have the merger confirmed, National increased its bid: but since Nationalbank für Deutschland now had interests in both Ufa and Decla-Bioscop, the merger became something of a fait accompli. Thus, effectively compelled by their joint backer, Nationalbank für Deutschland, Decla-Bioscop merged with Ufa in October 1921. The merger was authorised by stockholders on 11 October 1921, contracts signed 10 and 11 November 1921.

According to Hardt, Decla-Bioscop wasn't liquidated, but instead its assets were transferred to Ufa. It wasn't simply swallowed up, but treated by Ufa as an artistic and technical collaborator. Productions remained individualised and decentralised. Their films were distributed separately by Decla-Verleih and Bioscop-Verleih. Decla-Bioscop was changed from a corporation (AG) to a joint stock company (GmbH) by May 1922. Pommer's company operated as one of Ufa's departments until 1 June 1924, when it merged with Ufa's central administration.

At the same time the two separate distribution companies were merged as Decla-Bioscop-Verleih GmbH. Thus the Deutsche Digitale Bibliothek is perhaps correct when it says Decla-Bioscop-Verleih was active from 1924-1928, previously they were separate companies with their own identities within the Ufa fold. BUT! see Kinematograph year book (1929) p. 44 (pdf 50) which states the firm still existed as Decla-Bioscop-Verleih AG in Kochstraße 6/8. The previous Decla-Verleih association with Goldwyn continued with MGM and Parufamet. Hollywood in Berlin: American Cinema and Weimar Germany has a German film poster for Erich von Stroheim's 1924 Greed (Gier nach Geld), stating "Metro-Goldwyn-Film der UFA / Decla-Bioscop-Verleih GmbH / Verleihbetrieb der Universum-Film Aktiengesellschaft" which wasn't released in Germany until May 1926 (to huge whistling and foot-stamping protests at the newly-refurbished Ufa-Palast am Zoo), so this would be while Parufamet was in operation. (Saunders p. 167)

Hollywood in Berlin: American Cinema and Weimar Germany
Volume 6 of Weimar and Now: German Cultural Criticism
Author	Thomas J. Saunders
Publisher	University of California Press, 2023
ISBN	0520914163, 9780520914162
https://books.google.co.uk/books?id=e0_hEAAAQBAJ&pg=PT171

See #Filmography. Indeed.

Decla-Bioscop productions for Ufa

(Duplicated in various places, still not completely sorted out...)

Internal/infernal company machinations.

Separation/de-merger of the two companies.

Decla continued to make top-quality films (Großfilmen), released by Decla-Verleih

Deutsche Bioscop continued to make smaller-budget films, released by Bioscop-Verleih

In 1924 Ufa consolidated its various production and distribution teams, in some sort of accounting swindle perhaps: From #Filmography:

• Das Verleih-Programme 1924/25 der Universum-Film-Verleih (1924). Prospectus of Ufa films for 1924/25. Front cover says: "Universum-Film AG / Universum-Film Verleih Gmbh / Hansa-Film Verleih GmbH / Frankfurter-Film Co. / Decla-Bioscop Verleih GmbH".

Union-Film productions were distributed as Ufa films (Ufa-Verleih)

Decla films were distributed as Decla-Bioscop films for Ufa (eg Nibelungen, Metropolis? Check!) through Decla-Verleih

Hmm - File:Matejko, Herr Tartüff, 1926.jpg, says "Declaleih - Verleihbetrieb der Universum-Film Aktiengesellschaft". But the article Tartuffe must be some sort of piss-take - worse than a parody, some sort of abysmal disaster - nothing about the unchained camera, the massively confusing plot (worse than Caligari) although it takes the same amount of time (relatively speaking) to introduce the main character as in the original play - about a third of the total running time - the deliberately minimal sets, the understated moral ambivalence - just some sort of marketing wank exercise utterly unconcerned with the film's artistic importance - Spit in your face.

Well, you know how it works round here - fix it yourself. So, Hermann Picha was involved, also in The Armored Vault (Das Panzergewölbe), Joe May's second film which wasn't made BY Continental-Kunstfilm, but AT their studios, but who cares?

Decla-Bioscop Verleih

First-ish appearance: September 1923. Der Kinematograph, September 1923, No. 862, p. 14 (pdf 20} : "Fix und Fax [NOT de:Fix und Fax!] sind die beiden Hauptdarsteller der Ballroom Boy Comedies der Interocean Film Corporation, New York, deren Vertrieb der Decla-Bioscop-Verleih der Ufa für Deutschland übernommen hat. Die Lustspiele sind zweiaktige akrobatische Sensations-Grotesken."

General announcement, September 1924: Das Verleih-Programme 1924/25 der Universum-Film-Verleih (1924). Prospectus of Ufa films for 1924/25, when Ufa centralised all film production.

Deutsche Bioscop effectively ceased producing its own films by 1924: the best of both Decla-Film and Deutsche Bioscop's separately- and jointly-produced films from their back catalogue since 1920 were re-released through Decla-Bioscop Verleih. Thus some films were originally distributed by the separate companies before their merger, and also after their incorporation into Ufa: and after 1924 as Decla-Bioscop Verleih, whichever company had originally made them.

i fink.

People

Guido Seeber with a film developing drum

Guido Seeber was head of the technical department at Deutsche Bioscop from 1909, he oversaw the building of the Babelsberg studios in 1911–1912 and was principal cameraman for some 16 of Bioscop’s 30 Asta Nielsen series (1911–1913). Cameraman for The Student of Prague (1913 film) - NB fix WL links to Decla-Film...! and The Golem (1915 film) where he distinguished himself as an early pioneer of trick cinematography.

de:Heinrich Lautensack was employed by Deutsche Bioscop until May 1912, when he became script editor and public relations manager at the newly founded Continental-Kunstfilm.

Stellan Rye. Student von Prag "He directed for Eiko Film first and then he moved to Deutsche Bioscop where he exclusively worked for the Künstler-Filmserie, film series for the renowned stage actors, which closely linked to so-called Autorenfilm move­ment." Lucie Höflich in Rye's Gendarm Möbius while still appearing on stage (Lichtbild-Bühne, No. 28, July 1913, p. 42)

Paul Wegener, Evinrude, der Verfuhrte; Alexander Moissi Bajazzo's Liebe und Ende

Conrad Veidt's first and third films The Path of Death and When the Dead Speak, both with Maria Carmi and Carl de Vogt were shot at at Babelsberg in 1916/17 (both lost). Veidt, who died aged around 50 from a heart attack, made many of his films with Richard Oswald.

NB Someone (wonder who?) has failed to identify the actual studio used for Veidt's Evening – Night – Morning, but since it was distributed by Decla-Bioscop it was probably the Lixie-Atelier of C-K. Yep, Conrad Veidt on Screen: A Comprehensive Illustrated Filmography by John T. Soister p. 113 identifies it correctly, but says it was made by variously Helios-Film, Schneider-Film (never heard of them) or Decla-Bioscop, but distributed by Decla-Film. Yech. Abend - Nacht - Morgen at Filmportal.de confirms it: "Der neue Detektivfilm in den Decla-Lichtspielen (die nach ihrer Renovierung einen angenehmen Aufenthalt bieten) scheint ein Versuch des Herrn Schneider aus München zu sein."

Ateliers, Filmfirmen, Kinobedarf und bemerkenswerte Aufführungen in Steglitz: Anzeige der Walter Schneider Film about half-way down, but seems to have begun in c1929.[1]

Name changes with addresses

In general, the name of each newly-registered company is spelled slightly differently, with either a 'c' or a 'k', and with or without a final 'e'.

The spelling of 'Bioscope' or 'Bioskope' with a final 'e' (the US and British spelling) may be due to the fact that Greenbaum lived and worked in Chicago for over five years before returning to Germany and becoming involved in the film business. German spelling conventions tend to indicate that the word is spelled without an 'e', 'Bioscop' or 'Bioskop'.

• Deutsche Bioskope Gesellschaft - 1899
• Deutsche Bioscope GmbH - June 1902
  • 131d Friedrichstraße (June 1902)
  • 123 Chausseestraße (1906)
• Deutsche Bioscope GmbH re-registered by Greenbaum as Bioscope-Theater GmbH - 24 February 1908
• Deutsche Bioskop GmbH - 27 February 1908
  • Offices at 236 Friedrichstraße Good pic showing roof studio, tho' the pic caption is wrong, claiming 123 Chausseestraße...
• Deutsche Bioscop GmbH - September 1909 (after Greenbaum left)
  • Babelsberg Studio (February 1912)
• Decla-Bioscop GmbH - 1920
• Merger with Ufa - 1921
• Last Decla-Bioscop film released - 1924 (when Ufa took complete control over production. The 1929 film is a compilation of earlier films - the "good old days of Kintopp")

Filmography

The Student of Prague, advertised on the front cover of Der Kinematograph, 27 August 1913

NB: All 7,200 Film-Kurier issues fom 1919 to 1944 are digitised and individual pages downloadable at UC Berkeley Library. NB the search is very specific, search for "Aug. 26, 1933", even "May. xx, 1934"...

The various stages of Deutsche Bioscope's existence from 1899 to 1924 can be summarised as:

• Greenbaum's original production company (1898–Winter 1907/8);
• Post-refinancing w/Schleusner, and Zeiske as MD from May 1909 (February 1908–September 1909);
• Post-Greenbaum who then started Vitascope to continue making sound films (from September 1909);
• Asta Nielsen films with PAGU/Union-Film (from May 1911 and the move to Babelsberg in February 1912);
• Wartime films;
• Reaction to the founding of Ufa: Bioscop-Konzern and Rheinische Lichtbild AG (1917)
• Post-war: Deutsche Bioscop AG, plus Richard Oswald (late 1919/1920)
• Decla-Bioscop merger (April 1920-1921)
• Under Ufa as separate (de-mergered?) production companies, with Decla-Verleih and Bioscop-Verleih distribution companies (1921-1924)
• Decla-Bioscop productions for Ufa (from 1924)
• Decla-Bioscop Verleih as a back catalogue rental/distribution company within Ufa (1924-1928)

NB When was the last film released with just Deutsche Bioscop as production company?

• Aus der guten alten Zeit des Kintopps (Censor 23.08.1928) Kurz-Dokumentarfilm. Was it released in cinemas? Try Der Kinematograph...

Otherwise, almost any combination of Greenbaum, Pommer or other producers, Deutsche Bioscope, Decla-Film, Decla-Bioscop, or any of their studios/ateliers can be encountered in various mis-informed WP articles and external websites about these companies and their films.

Lists of film sources

• "List of films by Deutsche Bioscop". The German Early Cinema Database. Retrieved 28 November 2022. (780 films listed from 'Frühjahrsparade (1899) to Der Reigen (1920).)

• "Deutsche Bioscope GmbH (Berlin)". Filmportal.de. Retrieved 28 November 2022. lists all films from 1899 to 1921 although they were made by three or four separate companies.

• "Decla-Bioscop-Verleih GmbH (Berlin)". Filmportal.de. Retrieved 14 April 2024. runs from 1920 with Caligari to 1926, mostly concerned with distribution of re-releases and foreign films, having been formed in 1924 when Ufa took over production completely.
  • "Search for 'Decla Bioscop Verleih'". Lantern. Retrieved 14 April 2024. - 35 hits from August 1922 but several duplicates (Kinematograph) onwards with links to online sources
  • G**gle search for "Decla-Bioscop-Verleih" "Der Kinematograph" throws up this:
  • When did Decla-Bioscop-Verleih actually come into existence? Der Kinematograph, August 1922, No. 810, p. 23 (pdf 200) Luise Millerin (1922), dir. Carl Froelich: "Fabrikant: Froelich Groß-Film der Decla-Bioscop. — Verleih: Decla-Bioscop. - (Ufa-Palast am Zoo.) ["Verleih: Decla-Bioscop" almost certainly does NOT mean "Decla-Bioscop-Verleih".] As usual the infobox in the WP article is incorrect.
    • Here, a Decla-Bioscop production is being distributed by Decla-Bioscop itself.
  • Der Kinematograph, September 1923, No. 862, p. 14 (pdf 20} : "Fix und Fax [NOT de:Fix und Fax!] sind die beiden Hauptdarsteller der Ballroom Boy Comedies der Interocean Film Corporation, New York, deren Vertrieb der Decla-Bioscop-Verleih der Ufa für Deutschland übernommen hat. Die Lustspiele sind zweiaktige akrobatische Sensations-Grotesken."
    • Motion Picture Projection: an Elementary Textbook pp 176-7 - Ads for Inter-Ocean Film Corp - is it the same firm? Yes, 218 W. 42nd St. Also New York Clipper, May 30 1917, p. 35 - Latest Feature Films, current or pending for State Righters: "Interocean Film Corp. 220 West Forty-second Street, New York City -The Manxman (1916 film)". The firm seems to have been a distribution and film supply company and not a production company.
  • Das Verleih-Programme 1924/25 der Universum-Film-Verleih (1924). Prospectus of Ufa films for 1924/25. Front cover says: "Universum-Film AG / Universum-Film Verleih Gmbh / Hansa-Film Verleih GmbH / Frankfurter-Film Co. / Decla-Bioscop Verleih GmbH". -
    • It starts with general overview of Ufa and pics of the stars.
    • "Ufa-Leih" [pdf 40], ie the top films made under Ufa: eg Union-Film's Der Letzte Mann and Zur Chronik von Grieshuus, other top German films, plus Warner Bros. and Goldwyn films; index again [pdf 119];
    • "Hansa-Film-Verleih" [pdf 121] including Leni's Das Wachsfigurenkabinett, other lesser Warner Bros. and Goldwyn films; & index for "Frankfurter-Film Verleih", [pdf 169-70];
    • Programm 1924/25 der "Decla-Bioscop-Verleih" - Decla-Leih [pdf 171], including Decla-Filme der Ufa - Advance publicity for Metropolis (1927 film) (finally...) Metropolis poster by Otto Hunte p. 175 and Michael (1924 film), Union-Film Komödie des Herzens, plus Aubert, Paramount and Goldwyn.
      • So, there were four distribution companies, each handling films of different importance/quality/value. But the intro mentions only Ufa-Leih, Hansa-Leih and Decla-Leih. Although Decla-Leih is shown as a sort of subsidiary of Decla-Bioscop Verleih, only Decla films are featured (and others from other film production companiees, Union, Korda etc.): but these are all new films. The only Decla-Bioscop films are popular science films, a department of Decla-Bioscop (p. 231). This list also shows that Deutsche Bioscop had effectively ceased to exist by 1924, while Decla (Pommer's original firm from 1915) continued to make films like Metropolis which almost bankrupted Ufa, leading to the Parufamet loan - and shows that Paramount and Goldwyn already had distribution deals with Ufa anyway.
  • Ad for Buster Keaton in Der Mann mit den 1000 Bräuten, distrib. by "Decla-Bioscop-Verleih, Verleihbetrieb ['rental business/operation'] der Universal-Film AG." (Der Kinematograph, July 1926)
  • Kinematograph (UK) year book 1927 p. 42 (pdf 48) - Lists all German film comanies and rental firms: Decla-Bioscop-Verleih AG (not Gmbh) is still at Friedrichstr. 22, but lol Continental-Kunstfilm G.m.b.H., Hedemannstr. 9, Berlin. Not to be confused with "Continent-Film A. G. "Contag", Friedrichstr 217, Berlin." (same page)
  • Kinematograph (UK) year book 1928, p. 42 (pdf 51) "Decla. Bioscop-Verleih A.G., Kochstr. 6/8, Berlin." Which now has the same address as Ufa, like many/most of those absorbed by the film giant.
  • Kinematograph year book (1929) p. 44 (pdf 50) which states the firm still existed as Decla-Bioscop-Verleih AG in Kochstraße 6/8.
    • NB "Decla-Bioscop-Verleih AG" gets no hits on G**gle except the above two publications. Sort of shows they existed on paper, but don't appear to have actually done anything.

Deutsche Bioscope filmography 1897–1909

All sorts - lots & lots of the Kaiser and other royal personages

• 1899 Frühjahrsparade, Premiere 30 May 1899

• 1902 Empfang der Burengeneräle in England (1902), also known as Der Empfang der Burengenerale am englischen Hofe, 100 feet.

Also, "Das Präsidium [des Deutschen Flottenvereins] nahm dennoch von der bisher praktizierten Vorfinanzierung der Film-propaganda Abstand, und beauftragte für die Saison 1906/07 die Deutsche Bioscope-Gesellschaft mit der Durchführung von kinematographischen Projektionen."

Translated from Jung & Loiperdinger:

SMS Stosch in 1894

"According to the contract, from September 1, 1906, the German Bioscope Society worked on its own account in the implementation of cinematographic projections for the fleet association. The film programs had to »Contain mainly maritime photos« and required the approval of the Presidency of the Fleet Association. Comic "interludes" to loosen up the program could be arranged separately "at the request of the local groups".

"For the autumn of 1906, the German Bioscope Society offered the local groups (Ortsgruppe) of the fleet association a two-part programme: the first part was primarily aimed at potential future mariners and their parents. The recordings described in detail the operation on a merchant marine training ship and a navy training ship (A visit on board the training ship Grossherzogin Elisabeth with 21 recordings and on board the Royal Sea Cadet training ship SMS Stosch with nine pictures). The second part showed miscellaneous things: Firing of torpedoes, the battle fleet in Kiellinie, exercises at the Warnemünde rescue station, a launch, footage of the Kaiser's most recent trip to the north and "Sleipner" in the storm, a torpedo boat shot attributed to Oskar Messter."

"With this program, Deutsche Bioscope arranged film screenings for 305 local groups from October to December 1906, which attracted a total of around 420,000 viewers. Despite this encouragement, Deutsche Bioscope was not satisfied with the business result of this commitment: in 1907 their screening service was changed to a fixed daily fee of 125M for adults: 653 local groups ordered this service and reached 931,020 viewers."

Audience figures were no longer published for the 1907/08 winter season. Deutsche Bioscope again offered a three-part program with new recordings. The first part primarily showed footage of maneuvers and of Prince Heinrich which had been filmed on the flagship »SMS Deutschland« in August 1907; followed by a »colonial program« with recordings from Southwest Africa, Cameroon and Togo; finally "Current recordings" of the meeting between the Kaiser and the Tsar in Swinemünde, of the autumn parade on Tempelhofer Feld on September 2, 1907 and of the departure of the express steamer Kronprinzessin Cecilie to New York."

"In the wake of the establishment of permanent cinematograph theaters in medium-sized and smaller towns, the organization of film screenings by local groups of the German Fleet Association became increasingly obsolete from 1907."

And the DKG (German Colonial Company)

"Buoyed by the renewed success of colonial film showings in the departments, the DKG acquired Müller's films in December 1906 and the following summer signed Deutsche Bioscope GmbH as the official projectionist for colonial film programs in the departments. 243 The colonial film program was supplemented by additional film material from the Bioscope. On the occasion of the German Army, Navy and Colonial Exhibition in Berlin in 1907, the company sent its operator Georg Furkel to the West African colonies.

After Bioscope's first successful 'film tour' in the fall/winter of 1907/08, colonial film propaganda was already discontinued at the end of 1908. The DKG did not say anything about the reasons for the sudden end of film propaganda. Based on the minutes of the various committees, however, it can be concluded that the DKG u. a. faced increasing competition from traveling cinemas and fixed movie theaters and the continuous supply of new films from the colonies remained unresolved."

Also, Leben und Treiben in Tanga (Deutsch-Ost-Afrika), non-extant, Der Kinematograph, Nr. 150, 10.11.1909.

NB! Move to sources Jung, Uli; Loiperdinger, Martin, eds. (2005). Geschichte des dokumentarischen Films in Deutschland. Band 1: Kaiserreich (1895-1918) (PDF) (in German). Stuttgart: Philipp Reclam. doi:10.25969/mediarep/14035.

• 1904 Russo-Japanese War inc. Die Schlacht am Jalu, Torpedoangriff auf Port Arthur, Das 2. kaiserlich-japanische Regiment auf dem Wege nach Liaoyang (all 1904), Seegefechte vor Port Arthur (naval action), 1905
• Funerals of: Friedrich Alfred Krupp (oops), in the presence of the Kaiser (1902), František Rieger (March 1903), Theodor Mommsen (d. Nov. 1903), Adolph Menzel 13.2.1905, Moritz Jockai (Mór Jókai) 9.5.1905, Frederick I, Grand Duke of Baden (September 1907), Prince Arnulf of Bavaria (November 1907).
• Unveiling of the de:Kaiser-Friedrich-Denkmal (Bremen) (1905)
• SMS 'Sleipner' im Sturm (1906) - wow, extant on Youtube. See de:SMS Sleipner See also Kaiserliche Kriegsmarine (1939) on filmportal.
• Der Ausbruch des Vesuves (1906) - Eruption of Vesuvius
• Von Venedig nach Corfu auf der Kaiserjacht Hohenzollern (1908)
• Die Besuchsfahrt des Zeppelin III in das rheinisch-westfälische Industrie-Gebiet (1909)
• Zeppelin III in Berlin am 29.8.1909
• Die Flugmaschine der Brüder Orville und Wilbur Wright. Ihre Demonstration auf dem Tempelhofer Feld in Berlin 1909 NB Filmed on the same day as the above. The Kaiser and Count Zeppelin were there along with Orville Wright.

Deutsche Bioscope Tonfilms filmography 1907-1910

Stunning sound films - Made 115 years ago, many are still extant on Youtube - search results and Playlist

Some of the singers appear to have been from the de:Metropol-Theater (Berlin-Mitte) (Not to be confused with the Metropol Theatre on Nollendorfplatz).

Some Dt.Bio films were shown at at the 2014 Pordenone film festival. review - Pordenone Festival Catalogue 2014 p. 159 - Pordenone Festival Catalogue 2015 - See also Mebold

So: are the actors in the films the same people as the singers who made the records? They are obviously singing, and certainly know the words and music. I mean, how many people would actually know the sextet from Lucia di Lammermoor? (Well actually, Caruso sang it in Berlin in October 1907, along with Rigoletto and Aida, possibly the reason for the film...) And in fact it was made by actual members of the Berlin Royal Opera company. Obviously they are miming to a record, and sometimes (eg in the Pagliacci duet) the actors are certainly not singing the same words as on the recording. The some of the rather basic sets look very much like this one: de:Datei:Bundesarchiv Bild 183-H26728, Berlin, Fritzi Massary im Metropoltheater.jpg

Well, if 'Roland und Viktoria' was sung by Leonhard Haskel and Anna Müller-Lincke, who both appeared at the Metropol, then it seems possible that some or all the other films were made by the actual singers at the Metropol and elsewhere. Other singers at the Metropol theatre company include Fritzi Massary, Joseph Giampietro , Josef Josephi, Lizzi Waldmüller, Richard Tauber et al.

Hmm, perhaps sometimes the singers did the miming/acting, but more often they were different. Lots of research needed... lol The film with Tetrazzini on disc and an established German singer ?Isabelle L’Huillier? was perhaps typical...?

• Doktor Sami Flaus (Tonbild, 1907) - But who was he?

• Wilhelm Tell: Die Sonne strahlt. Nr. 78 (Tonbild 1907) - Finale Sextet of Rossini's William Tell - with screenshot on filmportal.de - At least 8 singers in full costume and painted set. See also contemporary HMV recording with Leo Slezak on Archive.org
• Lumpenguste und Schmierenkarl (Tonbild 1907) with Leonhard Haskel
• Abends nach Neune. (Tonbild 1907) with Leonhard Haskel and Anna Müller-Lincke
• Roland und Viktoria: duet from the the 1903 revue "Neuestes! Allerneuestes!". Nr. 10 (1907) (music by de:Victor Hollaeänder – lyrics Julius Freund) wow again - extant on Youtube - hilarious. with Leonhard Haskel and Anna Müller-Lincke. According to de:Leonhard Haskel he was at the Metropol-Theater, and de:Anna Müller-Lincke appeared there for seven years.
  • Müller-Lincke later appeared in Dt.B's Wo ist Coletti? and Das verschleierte Bild von Groß-Kleindorf, see List of films made by Continental-Kunstfilm.
• Das Kasinolied (1907) youtube From the operetta Der Teufel lacht dazu (again, music by Victor Hollaender and lyrics by Julius Freund) – Premiere: Metropol-Theater Berlin 1906
• Sextet ("Chi mi frena in tal momento") from Act II of Donizzetti's opera Lucia di Lammermoor youtube Sung by members of the Royal Opera Company, Berlin. "Original artists, original stage settings, original tonal effects, original everything!" as one impressed journalist put it.
• Der Bajazzo: Duett der Nedda (1908) Pagliacci: Act I, Nedda & Silvio Duet on youtube
• Hab Dank, mein teures Vaterland (1908), sung by Otto Reutter Lyrics: Reutter made a number of sound films for Bioskop.
• Der Fidele Bauer: Duettino zwischen Liesi und Heinerle (1908) (Operetta, lyrics Viktor Léon, music Leo Fall) with de:Grete Dierkes and Curt Bois aged about 7. Der Fidele Bauer (The Merry Farmer) opened at the Theater des Westens in October 1908. Alfred Duskes also made some Tonbilder of Der Fidele Bauer around the same time.
• Der Fidele Bauer: – Trio: Bauernmarsch (1908) with Valli Paak, Gustav Matzner, Anton Matscheg. Matscheg made a recording for Zonophone (Berlin, 1908-09; Ensembleszenen aus "Der fidele Bauer" von L. Fall) Lots of postcards of the singers
• Der Fidele Bauer: Trio: "Wir waren unser drei" - Infanterist und Artillerist und Kavallerist (1908)

In September 1908 Deutsche Bioscope-Gesellschaft mbH was advertising both actualités and Tonfilms in two full-page advertisements in the trade press:

• Tonfilm No. 1184 - "Die Musik kommt" (Gesung u. posiert v. 8 feschen Damen)
• 1182 - "Damenfeuerwehr" (Germania-Ensemble).
• 1188 - "Matrosenlied" - Chansonette } Aeusserst drollige Tricks von
• 1189 - "Gigerl u. Konzertsängerln" } Revé's Marionettentheater
• 1192/1196 - Fünf neue Couplets von Otto Reutter
• 1197 - Schwesterszene aus der Oper Margarethe (ie Faust)
• 1198 - Faustwalzer (ditto)
• 1204 - Banjo Solo (Hochoriginelle Aufnahme)
• 1209 - Neues Lachcouplet von Miss Morcashani - Sturmicher Jubel des Publikums. - featuring Josephine Morcashani. Also sang in The Girl from Tennessee. Lol, she was apparently Josephine Laura Fanny Highsmith, a female baritone, b. 1870 in Caledonia Street, Islington. She literally sang around the world, having first sung in Berlin in 1898.
• 1212 - "Polonaise aus Mignon", sung (gesungen) by La Tetrazzini and acted/mimed (dargestellt) to the existing commercial recording by Mlle [Isabelle] L’Huillier (who went on to sing at the New York 'Old' Met in the late 1908/09 season) with the Berlin Royal Opera Chorus. Directed by de:Maximilian Moris, Oberregisseur at the Alte Komische Oper Berlin since 1905.
  • Sometimes these tonfilms featured the same singers who had made the commercial recording (Platte), and others (such as this one) were mimed by a different cast. The accompanying disc could cost cinema exhibitors as much as the film. For example, the film of Stille Nacht, heilige Nacht, 60 meters, 180 feet, cost (Virage) 5 marks, with the same amount charged for the recorded Instrumental-Platte disc.

Ein Walzertraum

The highly popular operetta Ein Walzertraum by Oscar Straus premiered on March 2, 1907 at the Carl Theater in Vienna.

• Ein Walzertraum: Walzertraum. Nr. 92 ["Da draussen im duftigen Garten"] (Oscar Straus) (1908). Extant, on Youtube:
• Ein Walzertraum: O, du lieber, o, du g'scheiter, o, du ganz gehauter Fratz. Nr. 95 (1908)(extant)
• Ein Walzertraum: Piccolo (1908) (extant)
• Ein Walzertraum: Auftritt der Franzi (1909) (non-extant)
• Ein Walzertraum: Duett Kammerfrau und Walzerfee (1909) (non-extant)
• A. N. Other film
• See also online recording of Fritz Werner singing Alles was keck und fesch aus "Ein Walzertraum" Odeon 52039. Rec. 1907.03.02.

"Notes: Tonbild (sound picture) of the duet "Da draussen im duftigen Garten" ... There are probably over 20 Tonbilder for this extremely popular operetta, measured against the publications of the three major tonbild producers: Duskes brought out seven Tonbilder with ensemble members of the Berlin Theater des Westens (Der Kinematograph No. 61, 1908), the Deutsche Bioscope GmbH published six Tonbilder with ensemble members of the Vienna Carltheater (Der Komet No. 1189, 4.1.1908, p. 42) and a series of five Tonbilder was released by Messter (Michael Wedel, in Film History, Vol. 11 No . 4, 1999, p. 465). The German Film Institute identified three of the waltz dream Tonbilder as productions by Deutsche Bioscope, since Fritz Werner appears in them and wears the stage costume with which he can also be seen on various contemporary postcards. The film images also fit perfectly with Odeon's Carl Theater shellac records, precisely documented in a series of German Bioscope advertisements in Der Komet, No. 1189, 4.1.1908."

"Rising to the challenge, Davidson [of PAGU] countered with another qualitative innovation when he presented a real sound film premiere to the public: 'From 1 January the Union Theatre at 74 Kaiserstrasse [Frankfurt] will bring out an entirely new hit and 8 themes from Der Walzertraum, the latest operetta by Oscar Strauss, with the original cast from the Vienna Carltheater."

Other related recordings:

• Walzerträume (I. Teil) (1907) orchestral selection - available online.

Other tonfilms

• Cavalleria Rusticana: Abschied der Mutter (1908)
• Tannhäuser: Pilgerchor (1908)
• Die lustigen Weiber: Buffo Duett
• Lucia von Lammermoor: Wahnsinnsarie
• Die Jüdin (La Juive by Halévy): Kardinalsarie
• Die Hugenotten: Nimm Lieb von mir um Liebe
• Lohengrin: Brautgemach-Szene
• Faust: Soldatenchor. Nr. 79 (1908/9)
• Rigoletto: O wie so trügerisch (1909)
• Die Fledermaus: Mein Herr Marquis
• Stradella: Trinklied (1909)
• Der Troubadour: Kerkerszene (Il Trovatore)
• Die Fledermaus: Nein, mit solchen Advokaten
• Der Mikado: Koko und Katisha
• Die Perlenfischer: Duett Nadir - Zurga
• Troubadour: Miserere. Nr. 80
• Die lustige Witwe: Ballsirenenwalzer
• Rigoletto Quartet - extant on Youtube - where?
• Die Fledermaus: Uhrenduett
• Bajazzo: Prolog (Pagliacci) March 1909
• Zauberflöte: Papageno-Duett (5 March 1909)

Huge list of tonfilms, nos. 1233 - 1271 Der Kinematograph, 3 March 1909, rear outside cover.

• Der Troubadour: Sein rettender Engel. Stretta-Arie (premiere 24 Dec 1910)Filmportal.de

Apart from a few Christmas/New Year 1910 sound films, apparently made by the new Dt.Bio without Greenbaum, or maybe they showed Greenbaum's films...? nah, maybe just saying "we can do this too." And that's the end of Tonfilms from Deutsche Bioscope.

1910

Haha Sumurun, the Max Reinhardt one lol, but NOT Sumurun, the 1920 Lubitsch one.

Asta Nielsen/Urban Gad filmography 1911–1914

Gad and Nielsen began by making the short Heißes Blut (Gipsy Blood and Nachtfalter (The Moth) (both non-extant) with Deutsche Bioscop around May 1911. There was heavy publicity in the trade press from March 1911. The latter was released by Aktien-Gesellschaft fur Kinemafotographie und Filmverleih, Strasbourg. These were apparently made before the big contract for the three major series signed in June 1911 - the others were made in the summer of 1911.

Extant Asta Nielsen/Urban Gad films produced by Deutsche Bioscop:(Source:)
(P) indicates films produced by PAGU alone.

1911

• In dem grossen Augenblick
• Der fremde Vogel
• Die Verräterin

1912

• Die arme Jenny
• Der Totentanz (first film to be shot at Babelsberg, from February 1912)
• Wenn die Maske fällt
• Das Mädchen ohne Vaterland

1913

• Komödianten
• de:Die Sünden der Väter
• Die Suffragette (P)
• S-1 (P)
• Die Filmprimadonna (P)

1914

• Engelein
• Zapatas Bande

1916

• Die ewige Nacht
• Vordertreppe und Hintertreppe

Non-extant Asta Nielsen/Urban Gad films: (Source:)
(Either Deutsche Bioscope or PAGU or others - check!)

Heisses Blut, 1911; Nachtfalter, 1911; Zigeunerblut, 1911; Die Macht des Goldes, 1912; Zu Tode gehetzt, 1912; Die Kinder des Generals, 1912; Jugend und Tollheit, 1913; Der Tod in Sevilla, 1913; Das Kind ruft, 1914; Das Feuer, 1914; Die Tochter der Landstrasse, 1915; Die falsche Asta Nielsen, 1915; Engeleins Hochzeit, 1916; Aschenbrödel, 1916; Die weissen Rosen, 1916;

At any rate, they were incredibly successful, and by November 1911 Guido Seeber had found new premises at Babelsberg. They moved in on February 12, 1912, the very same date when Continental-Kunstfilm moved into 123 Chausseestr.

Other Deutsche Bioscop filmography September 1909–1920

Poster for the 1917 film Die Marokko=Deutschen in der Gewalt der Franzosen, Vienna

• Wo ist Coletti? (1913) - but the intertitles say Vitascope...??
• The Student of Prague (1913 film) - NB Wrong production company!
• The Golem (1915 film)
• Homunculus (film) (1916, re-released in 1920 in a shorter version after merger with Decla)

When Hindenburg became German C-in-C in summer 1916 the previous negative attitude towards films was replaced with a flurry of propaganda and promotional films. The German Naval League started producing films again (previously the sole province of Greenbaum) such as de:Stolz weht die Flagge schwarz-weiß-rot. - Also lyrics to a flag-song. Premiere 23. August 1916 in Berlins Mozartsaal. Deutsche Bioscop showed anti-French and anti-Russian films such as

• Die Marokko-Deutschen in der Gewalt der Franzosen (1917) [The Moroccan Germans in the Power of the French]
• Der Knute Entflohen (1917) [Escaped From The Whip].

Minimal Decla-Bioscop filmography 1920-1921

The merger with Decla Film happened in around March/April 1920.

• Glanz und Elend der Kurtisanen 27.03.1920
• Das Blut der Ahnen premiere July 1920, München. Ad: Der erste Monumental-Film des Bioscop-Verleih-Programms: Das Blut der Ahnen. Der Kinematograph (June 1920) front cover
• Die Tophar-Mumie 14.10.1920

Deutsche Bioscop filmography from 1921

Incomplete list of films made after the merger with Ufa. Few of them are particularly well-known.

As shown elswhere #Merger with Ufa? and just below, I'm fairly sure that after the merger Ufa treated Decla-Film and Deutsche Bioscope as two separate film production companies, and formed two separate firms, Decla-Verleih and Bioscop-Verleih, to handle their distribution.

• Die Geschichte einer Mutter censor 04.04.1921
• Balboa, der Desperado von Panama censor 07.04.1921
• Ritter Hans Heinz Brausewind censor 14.04.1921
• Blondin, Fahrendes Volk und Artisten censor 28.05.1921
• Madam Flederwisch censor 03.06.1921
• Es war einmal censor 22.06.1921
• :de:Ahasver (1917) (the biblical Ahasuerus) (dir. Robert Reinert). WP:de says it was made at Neubabelsberg in May-June 1917 in 3 parts, released in September–October 1917. Cut down and re-edited in 1920, passed censor 10 September 1921.
• Feiertagsglück censor 21.11.1921
• Erkämpfte Liebe. In Treue fest Prüfung: 09.12.1921

Decla-Bioscop productions like Fritz Lang's Die Nibelungen (1924) and Murnau's Der letzte Mann (1924) were released. But be VERY CAREFUL about which company made the films, and who handled the distribution!

• eg The Nibelungs part 1 (F:\Plain_2GB\ROOT\LostDirs\1046\Zeus\_Films\_Silents\_Fritz Lang\LOS NIBELUNGOS) says "Decla-Bioscop Film of Ufa" in the opening credits (English intertitles). Confirmed by German WP, and Filmportal [Erstverleih: Universum-Film Verleih GmbH (Ufa) (Berlin), Produktionsfirma: Decla-Bioscop AG (Berlin)]. (this entry duplicated below...)

Decla-Bioscop-Verleih

Okkk: I think this may turn out to be the case:

1. After the 1921 merger, Decla-Film and DBG were possibly de-merged as two separate production firms, and Decla-Verleih and Bioscop-Verleih were formed to handle the distribution of their current films.
2. From around 1924, the new big Decla-Bioscop productions were made for (im Auftrag, on behalf of) Ufa, and distributed by Ufa-Verleih (eg Die Nibelungen)
3. By 1924 only Decla was making films under its own name.
4. Decla-Bioscop-Verleih distributed the better old Decla-Film and Deutsche Bioscope films from their back catalogues, in new copies/prints, and also American films eg Warner?, Goldwyn etc.
5. There were at least 2 other distribution firms within Ufa, eg Hansa-Film-Verleih, which handled 'lesser' films made within the Ufa umbrella, eg Messter-Film back catalogue.
6. A large percentage of WP:en (and some WP:de) articles are completely wrong about the production and distribution firms, but there you go.

From November 1921 until June 1924 it seems that Ufa provided the finance, but the films were still made and distributed by the individual film companies. Find some more film posters: aha! see Der Mude Tod by Bioscope and Der Roman der Christine von Herre by Decla, Der Kinematograph, 7 & 14 August 1921, just before the Ufa merger. See Filmportal.de list below.

See film sources at top of Filmography section.

Ufa centralised all its production in June 1924. The constituent film companies, which had been separate departments (at least Decla and Deutsche Bioscop), lost their ability to decide what films they wanted to make. It seems fairly clear (hah!) that Decla-Bioscop-Verleih, also formed in 1924 (or as early as 1922?), was the rental/distribution company for Decla and Bioscop's separate back catalogues and also acted as Ufa's rental/distribution arm for new major foreign films (Großfilmen) such as Buster Keaton's Seven Chances. Also possible that the bigger Decla-Bioscope films were produced and distributed by Ufa-Verleih until 1924... check!

• eg The Nibelungs part 1 (1924) (F:\Plain_2GB\ROOT\LostDirs\1046\Zeus\_Films\_Silents\_Fritz Lang\LOS NIBELUNGOS) says "Decla-Bioscop Film of Ufa" in the opening credits (English intertitles). Confirmed by German WP, and Filmportal [Erstverleih: Universum-Film Verleih GmbH (Ufa) (Berlin), Produktionsfirma: Decla-Bioscop AG (Berlin)].

• NB! There's an awful lot of checking to be done on possibly every WP article concerning Decla, DtB, Decla-Bioscop and Ufa film up to 1924. Yech. At least I'll have the right dates...

The following list from Filmportal.de Decla-Bioscop-Verleih GmbH (Berlin) runs from 1920 to 1926, and includes earlier films made separately by Decla (?and Deutsche Bioscop?), starting with Caligari and Parts 1 & 2 of Die Spinnen (1919/1920) all made and released by Decla alone by the end of February 1920 before the Decla-Bioscop merger in April that year.

This is confirmed by a full-page ad from Ufa in Der Kinematograph (June 1925), (pdf 145) "Verbilligen Sie Ihre Sommerprogramme indem Sie die erprobten Filme des Erfolges spielen! Diese Filme sind in neuen Kopien erschienen". ("Reduce the cost of your Summer programme by showing well-tried successful films! These films are released in new copies"). It includes Decla-Bioscop Verleih's Caligari, Der müde Tod, Die Spinnen, Die Nibelungen, and Dr. Mabuse, der Spieler. Universum-Film Verleih had Sumurun and Finanzen des Grossherzogs, and Hansa-Film Verleih had Kohlhiesels Töchter (1920 film), actually made by Messter-Film, one of the original three Ufa firms from 1917.

Deutsche Digitale Bibliothek says Decla-Bioscop-Verleih GmbH was active from 1924-1928, although its existence appears to have carried on into 1929, see See Kinematograph (UK) Year Book (1929). (Consolidate refs!!!)

Filmportal.de list: (incomplete) So, the following may have been originally made and released by either Decla or Deutsche Bioscop, but were 're-released' and distributed by Decla-Bioscop Verleih.

• 1919/1920 Das Cabinet des Dr. Caligari (Made by Decla just before the merger with Bioscop)
• 1920 Die Nacht der Königin Isabeau
• 1920 Die Jagd nach dem Tode
• 1920 Die verbotene Stadt
• 1920 Genuine
• 1920 Abend - Nacht - Morgen
• 1920/1921 Die Goldmine von Sar-Khin
• 1920/1921 Der Mann im Dunkel
• 1920/1921 Irrende Seelen
• 1921 Der Roman der Christine von Herre (fp 30 September 1921) - first Decla film shown in Ufa theaters, at the UT-Kurfurstendam, then Lang's Der Mude Tod. Advertised at the time as "Der Decla-Spezial-Groß-Film".
  • Not listed at Filmportal: Der Mude Tod is advertised as "Der Bioscop-Spezial-Groß-Film 1921/1922".
  • Lady Hamilton (1921 film) ("Der große Richard Oswald-Millionen-Film") - Dir Richard Oswald w/ Werner Kraus, Conrad Veidt et al. Appears as "Bioscop-Spezial-Film". But WP infobox says Distributed by National-Film. This is probably an advance advertisement, since it was only released on 10 October 1921.
• 1921/1922 Dr. Mabuse, der Spieler I: Der große Spieler. Ein Bild der Zeit **
• 1922/1923 Der steinerne Reiter
• 1922/1923 Ein Glas Wasser
• 1923 Der Sprung ins Leben
• 1923 Der verlorene Schuh
• 1923 Die Austreibung. Die Macht der zweiten Frau
• 1923/1924 Michael
• 1924 Komödie des Herzens - Made by Ufa, distributed by D-B-Verleih WP:en infobox says made by PAGU, almost certainly wrong...
• 1924 Die Andere
• 1924/1925 Der Turm des Schweigens
• 1924/1925 Kampf um die Scholle
• 1924/1925 Pietro, der Korsar
• 1925 Ein Walzertraum
• 1925/1926 Der Geiger von Florenz
• 1925/1926 Die Brüder Schellenberg

de:Decla-Bioskop#Decla- bzw. Decla-Bioscop-Filme (Auswahl) has a rather different list from Das Cabinet des Dr. Caligari onwards, including Die Finanzen des Großherzogs which Filmportal says was produced by Ufa and distributed by Decla-Bioscop-Verleih[?]. Click on "Alle Credits". Blimey, people just come up with a load of bollocks, don't they? Die Finanzen des Großherzogs, Murnau's only comedy, appears in the June 1925 ad in Kinematograph, having been made by Ufa in mid-1923 and premiered in January 1924 and in this list it is distributed by Ufa's own Universum-Film Verleih, not Decla-Bioscop-Verleih, but you would need to do some checking to unearth its actual history...

If I go through the above German WP list and check the entries against Filmportal, I will probably find many with Decla-Bioscop-Verleih. Decla-Bioscop-Verleih is the later distribution company under Ufa, they7 may have been previously distributed by other firms - depends which company actually made them in the first place...

• Make a list! with 2 or even 3 columns (UltraEdit-32) from Filmportal.de, Early German film database and WP:de, to compare and contrast the lists, and also identify mis-catalogued separate Bioscope and Decla productions. You will need all the issues of Der Kinematograph to check for eg production firm ads as well...

Appendix A - Unrelated Greenbaum/Vitascope stuff

Almost all of the following quasi-nonsense is explained in #Greenbaum's other firms and addresses, some refs are duplicated, others need to be transferred.

Most of this can be transferred to Jules Greenbaum - but check and consolidate all dates etc...!

1907: Vitascope-Theater-Betriebs

Vitascope-Theater-Betriebs was incoporated in March 1907. It cost 20,000 marks to form a GmbH at the time, and cinema companies needed little more: thus Vitascope-Theater-Betriebs Ges. mbH was founded with 21.000 marks as capital. Operation of Vitascope-Theaters at home and abroad. Other directors: theater director Ludwig Rosenfeld, and director Otto Heinemann, Charlottenberg. See also Judische Pionere by Christoph Wirth.

Otto Heinemann

Hmm, an Otto Heinemann founded the Salon-Kinematograph Co. GmbH, Berlin, (with Heinrich Zunz and Max Straus) on 30 Nov 1902. He registered as member of the 'Verband der deutschen Sprechmaschinen-Industrie', 17 on May 1906: his address Brückenstrasse 13a Berlin SW 13 (PhZ 7/21/456). He was later a director of the Carl Lindström Company with one Max Straus, and then on the 'supervisory board' of Beka Records in Berlin when they merged (der Fusion Lindström-Beka) in August 1910.

Beka changed from an AG to a GmbH in September 1910."Kaufmann+Otto+Heinemann") Zeitschrift für Instrumentenbau. 30. 1909/10 Page: 1349

"Berlin. Beka-Record Aktiengesellschaft. Zum Vorstandsmitgliede ist ernannt der Kaufmann Herr Max Strauss und der Kaufmann Otto Heinemann. (PhZ 11. Jahrg. No. 39, p. 884)" But I think is the wrong issue or even year.

Story of Beka possibly being taken over by the Gramophone Company after Ernst Loewe, Director of BEKA, died on 14 March 1908. But not it didn't happen, and it was sold to Carl Lindström Company in 1911.BEKA Director Dies By Hugo Strötbaum.

"Berlin. Beka-Record Aktiengesellschaft. Der Kaufmann Herr Max Strauss und der Kaufmann Otto Heinemann sind nicht mehr Vorstandsmitglieder. (Phonographische Zeitschrift (1911) 11. Jahrg. No. 39, p. 884]) and "Kaufmann+Otto+Heinemann")&page=1446,1447 Zeitschrift für Instrumentenbau. 31. 1910/11

"Beka-Record Akt. Ges. Berlin. Die Herren Heinemann und Straus, Direktoren der Lindström-Gesellschaft, die bei Gelegenheit der Fusion Lindström-Beka in das Direktorium der Beka eingetreten waren, sind nunmehr aus der Direktion der Beka-Gesellschaft wieder ausgeschieden, um demnächst in den Aufsichtsrat gewählt werden zu konnen. (Phonographische Zeitschrift (1912) 12. Jahrg. No. 39, p. 896) - seems to be a German paper or register (Z in PhZ=Zeitung? Yes, the Phonographische Zeitschrift, online here. NB the Aufsichtsrat ('supervisory board') is a higher level of management in German firms than the directorial board.

"One of the UK directors (of Beka in the UK), Otto Heinemann, had left Britain in 1914 to start a new record company in America, which later issued the famous Okeh Records." Carl Lindström Company says Heinemann was an American citizen. It seems faily certain that this the same man. Lots of info on him here.

The Lindström company continued to make Beka records through its London agency in Hertfordshire from 1913, but in 1916 it was forcibly reorganised as a British company through the Trading with the Enemy Act, and it was taken over by Columbia Graphophone Company who put up the capital. Columbia had only just been registered as a British company, although the shares were held by the US parent company.

Bioskop-Theater

At the time of the merger with Schleussner in 1908, Greenbaum also registered his own new company, Bioskop-Theater GmbH, which became Vitascope-Theater on 17 August 1909, and then later Deutsche Vitascope. Aargh Frühe deutsche Kinematographie: Formale, wirtschaftliche und kulturelle... p. 288

Greenbaum finally relinquished all connection with Deutsche Bioskop on 8 September 1909, which was renamed Deutsche Bioscop GmbH.

WELL, WHICH? Cross-check vv CAREFULLY with Jules Greenbaum - when was Bioscope-Theater formed, and then Vitascope-Theater, and then Deutsche Vitascope? 8 September 1909, or later? See Hampicke 2015 and interview (below) with Greenbaum in September 1909.

+ Ur-text from kinematograph03-1909-09_p 80 §

Here you go:

On 17 August 1909 Greenbaum definitely changed Vitascope Theater Betriebsgesellschaft into Deutsche Vitascope GmbH, with offices at Friedrichstr. 20. He appears to have started advertising the new company from around 8 September 1909, with a full-page ad in Kinematograph, Deutsche Vitascope in large letters, also advertising the latest Vitaphone Model 1910 ("Newest, most perfect simultaneous sound apparatus for singing, speaking, musical photography"Outside rear cover [pdf p.42]

Greenbaum's old company Deutsche Bioskop GmbH, sold to Schelussner, was also renamed as Deutsche Bioscop GmbH in September 1909, according to a company listing in Der Kinematograph. It would keep this name until the 1920 merger with Decla Film to become Decla-Biocsop.

Well, it appears that Vitascope may have been a subsidiary of Bioscope, and not a completely independent company. This would tend to explain why Greenbaum's expenditure on Tonbilder made with Synchroscope equipment was questioned in December 1908 and led to his departure.

• It almost certainly wasn't a subsidiary, it was a separate company, also owned by Greenbaum but not included in the Deutsche Bioskop sale/deal: G. used the extra funds from Schleussner to subsidise Vitascope sound films which led to complaints from the directors and his eventual departure from Deutsche Bioscop. Find somewhere how Schleussner tried to sell his shares in DBG before or during the war, but couldn't until around 1920, at a considerable loss.

Kinematograph03-1909-09 ad:

Deutsche Bioscop Gesellschaft mbH - Address: Friedrichstrasse 236
 Vitascop-Projections-Apparat, Royal-Synchroscop, actuelle, stumme und künstleriche Tonfilms.

Full-page ad:

Deutsche Vitascope
Berlin SW. 48., Friedrichstrasse 22
Telephon: IV., No. 3261. Telegr.-Adr.: Phonofilm-Berlin. 
Geschaftsführer: Jules Greenbaum

Vitascope, Mod. 1910
die flimmerfreie, perfecte Kinematograph

      Vitaphone
Neuester, vollkommenster Gleichlauf - Apparat für
singende, sprechende, musizierende Photographien. 

Long-playing sound films

• Greenbaum says in a September 1909 interview that his new Vitascop company with his new synchronous apparatus/equipment would bring a new Dauerfilm [ie long-lasting film] to the market; as the name suggests, it would present entire uninterrupted operas, as in an opera house.

Georg Furkel, who Greenbaum had recruited in Amsterdam in 1899 his first cameraman, became technical director in 1912.

Interview with Greenbaum, September 1909

Translation of interview with Greenbaum, September 1909

Ein Interview von Max Olitzki.
MO: Vor wenigen Wochen wurde es bekannt, dass in der Leitung der renommierten Deutschen Bioskop G.m.b.H. eine Aenderung vorgenommen wurde, die mit einer Persönlichkeit verknüpft ist, welche seit Jahren in der gesamten Filmindustrie sich der grössten Hochachtung erfreut, nämlich mit Herrn Ju1es Greenbaum , dem Begründer der Deutschen Bioskope G.m.b.H. Da wir annehmen, dass es unsere Leser interessieren wird, die Gründe dieses plötzlichen Entschlusses zu erfahren, nahmen wir Gelegenheit, Herrn Greenbaum hierüber zu interpellieren. Das Wort "Bioskop" oder "Bioskope", also mit oder ohne "e" hat seit Jahren grosse Verwirrung angerichtet. Sind Sie nun, verehrter Herr Greenbaum der Begründer der G.m.b.H. mit "e" oder ohne "e"?
JG: "Ich bin Ihnen sehr dankbar, dass Sie mir gestatten hierüber Aufklärung zu geben, damit nun endlich mal der Wirrwarr aufhört."
"Im Jahre 1897 gründete ich unter der Firma meines Namens ein Verkaufsgeschäft in Kinematographen und Films, welches nach zwei Jahren in eine Gesellschaft umgewandelt wurde und zwar in die Deutsche Bioskope. Jedoch erwies sich das Geschäft als zu klein und es entstand die noch heute im Lustspielhaus befindliche Deutsche Bioskop G.m.b.H. Abermals waren wir gezwungen — infolge des günstigen Absatzes — eine Vergrößerung vorzunehmen. Es gelang mir 1908 die Firma Dr. C. Schleusner Akt.-Ges. in Frankfurt a. M. in der Deutschen Bioskope zu interessieren und zwar derart, dass die Schleusner Akt.-Ges. die Fabrikations- und Verkaufsgeschäfte von mir gegen eine Summe von 210 000 Mk. übernahm und mich darin mit 1/3 beteiligte. Es entstand daraufhin eine neue Firma, die sich abermals Deutsche Bioskop G.m.b.H. nannte, jedoch ohne "e", während die alte mit einem "e", die nur die Theater- und Filmverleihgeschäfte betrieb, mir allein verblieb und noch heute unter dem Namen Bioskope Theater-Ges.m.b.H. besteht".

• (Translation of above): In 1897 Greenbaum started a company under his own name (ie Jules Greenbaum), selling Kinematograph equipment (his own Vitascope brand and other film cameras) and [renting used] films. Two years later in 1899 he changed its name to Deutsche Bioskope Gesellschaft (ie Deutsche Bioskope Company). This proved to be too small, and the Deutsche Bioskop Gmbh (Gesellschaft mit beschränkter Haftung, GmbH) came into existence (WHEN??? - probably in 1908 with the merger). Greenbaum persuaded Dr. C. Schleusner Akt.-Ges. (Aktiengesellschaft, AG) (Greenbaum spells it as 'Schleusner', not 'Schleussner' - Neue Deutsche Biographie gives both spellings.) to take over the manufacturing and sales side of the business in 1908 for 2/3 of the total capital of 210,000 marks (ie 140,000 marks), and Greenbaum took a 1/3 stake (70,000 marks) in the firm. The company was renamed Deutsche Bioskop GmbH in 1908, without an 'e'. Greenbaum retained the cinema and film rental side of the business as Bioskope Theater-Gesellschaft m.b.H. (ie Bioskope Theater Company Ltd., with the final 'e'). NB Although Greenbaum doesn't say so explicity, Bioskope Theater was definitely a subsidiary of Deutsche Bioskop GmbH. (???)

MO: "Diese Geschäfte gehen doch aber gut und werden, wie ich weiss, stark in Anspruch genommen. Warum wollen Sie denn so unerwartet die Bioskop G.m.b.H. aufgeben? Erfordern beide soviel Kraftentfal?ung, [illegible, Kraftentfalsung?] dass Sie sich entlasten müssen?"
JG: "Nein, absolut nicht! Im Gegenteil, Verehrtester, ich habe viele neue Pläne, die ich aber in der ersteren Gesellschaft nicht ausführen kamt, da ich mich dort in meinem Geschäftssinn zu beengt fühle. Sie wollen doch gütigst bedenken, dass die Dr. C. Schleusner Akt.-Ges. darin mit 2/3 ist, während ich nur mit 1/3."
MO: „Aha!" erlaubte ich mir zu interjezieren. "Sie wollten mithin nur Ihre 1/3 Pflicht tun!"
JG: "Sie sind noch immer der unverbesserliche Witzling!" Hören Sie bitte, weiter! Ich kam schliesslich mit der Schleusner Akt.-Ges. dahin überein, dass sie meinen 1/3 Anteil käuflich erwirbt, mich von meiner Konkurrenzklausel befreit, damit ich von ihr ganz unabhängig weiter arbeiten kann."

• Greenbaum says that although both companies were doing well, he felt too confined/ constricted having only a say in 1/3 of the business. He came to an agreement with Schleusner AG for them to acquire his remaining interest, to free him from a non-competition agreement and allow him to work completely independently from Schleusner/Deutsche Bioskop.
• It would appear that after Greenbaum's departure, Deutsche Bioskop GmbH was finally renamed as Deutsche Bioscop GmbH by 1 September 1909, according to a company listing in Der Kinematograph.

MO: "Ist Ihnen dies bewilligt worden?"
JG: "Mit grösster Freude! Beide Teile, sind somit vollauf befriedigt und haben wir uns in gütigstem Einverständnis voneinander getrennt."
MO: "Und nun?"
JG: "Jetzt habe ich eine andere G.m.b.H. gegründet und zwar die Deutsche Vitaskope, die in der Friedrichstr. 20 bereits eröffnet ist." [NB His full-page ad in the previous issue says in big letters Deutsche Vitascope]

• They reached a mutual happy understanding; both parties were fully satisfied with the new agreement and parted very amicably. Thus by around 9 September Greenbaum had founded another completely separate limited company, Deutsche Vitaskope GmbH, with offices at Friedrichstr. 20. [NB The full-page ad in the previous issue, 8 September 1909, says in big letters Deutsche Vitascope.]

MO: "Werden Sie uns mit Neuheiten überraschen?"
JG: "Ich glaube annehmen zu dürfen, dass mein neuer Vitaskop allen willkommen sein wird. Ganz besonderes Interesse dürfte mein neuer Synchronapparat erregen schon wegen seiner Billigkeit, Güte und minutiöser Präzision. Ferner bringe ich einen neuen Dauerfilm auf den Markt, der wie der Name andeutet, fortlaufende Handlungen ohne Unterbrechungen zeigen wird. Man ist durch ihn in der Lage eine ganze Oper aufzuführen und zwar aktweise, wie in einem Opernhause."
MO: „Sie haben sich da ein schönes Pensum reserviert das noch viel Arbeit kosten wird Hoffentlich gelingen Ihre neuen Pläne im selben Masse wie die alten".
Indem ich mich durch kräftigen Händedruck von dem kleinen, runden, vielseitig gewandten Herrn Greenbaum dankend verabschiedete, kam der Telegraphenbote mit der Nachricht, dass ihn in Paris dringende Geschäfte erwarten.

• Greenbaum says that his new Vitascop company with his new synchronous apparatus/equipment would bring a new Dauerfilm [ie long-lasting film] to the market; as the name suggests, it would present entire uninterrupted operas, as in an opera house.

End of interview article.

September 1909: Vitascope advertisement for the "Protectophon", Der Kinematograph, No. 157, 29 December 1909, back cover, and also inside rear cover, No. 162, 2 February 1910, [pdf 31]. Apparently for sound films. No further information.

End hidden section

Plans for films with player pianos

19 May 1909: Another article by Olitski about Dt.Bio joining forces with Ludwig Hupfeld A.-G of Leipzig to make sound films with his 'Phonola' reproducing pianos, similar to the pianola.

Unsere Anregungen in No. 111 "Die Kinobühne als Konzertsaal" und die sich daran schliessenden Artikel in Nos. 116 & 118 halten das erfreuliche Resultat gezeitigt, dass unsere Worte nicht ungcliört blieben, sondern auf fruchtbaren Boden gefallen sind. Wie erinnerlich sein wird, bezweckten wir eine Kombination von Reproduktionsklavier und Filmaufnahme, also die Möglichkeit, unsere bedeutenden Klaviermeister wie d’Albert. Busoni, Godowsky usw. den Kinotheaterbesuchern zu repräsentieren und zwar nicht nur deren Person, sondern ihr ganzes Gehaben vor dem Flügel. Wir behaupteten ferner, dass diese neuen Films zur künstlerischen Hebung des Kinotheaters beitragen und den Theaterbesitzern eine erhebliche Einnahmebequelle sichern würden. Und schliesslich bemerken wir dass sich die Filmfahrikanten einen unauslöschlischen Namen in der Kulturgeschichte machen würden, denn es wäre doch, so meinten wir am Ende, äusserst interessant und für das gesamte musikliebende Publikum, das bekanntlich kein kleines ist, wichtig und erfreulich, könnte es heute sehen und hören, wie ein Liszt oder Rubinstein einstens gespielt, wie sie sich beim Spielen bewegt hallen. Diese beiden Momente richtig erfasst, erkannt zu halten und zu dem Entschluss gekommen zu sein, diese Kulturaufgabe zu lösen und auszuführen, ist das Verdienst der Deutschen Bioskope-Gesellschaft in Berlin und der Ludwig Hupfeld-A.-G. in Leipzig.

Letztere ist seit langer Zeit in der glücklichen Lage. die ,, Kunstlernotenrollen" zu besitzen, über die wir in einem Artikel bereits sprachen, und die für den gedachten Zweck einzig und allein in Betracht kommen, weil diese Noten von den bedeutendsten und begehresten Konzertkünstlern eigenhändig gespielt und für die Reproduktionsklaviere "Phonola" und "Dea" gestanzt sind. War mithin das Originalspiel unserer Klaviergrössen durch die Hupfeldschcn Fabrikate gegeben und gesichert, so ticstand nur n«x*h die Krwägung, wie die zeitliche Ubereinstimmung mit der Filmaufnahme zu bewerkstelligen wäre. Und dieses Problem ist nun nach gegenseitigem Gedankenaustausch der beiden renommierten Gesellschaften gefunden und gelöst. Schon in wenigen Wochen werden die Tlieaterbesitzer durch die Konzertfilms oder 'Phonolafilms' in den Stand gesetzt sein, ihr Repertoire zu vergrössern und dem Publikum mit einer Sensation aufzuwarten. Die Abmachungen mit den Künstlern für die Filmaufnahme sind derart getroffen, dass diese sich einzig und allein, der Deutschen Bioskope-Gesellschaft auf mehrere Jahre verpflichten, sodass die Ludwig Hupfeld-A.-G. zusammen mit der Deutschen Bioskope-Gesellschaft die ersten und vorläufig die alleinigen Fabrikanten dieser Konzertfilms sind und bleiben werden. Da es sich in diesem Falle nicht um momentan aktuelle, sensationelle Films handelt, sondern um ein Dauerfabrikat, kann man ungefähr eine Vorstellung erhalten, in welch lohnender Weise der schnelle Entschluss der beiden Gesellschaften sich bezahlt machen wird."

"Our suggestions in No. 111 "The cinema stage as a concert hall" and the following articles in Nos. 116 & 118 have produced the gratifying result that our words did not remain undecided, but fell on fertile ground. As will be remembered, we intended a combination of reproduction piano and filming, i.e. the opportunity to represent our important piano masters such as d'Albert, Busoni, Godowsky etc. to the cinema audience, not just as a person, but in their entire demeanor in front of the grand piano.

We further claimed that these new films would contribute to the artistic uplift of the cinema theater and would provide a significant source of income for the theater owners. And finally we notice that the Filmfahrikanten would make an indelible name for themselves in cultural history, because we thought it would be extremely interesting and important and enjoyable for the entire music-loving audience, which is known to be not small, if it could be done today see and hear how a Liszt or Rubinstein once played, how they move while playing. It is the merit of the Deutsche Bioskope-Gesellschaft in Berlin and the Ludwig Hupfeld-A.-G. in Leipzig.

"The latter has been in the fortunate position for a long time. owning the "artist's piano rolls" that we have already talked about in an article, and which are only suitable for the intended purpose because these sheet music are played by the most important and desirable concert artists by hand and punched for the "Phonola" and "DEA" reproduction pianos. If the original playing of our piano greats was given and secured by the Hupfeldschen makes, then the only thing left to do was consider how the temporal agreement with the film recording could be achieved. And this problem is now, after a mutual exchange of ideas, the two well-known companies have been found and solved. In just a few weeks, the theater owners will be in a position to expand their repertoire and present the audience with a sensation thanks to the concert films or 'phonola films'.

"The agreements with the artists for the film recording have been made in this way , that these are unique to the Deutsche Bioskope company for several years, so that Ludwig Hupfeld-A.-G. together with the Deutsche Bioskope-Gesellschaft are and will remain the first and for the time being the sole manufacturers of these concert films. Since in this case we are not dealing with a sensational film of the moment, but with a permanent product, one can get a rough idea of how the quick decision of the two companies will pay off in a worthwhile way."

So, these are sound films, but with live pianola playback via a pre-recorded music roll. Were any even made? Easy, just find the titles of piano music...

Although Greenbaum's Vitascope (separate from Deutsche Bioscope's actualité business) first concentrated on sound films using his own patented Synchroscope apparatus, Tonbilder became increasingly unprofitable by 1909, although Deutsche Bioscop (freed from a non-competition agreement) was advertising both actualités and sound films in 1910 Check!

Most sound film production folded before the end 1910. It wasn't until around 1920 when sound-on-film first became possible that interest in sound films started again, and its development took until 1929 to become a commercial reality.

"The trade press also celebrated such successes in terms of topicality, as they seemed suitable for raising the image of the film industry, which was not doing well due to the alleged distribution of 'junk films' that were harmful to young people. Cinema reformers saw their programmatic future vision of the ›living newspaper‹ already become a reality. »Der Kinematograph« wrote enthusiastically: »An evening in the Vitascope Theater [NB belonging to Jules Greenbaum] reveals the intimate relationship that exists between the cinema and the newspaper. Cinema is increasingly giving up showing horror stories, but making a lively effort to be an illustrated chronicle of current events. Thus, twelve hours after seeing the description of the London funeral ceremonies in the newspaper, one saw the original recordings of the same in the Vitascope Theater within twelve hours. Triumph of technology!« Der Kinematograph, No. 180, June 8, 1910."

Vitascope filmography after 1909

Source: Much longer list of non-sound films from 1910 at The Concise Cinegraph:

• 1909 Caruso in Die Afrikanerin by Meyerbeer, perhaps "O Paradiso".
• Dec. 1909 Act I of Mignon (Ambroise Thomas), apparently a sound film?

Personen- Verzeichnis: 
Philine . . Frl. Gaetes 
Lotharin. . Herr Neudamm 
Mignon. . . Frl. Wiggraf 
(Mitglieder der Kgl. Hofoper)
Kgl. Hofopern-Chor, Kgl. Ballett.  

• 1909 Aviatische Woche in Johannistal
• 1909 Lots of sound films - Gebet from Flotow's Antonio Stradella, Traviata, Mignon (see above), Fliegender Holländer, L'Africaine (see above), Carmen, Freischütz, Der Wildschütz (Lortzing)
• 1909 Faust. Soldatenchor. Nr. 79 With chorus of the Royal Opera Berlin, conducted by Bruno Seidler-Winkler, artistic director of Deutsche Grammophon, also made recordings with Otto Reutter.
• 1910 Arsene Lupin contra Sherlock Holmes (Viggo Larsen)
• 1910 Welke Rosen (Rudolf Biebrach and Walter Schmidthässler)
• Dec. 1911 de:Die Braut des Erfinders (Larsen)
• 1911 Gehirnreflexe and Der Andere (Max Mack)
• June 1911: Abgründe. II. Teil
• Jan 1912: de:Die Liebe einer Stunde (Larsen)
• May 1912 Der Eid des Stephan Huller (Larsen) premiere 25 May 1912
• Sep 1913: The Blue Mouse. I. Teil (Max Mack) Part II, 1914
• 1913: Der Spion (Walter Schmitdhässler, who had founded Continental-Kunstfilm in February 1912 but returned to direct at Greenbaum's fold in April 1912)
• 1914: [[Ein Skandal in der Gesellschaft (Schmitdhässler) April 1914 with PAGU
• 1914: Der Hund von Baskerville (Rudolf Meinert, script Richard Oswald) (premiere July 1914)
• 1914: Lache, Bajazzo (with PAGU) Censor Nov. 1914, Premiere 7 January 1915
• 1914: Detektiv Braun (Sherlock Holmes) (Rudolf Meinert, script Richard Oswald) (Censor Dec 1914) (with PAGU)

Greenbaum's Deutsche Vitascope joined up with PAGU in early 1914, perhaps to fight the French of invasion of Pathé and Gaumont - there seems to have been a huge general anti-foreigner feeling, certainly in the film and cinema trade: even the German branches of Pathé and Cines joined in the general sentiment, trumpeting their German-ness. See Lichtbild-Buhne issues from c1913? This means that Greenbaum and Deutsche Bioscop (with PAGU since the Nielsen films of 1911 until the outbreak of war) may have been briefly re-united under the same umbrella.

On 12 or 22 January 1915, Deutsche Vitascope [formed on 17 August 1909] restructures itself as Greenbaum-Film GmbH.

Greenbaum's other firms and addresses

See also #Addresses: from the 1911 Berliner Addressbuch

• Deutsche Bioscope GmbH was registered on 18.6.1902, address Friedrichstraße 131d. "Nach einer Notiz von Gerhard Lamprecht (Archiv SDK) wurde die Firma Deutsche Bioscope am 23.6.1902 als GmbH ins Berliner Handelsregister eingetragen; der Gesell1schaftsvertrag datierte auf den 18.6.1902, das Stammkapital betrug 20.000 Mark und Geschaftsfuhrer war Jules Greenbaum." Martin J. Knoops was the other cameraman, came from Amsterdam in 1900.

• Opened Vitascope-Lichtspiele cinema at Friedrichstraße 10 (1906) Friedrichstraße 10] registered in Handelsregister in Märch 1907 die Vitascope-Theater Betriebs-GmbH, partner sind Ludwig Rosenfeld und Otto Heinemann, qv.
  • de:Liste der Kinos in Berlin-Kreuzberg#V "1910 ist in den Adressbüchern die „Deutsche Vitascope GmbH“ genannt, 1913 bis 1917 führt der Kinematograph L. Scholz das Vitascope-Theater."
    • All of which tends to indicate that Greenbaum was actually using an Edison Vitascope camera... Just re-discovered this discussion on WP:RDE

• Deutsche Bioscope GmbH re-registered as Bioscope-Theater GmbH - 24 February 1908 - this is the merger with Schleussner, Deutsche Bioscope GmbH renamed to Deutsche Bioscop GmbH., but Olitzki (Kinematograph Sept 1909, [pdf 54] says it was "Bioskope Theater-Ges. m. b. H. besteht".)
  • Müller (1994) pp. 73, 285 n336: ". (Zumindest peripher trat die Deutsche Bioscope-Theater GmbH als Verleiher auf; vgl. Anzeige in: Der Kinematograph, Nr. 166, 2.3.1910. Dies war jedoch kein 'Fabrikanten-Selbstverleih' da es sieh nicht um die Produktionsfirma Deutsche Bioscop GmbH handelte, sondern um eine zweite Firma Jules Greenbaums, die auf dem Kino-sektor arbeitete und somit ein 'normaler' Kinobesitzer-Verleih gewesen ware, jedoch praktisch inaktiv war.")
    • Well she says that Deutsche Bioscope-Theater was practically inactive (it's true, only Muller and Christoph Wirth mention it, exactly 2 G**gle hits), and it didn't act for Deutsche Bioscope GmbH, but was a second firm of Greenbaum's. Kinematograph, No. 166 2 March 1910 p. xxx But there is no mention of Deutsche Bioscope-Theater in an ad at all, or Bioskope-anything. Nor anything resembling 'Fabrikanten-Selbstverleih', which is only found on one page in Werbung und Kino in der Zeit des deutschen Stummfilms. Or anything.
  • In fact, its actual name was Bioskope-Theater GmbH as noted by Olitzki. All other spellings are incorrect. It appears in an announcement of the acceptance of Greenbaum's patent dated 28 September 1908 (applied for, 24.07.06) for the Synchroscope: "42g. 203537. Apparat zur Sicherung des Gleichlaufs des synchron arbeitenden Kinematographen und Sprechmaschinen unter verwendung zweier Zeiger. Bioskope-Theater G.m.b.H, Berlin. 24.07.06. D. 17322." So, it would appear to be the holding company for the Synchroscope patent.
    • But there is on Kinematograph, No. 166 2 March 1910 pdf 9, a Deutsche Vitascope ad for silent and singing films, including "Noch sind die Tage der Rosen", possibly by the Swiss Wilhelm Baumgartner (1820 - 1867), "Noch sind die Tage der Rosen", op. 24 (Vier Lieder) no. 1, here sung by Richard Tauber. Again Vitascope ad [pdf 87], "Synchron-Apparat „Vitaphon“ in Verbindung mit Protrectophon, das Theater der Zukunft."

Also, Small Ad in No. 169 [pdf 121] in Addressen-Listen under 'Kinematographische Apparat' for both "Deutsche Vitascope-GmbH, Friedrichstr. 22", and "Deutsche Bioscop-Gesellschaft m. b. H. Friedrichst. 236, ff, III. Vitascop-Projektions-Apparat, Royal Synchroscop, actuelle, Stuume und kunstleriche Tonfilms."

• • Offices at 20 Friedrichstraße Friedrichstraße 20 later moved to 22 Friedrichstraße.
  • Also a Vitascope–Theater cinema at 10 Friedrichstraße from c1908: de:Liste der Kinos in Berlin-Kreuzberg#V, Remained as Vitascope-Theater until 1918.
  • de:Kottbusser Damm 22
  • 'Vitascope-Theater Rollkrug' cinema, a showpiece 500-seat movie theatre equipped to show sound films on Hermannplatz, 1–2 Berliner Straße, see also Rollkrug (October 1908). By 1918 it belonged to Rheinische Lichtbild AG, Köln, which means it must have been transferred to Bioscop's new owners with Schleussner, which became Rheinische Lichtbild after the war.
    • 7 October 1908, Der Kinematograph, (pdf 12) No. 93, Ad for Deutsche-Bioscop-Gesellschaft Neue Tonfilms, inc. Lolita with Caruso, and Zwei neue Couplets von Joseph Josephi, Parodie auf "Troubadour", and two yodelling scenes from the Bavarian Oberland: Ein Berliner Hochtourist and Auf der Alm, da ist ka Sünd. And on [p. 22], Ad for forthcoming film of Gordon Bennet Cup by Deutsche Bioscop. And on last page, [pdf 35], Deutsche Bioscop ad: "Warum?...Weil das Royal-Synchroscope mit unvergleichlicher Präzision und Zuverläessigkeit arbeitet und weil unsere Tonbilder".
      • NOT de:Auf der Alm, da gibt’s ka Sünd (1915) with Henny Porten, Produktion Oskar Messter, Musik Giuseppe Becce lol, although she probably knew it from many years before, eg sung by Ingrid Schober?
        • "Ein Berliner Hochtourist" brings up this, see also WP:RDE.. ????
  • "Bioscope Theater-GmbH. [NB Note spelling] de:Siegbert Goldschmidt is no longer managing director. The businessman/trader (Kaufmann ) Ludwig Barkhausen in Berlin-Tempelhof is appointed managing director." (April 1914)
• Vitascope-Theater Betriebs-GmbH changed its name to Deutsche Vitascope GmbH - 17 August 1909
  • Offices still at at 20 Friedrichstraße (September 1909) - But Kinematograph December 1909, [pdf 96] deffo has an ad for Deutsche Vitascope at Friedrichstraße 22.
  • Main offices and a film copying facility at 32–34 Lindenstraße - 1910
  • 105 Große Frankfurter Straße, recording rooms for sound production where Vitascope produced the soundtrack for short films of about 120 feet (60m). (1910)
  • 94 Markgrafenstraße - 'normal' silent film studio (1910) (where 1. Arsène Lupin contra Sherlock Holmes was apparently shot: Check! Previously Mutoscop-Atelier, then occupied by de:Alfred Duskes from 1909. Duskes sees to have had better singers for his sound films, eg Caruso.
• Kinematograph, April 1910, (pdf 4) with ad for König und Page with Walter Schmidthässler from the Neues Theater, Berlin, as Frederick the Great.
• Deutsche Vitascope GmbH changed its name to plain Vitascope GmbH in October 1910.
• Fire at Friedrichstr. 236 in July 1911. There was another fire in 1917, 11 killed.
  • Further studio opened at at 16 Friedrichstraße (1911)
  • Greenbaum vacated 123 Chauseestraße (occupied since February 1912 by the newly-founded Continental-Kunstfilm) and moved everything to 32–34 Lindenstraße including manufacture, developing and copying equipment. (October 1912)
  • Opened new glasshouse studio at 5–7 Franz-Josef-Straße (now Max-Liebermann-Straße) in the Filmstadt Weissensee (October 1913); (Continental-Kunstfilm opened a glasshouse studio (later Lixie-Atelier) at 9 Franz-Josef-Straße in Summer 1914.) NB Lots of info at Filmstadt Weissensee.

• The brief merger between PAGU and Vitascope (1914-15) was called Union-Vitascope Gmbh.

Appendix B - spin off as Synchroscope article

Synchroscope

From 1907 Greenbaum's Deutsche Bioskope expanded rapidly in various directions. Apart from producing topical and actualité newsreels, Greenbaum had patented and was marketing the Synchroscope, a pioneering sound-on-disc system which used manual adjustment to synchronise phonograph records with moving pictures to create a working sound and vision system.

Operating the Synchroscope involved the projectionist noting the position of two dial indicators like the hands of a clock, one (connected by a long cable) showing the speed of the remote clockwork-operated phonograph located near the screen, and one the speed of the hand-cranked projector at the other end of the projection hall. The projectionist had to alter the cranking speed of the projector (by turning the handle faster or slower) to keep the dials together, to synchronise the moving image with the sound. Various coloured lights glowed if the film was running too slow or too fast. Greenbaum's device was an imitator of Oskar Messter's similar 'Biophon' system, and along with similar inventions, Germany soon had around twelve incompatible competing sound-on-disk film processes. None of these lasted very long.

Greenbaum produced a number of short sound films (Tonbilder) of vocal classical and light music including opera and operetta: for example, Anna Müller-Lincke made some Tonbilder of operetta songs in 1907. Guido Seeber, the head of the technical department at Deutsche Bioscop, had previously developed his own Seeberophon and was familiar with Messter's Synchrophon; he devised a number ingenious trick shots for the Synchroscope.

Greenbaum also planned to "take up the eminently important production of the so-called silent films on a modest scale and to enable regular production." In this field of silent feature films, the company had suffered significant financial losses in the past due to lack of experience.

Guido Seeber is also credited with the Synchroscope{McMahan|2014|p=68) - Seeber was Greenbaum's very first employee from 1899. If Seeber is properly credited with it, it must have been a development of Greenbaum's orginal device.

Lots more on Greenbaum and competitors at Catalogo Giornate del Cinema Muto 2015, pp. 177-9

Competing technologies

Furthermore, Messter's Biophon appears to have been a direct plagiarisation of a very similar device by Léon Gaumont's Chronophone.(McMahan pp 66-67). Messter threatened legal action against the makers and owners of competing sound-film equipment in Germany, including the Synchroscope, but became willing to make an agreement. Gaumont and Messter combined forces and marketed the 'Gaumont-Messter Chronophon-Biophon'.(McMahan p. 68-69)

Title	Alice Guy Blaché: Lost Visionary of the Cinema
Women make cinema
Author	Alison McMahan
Publisher	Bloomsbury Publishing USA, 
2014
ISBN	1501302698, 9781501302695
url=https://books.google.co.uk/books?id=mqIMBAAAQBAJ&pg=PA68

In 1907 Gaumont entered into an agreement with George Kleine to distribute Chronophone and normal Gaumont silent films in the United States.{McMahan|2014|p=70-71), similar to Greenbaum's partnership with Carl Laemmle, see next.. Gaumont and Kleine fell out in 1912 over membership of the MPPC, Gaumont deciding to become an 'Independent'.(McMahan pp. xx-xxi)

Carl Laemmle

In search of international sales, Greenbaum entered into contracts in 1908 to supply Synchroscope to Carl Laemmle's Movie Service Company in Chicago and to another American, Charles Urban, in Britain.

According to Greenbaum, "The existing workshop would, with only a few additional staff, be sufficient for the manufacture of the machines to be delivered under the contracts, especially synchroscopes, but a separate recording studio would absolutely have to be set up in America. Laemmle's Film Service Company is ready to meet the costs for setting up this studio."

The Synchroscope was heavily advertised by Laemmle:

"The greatest improvement in the moving-picture business. If you believe I am a good prophet, order a Synchroscope now, for I tell you that talking pictures are the coming craze in all America." "Before the people get a chance to grow tired of moving pictures, this remarkable improvement can be shown—and it is going to make it possible to show a whole vaudeville entertainment with nothing but a machine and a canvas screen or a white-washed wall," he stated in an interview.

Laemmle had opened offices in 7 cities: Chicago; Omaha, Nebraska; Minneapolis, Minnesota; Salt Lake City, Utah; Evansville, Ind.; Portland, Oregon; and Memphis, Tenn. Synchroscopes were installed in eg Omaha, Nebraska, Denver, Colorado (Theatorium), Portland, Oregon (Star)

Laemmle sold the system to a number of cinemas in or near these cities, showing Deutsche Bioscope's films, mostly arias from German operas, operettas, or vaudeville revue numbers. He hired Greenbaum's son George to install every Synchroscope he sold.

"See how simple this arrangement," said Mr. [George] Greenbaum, enthusiastically, to my question of how these effects are produced. "This dial," he continues, "has two hands, one for the phonograph and one for the moving picture machine. All that is necessary to secure correct effects on the screen is to keep those two hands together; you need not look at your picture at all. You can do it yourself. Here, try it!" and suiting the action to the word, another film was placed in the machine, another record on the phonograph, and I, who had never so much as grasped the handle of a moving picture machine before, was 'keeping the hands together', and giving as good a show as any experienced person.

From 7 to 14 July 1908 the Star Theatre, Portland, Oregon showed a bill consisting of a pair of Synchroscope films. In another advertisement around this time, Laemmle asserted: "Sometime you'll have to have a Synchroscope in order to stay in business."

Laemmle rented the Majestic Theatre in Evansville, Indiana during the summer months when it was closed as a vaudeville house, and there he used the new machine, of which he held the American agency from its German manufacturers. Twenty years afterwards, in 1929, an old employee wrote in a letter:

"I think you will remember that we installed a talking picture outfit in the Majestic and played to packed houses all summer during the warm weather. I have never seen anything about this in the trade papers so I thought I would refresh your memory...You made the attachment on a Powers machine; we had such stars as Caruso, Madame Sembrich, Julian Eltinge...and the entertainment was wonderful."

Henny Porten: see From cinema to sound film. A piece of experienced film history. Dresden: Carl Reisner 1932, p. 46; Henny Porten mainly worked at M&B during her audiovisual career. Messter had already recorded English audio images for the US market in 1904 (cf. Mein Weg, p. 66) . Jossé: The emergence of the sound film, p. 92, reports that Carl Laemmle took over the US marketing of Jules Greenbaum's sound-image system in the USA in 1908 and imported sound images produced in Berlin for this purpose; Jossé says that's why the recordings were in German (which is why the project failed), which is somewhat unlikely since Greenbaum had been in the USA longer and was familiar with the conditions there. Unfortunately, there are no concrete references to sound image exports (by individual companies) (Muller, p. 292, n427), chapter "Kinogrundungskonjunktur und deren Auswirkungen"

In the end Synchroscope largely petered out in the USA because not enough sound films were made to meet demand, and because it could only last for two or three reels while the standard length of films was increasingly four or five reels long. In addition, cheaper knock-off sound films were made by less experienced artists miming to an inexpensive commercial record. Costs for sound films dropped to those of ordinary silent ones by 1908, at around 1.00 mark per metre, which made them wholly unprofitable. Messter had been concentrating almost exclusively on sound films for several years, contributing to 90% of his turnover in 1908: but in 1909 he declared a loss. Deutsche Bioscop was still producing sound films in 1910, such as the tenor solo Liebesfrühlings im Dachstübchen (lit. 'Spring love in the attic') and the carol Stille Nacht, heilige Nacht with choir, church bells, organ and wind band.

Other devices such as the Chronophonograph, the Cameraphone and the Cinephone were temporarily more successful in the US at the time: a Cameraphone Theater opened in Portland, Oregon in February 1909.

Similarly, Greenbaum's costs had soared by the end of 1908: the Synchroscope equipment was expensive, being originally priced at $750 (around $20,000 in 2015) although Laemmle struck a deal for $395 for low-end cinemas and $550 for the bigger theaters; and each short film required new theatre-style sets and historical costumes. At their peak in around 1908, the costs for sound films at 2.50 marks per metre (3 feet), apart from the cost of the record, were double those for silent films, from 60 pfennigs to 1.20 marks per metre. By December 1909 Vitascop-Gesellschaft was selling copies of Zum Jahreswechsel, "Ein allegoriches Tonbild" for one mark per metre.

A complete second-hand Synchroscope with a Victor talking machine, two indicator dials with cable plus instructions and two used films was being offered for sale for $110 in July 1909.

The shareholders complained at a meeting in December 1908 about the extra capital outlay, and looked forward to a general reduction in costs, not further expenditure. To free up the Greenbaum's commercial interests, Schleussner bought out their remaining share in 1909, and ended a no-competition agreement; after which Jules Greenbaum seems to have had no further involvement with his old company.

Commercially viable movies using sound-on-film techniques only became widely available at the end of the 1920s with the German Tri-Ergon system used by Tobis-Klang in Europe, and e.g. Fox Corporation's Movietone apparatus in the USA.

End of Synchroscope article

References

Notes

Citations

Bibliography

• Abel, Richard, ed. (2006) [2005]. Encyclopedia of Early Cinema. (e-book). Routledge, an imprint of Taylor & Francis. ISBN 0-203-48204-2.
• Allen, Julie (14 October 2019). "Asta Nielsen". Women Film Pioneers Project. pp. 5–7, 10. Retrieved 1 December 2022.
• Berg-Ganschow, Uta; Jacobsen, Wolfgang, eds. (1987). ...Film...Stadt...Kino...Berlin... (in German). Argon (S. Fischer Verlag). ISBN 978-3870241056.
• Bock, Hans-Michael; Bergfelder, Tim, eds. (2009). The Concise CineGraph: Encyclopaedia of German Cinema. Berghahn Books. ISBN 9781571816559.
• Campanini, Sonia (2016). "Understanding Early Film Sound: The Biophon Sound-on-Disc System". In Fossati, Giovanna; van den Oever, Annie (eds.). Exposing the Film Apparatus: The Film Archive as a Research Laboratory (PDF). Frame Film / Eye Filmuseum. Amsterdam University Press. doi:10.5117/9789462983168. ISBN 9789462983168.
• Drinkwater, John (1931). The Life and Adventures of Carl Laemmle (PDF). (Foreword by Will H. Hays). New York, London: G. P. Putnam's Sons.
• Elsaesser, Thomas; Wedel, Michael, eds. (1996). A Second Life: German Cinema's First Decades. Film Culture in Transition. Amsterdam University Press. ISBN 9789053561720.
• Eyman, Scott (1997). The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930. Simon and Schuster.

Furkel, Georg (November 1926). "Film vor 30 Jahren". Der Kinematograph (in German). Part I: 7 November 1926, issue 1029, pp. 15-16 • Part 2: 14 November, issue 1030, pp. 11-12 • Part 3: 21 November, issue 1031, pp. 15-16

• Hampicke, Evelyn (2015). "Jules Greenbaum". CineGraph – Lexikon zum deutschsprachigen Film. (in German). Cinegraph.de. Retrieved 31 March 2015.
• Hardt, Ursula (1996). From Caligari to California: Erich Pommer's Life in the International Film Wars. Berghahn Books. ISBN 9781571819307.
• Kellogg, Edward W. (2003) [June-August 1955]. "History of Sound Motion Pictures" (PDF). Journal of the SMPTE.
• Labosier, James Bruce (1995). Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915 (MA thesis). doi:10.15760/etd.6828.
• Lipton, Lenny (2021). The Cinema in Flux: The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era. Springer Nature. ISBN 9781071609514.
• Loiperdinger, Martin (2013). "'Die Duse der Kino-Kunst': Asta Nielsen's Berlin Made Brand". In Loiperdinger, Martin; Jung, Uli (eds.). Importing Asta Nielsen: The International Film Star in the Making (PDF). KINtop Studies in Early Cinema Vol. 2. John Libbey Publishing Limited. ISBN 9780861967087.
• Mersereau, Peters (2015). Mobilizing Light and Shadow: Popular Nationalism, Political Culture, and the Early German Cinema, 1895-1918 (PDF) (Post-doctoral thesis). University of Toronto.
• Müller, Corinna (1994). Frühe deutsche Kinematographie : formale, wirtschaftliche und kulturelle Entwicklungen, 1907-1912 (in German). Stuttgart: Metzler. NB The chapter end notes ("Back Matter") (PDF) are freely available from Springer Link.
• Müller, Corinna (1998). "Variationen des Kinoprogramms. Filmform und Filmgeschichte". In Müller, Corinna; Segeberg, Harro (eds.). Die Modellierung des Kinofilms : Zur Geschichte des Kinoprogramms zwischen Kurzfilm und Langfilm 1905/06-1918. Mediengeschichte des Films Band 2 (in German). Munich: Wilhelm Fink Verlag. ISBN 3770532449.
• Nowell-Smith, Geoffrey, ed. (1996). The Oxford History of World Cinema. Oxford University Press. ISBN 0-19-874242-8.
• Sponable, Earl I. (April 1947). "Historical Development of Sound Films, parts 1–2" (PDF). Journal of the Society of Motion Picture Engineers. 48 (4).  NB Stuff about Tri-Ergon patents, p. 282.
• Sponable, Earl. I. (May 1947). "Historical Development of Sound Films, parts 3–7" (PDF). Journal of the Society of Motion Picture Engineers. 48 (5).
  • See also Earl Sponable's obituary: Frayne, John G. (February 1978). "Earl I Sponable". SMPTE Journal. 87: 95.

Wirth, Christoph (November 2018). "Revealing the Unknown Past of the Film Pioneer Jules Greenbaum (1867-1924)". Retrieved 18 December 2022.

External links

• Importing Asta Nielsen Database (IANDb) 16,000 data sets relating to Asta Nielsen's feature films released before WW1

Category:Film production companies of Germany