Continental-Kunstfilm GmbH (Continental Art Film) was a short-lived German film production company based in Berlin, formed in February 1912 by Walter Schmidthässler and Max Rittberger.  A large number of Continental-Kunstfilm's productions are now probably lost, although some significant films have survived into the 21st century.
Continental, with offices and studios at 123 Chauseestraße, began by releasing a mix of documentaries and comedies, together with serious melodramas by directors such as Max Mack. The company produced the first feature film about the sinking of the RMS Titanic, ( In Nacht und Eis ) in August 1912, directed by Mime Misu. Joe May and Ernst Reicher early in their careers made the first 'Stuart Webbs' detective films there; Otto Rippert and Harry Piel also directed films at Continental; and Gerhard Dammann wrote and directed numerous comedy shorts starring his 'Bumke' character in 1913.
In early 1914 the company constructed a small glasshouse studio in the Berlin suburb of Weißensee where Reicher continued to film many of his 'Stuart Webbs' detective dramas before removing to Munich in 1918. Continental's own output dropped significantly after 1915.
After the end of World War I, Continental leased the Weißensee studio to Eric Pommer's Decla company. Fritz Lang used the studios for some sequences of his early productions, and Robert Wiene shot the classic expressionist horror Das Cabinet des Dr. Caligari there in 1919.
The building at 123 Chauseestraße still exists, having survived World War II; the studios in Weißensee were demolished in 1928 to make way for residential apartments which are still standing as of 2021.
Walter Schmidthässler (also Schmidt-Häßler) was an actor who had worked with the Meiningen Ensemble at the Meiningen Court Theatre before turning author and film scriptwriter. He joined Jules Greenbaum's Deutsche Vitascope production company in 1910 as director and lead actor. 
He formed Schmidthassler-Film GmbH in 1911, which became Continental-Kunstfilm the following year. Schmidthässler and Max Rittberger, an engineer and businessman, signed their partnership agreement on 5 February 1912, with a share capital of 150,000 marks.  On 12 February 1912 Continental-Kunstfilm moved into the old Deutsche Vitascope studio at 123 Chausseestraße, vacated when Greenbaum moved all his Vitascope production facilities to 32-34 Lindenstraße.  The building (fronted in red sandstone) in Chauseestraße was built in the colorful and decorative Jugendstil style. Continental's main offices were located at 235 Friedrichstraße, Berlin. A brief notice of the new company appeared in the trade journal de:Lichtbild-Bühne in March. 
However, Schmidthässler left Continental after only a few months in April 1912, announcing im late March that Schmidthässler-Film company was being taken over by Continental.  He returned to Deutsche Vitascope (the previous tenant of the building), going on to direct over 100 films. 
Heinrich Lautensack (who had also previously worked for Deutsche Vitascope) was engaged as script writer and head of advertising. He wrote the screenplays for at least five Continental films, mostly psychological melodramas:  Zwischen Himmel und Erde; Die Macht der Jugend; Zweimal gelebt (extant);  Der Mann in der Flasche; Das ist der Krieg; and Entsagungen.
Several of Continental's early releases were directed by Max Mack, another ex-Vitascope director who had previously made his mark with one of the first autorenfilms , Der Andere with Albert Bassermann:  at Continental, Mack directed Lebensbilder; Die lieben Freunde; Die gelbe Rasse (The Yellow Peril); Blinde Liebe; Die Hochzeitsfackel, and Zweimal gelebt.
The Romanian-born mime artist and ballet-dancer Mime Misu (Mișu Rosescu) made three films for Continental in 1912:
Otto Rippert, who had acted in In Nacht und Eis, turned to directing in 1912 and made around ten films with Continental between November that year and August 1913. Rippert later directed Homunculus , an early science fiction film. Before Harry Piel turned to acting he directed a handful of films for Continental in 1912–1913.
The popular 'Bumke' short comedies written, starring and directed by Gerhard Dammann as the eponymous hero appeared throughout 1913, sometimes at the rate of one a week.  At the end of 1913 Dammann left Continental, continuing his film career (possibly for contractual reasons) with the 'Luny' character: and Max Rittberger (the co-founder) left the business in early 1914.  In April 1914 he was replaced by Christoph Mülleneisen Junior as a new director of Continental for a year. Anton Mülleneisen was the cameraman for Der geheimnisvolle Nachtschatten (1914).
Joe May made ten films at Continental, the first (In der Tiefe des Schachtes) being released in November 1913. Paul Leni also worked on designing various films with May at Continental, including Ein Ausgestoßener and Das Panzergewölbe. 
Ernst Reicher starred in May's second film, Vorglühen des Balkanbrandes (The Balkan Traitors), in early 1914. In the same year Reicher directed two films at Continental, Die Statue and Das Werk. Together they directed and starred in the first three of the 'Stuart Webbs' films, a popular series in which Reicher played a gentleman detective modelled on Sherlock Holmes: Die geheimnisvolle Villa ; Der Mann im Keller; and Der Spuk im Haus des Professors. 
In an acrimonious and well-publicised split, May and Reicher fell out with their production managers over the 'Stuart Webbs' films, and left Continental together.  Having formed their own production company, Stuart Webbs-Film GmbH, they made the next in the detective series, Das Panzergewölbe (The Armoured Vault) in June 1914, using Continental-Kunstfilm's studios for the filming.
In the summer of 1914 Continental-Kunstfilm built a new studio at 9 Franz Josef-Straße (now Max Liebermannstraße) in Weißensee, a north-eastern suburb of Berlin. It was next door to the double glasshouse studio at no. 5–7, built in 1913 by Vitascope and separated by the narrow site of no. 8. 
When the First World War broke out in August 1914, May had to return to his native Vienna to do his military service, and on his return to Berlin he and Reicher split up.  Reicher leased the studio from Continental and continued to make the 'Stuart Webbs' films with his Reicher & Reicher company until 1918.
May formed his own company, May-Film GmbH, continuing to make serious films with his wife Mia May, as well as producing the 'Joe Deebs' detective series, in which Harry Piel directed Max Landa and later Harry Liedtke in the title role. The first three Joe Deebs films were premièred at the Union-Theater Lichtspiele, later the Ufa-Pavillon am Nollendorfplatz.
May produced one more film at Continental-Kunstfilm, Der geheimnisvolle Nachtschatten, again directed by Harry Piel. May later rented Jules Greenbaum's Vitascope studios at 5-7 Franz-Josef-Straße, almost next door to Continental. 
Albert Paulig made three Albert films in 1915, but Continental-Kunstfilm produced far fewer films after this date. When in 1917 the German government quietly consolidated the larger German film production companies into a single conglomerate, Ufa, Continental-Kunstfilm was not included.
The studio at No. 9 Franz-Josef-Straße, Weissensee (dating from 1914) was bought after the war in 1919 by Film-Atelier GmbH (FAG). The owner was Frau Cill-Gottscho of Philadelphia, USA, and the directors were Dr. Lucian Gottscho and Chaskel Eisenberg.  [n 2] The property seems have been leased by Lixie-Film around the same time, [n 3] and leased to Decla Film from around October 1919.  Decla used the studio during the production of at least three titles: Otto Rippert's historical spectacular 7-reeler Die Pest in Florenz , with a script by Fritz Lang (some interior scenes only); likewise some interiors in Part 2 of Lang's own Die Spinnen ; and the whole of Robert Wiene's oppressive horror Das Cabinet des Dr. Caligari , from December 1919 to January 1920.  The relatively small size of the studio (approximately 6m x 6m) limited the size of the sets, and some elements had to be cut from the planned script because of the restricted space. 
Decla merged in April 1920 with Bioscop-Film (which had been sold by Jules Greenbaum to Carl Schleussner in 1908–09) to form Decla-Bioscop, before being taken over by Ufa in 1921. 
FAG enlarged the studio in c.1920 by building on the vacant site of nos. 10–12, to create 9-12 Franz-Josef Strasse.  Lixie-Film-Atelier-Weißensee GmbH bought the studios in 1921, and later joined with a number of other production companies not included in the UFA conglomerate to take over the disused studios of Deutsche Mutoskop- und Biograph GmbH in the Lankwitz district in 1924/25, founding the Muto-Großatelier für Filmherstellung (Muto-Atelier).  
In 1928 the Weißensee housing association acquired the land for new residential buildings  which were still standing as of 2012.
UFA GmbH, shortened to UFA, is a film and television production company that unites all production activities of the media conglomerate Bertelsmann in Germany. Its name derives from Universum-Film Aktiengesellschaft, a major German film company headquartered in Babelsberg, producing and distributing motion pictures from 1917 until the end of the Nazi era. The name UFA was revived by Bertelsmann for an otherwise unrelated film and television outfit, UFA GmbH.
Karl Gustav Vollmöller was a German philologist, archaeologist, poet, playwright, screenwriter, and aircraft designer. He is most famous for the elaborate religious spectacle-pantomime The Miracle and the screenplay for the celebrated 1930 film The Blue Angel, which made a star of Marlene Dietrich.
Babelsberg Film Studio, located in Potsdam-Babelsberg outside Berlin, Germany, is the second oldest large-scale film studio in the world only preceded by the Danish Nordisk Film, producing films since 1912. With a total area of about 460,000 square metres (5,000,000 sq ft) and a studio area of about 25,000 square metres (270,000 sq ft) it is Europe's largest film studio.
Das Mirakel is a black-and white silent German film made and released in 1912, directed by Mime Misu for the Berlin film production company Continental-Kunstfilm GmbH. It was based on Karl Vollmoeller's 1911 play, The Miracle. The film was originally advertised as The Miracle in Britain and the US, but after copyright litigation in both countries it was shown as Sister Beatrix and Sister Beatrice respectively. In Germany it was known as Das Marienwunder: eine alte Legende.
Joe May was an Austrian film director and film producer and one of the pioneers of German cinema.
Die geheimnisvolle Villa is a 1914 silent German detective film directed by Joe May and starring Ernst Reicher. It is the first in the series starring the fictional gentleman detective Stuart Webbs, modelled on Sherlock Holmes. It also features Werner Krauss.
Ernst Reicher was a German-Jewish actor, screenwriter, film producer and film director of the silent era.
Paul Davidson was a German film producer.
Jules Greenbaum was a German pioneering film producer. He founded the production companies Deutsche Bioscope, Deutsche Vitascope and Greenbaum-Film and was a dominant figure in German cinema in the years before the First World War. He is also known for his early experiments with sound films around twenty years before the success of The Jazz Singer made them a more established feature of cinema.
The Miracle (1912), is a British silent full-colour film, using a hand-coloured process similar to Pathéchrome. Produced by Joseph Menchen and directed by Michel Carré, it is among the first full-colour feature films to be made. It stars Maria Carmi, Ernst Matray, Florence Winston and Douglas Payne, and was filmed on location in Austria.
Mime Misu was a Romanian ballet dancer, pantomime artist, film actor and director. In 1912 he wrote and directed the first feature film about the sinking of the RMS Titanic, In Nacht und Eis, released in August 1912 four months after the disaster.
Otto Rippert was a German film director during the silent film era.
The Plague in Florence is a 1919 German silent historical film directed by Otto Rippert for Eric Pommer's Deutsche Eclair (Decla) production company. The screenplay was written by Fritz Lang. It stars Marga von Kierska, Theodor Becker, Karl Bernhard and Julietta Brandt. The film is a tragic romance set in Florence in 1348, just before the first outbreaks in Italy of the Black Death, which then spread out across the entire continent.
The Wooing of Eve or Journey into Adventure is a 1926 German silent film directed by Max Mack and starring Ossi Oswalda, Willy Fritsch and Agnes Esterhazy.
The Tempelhof Studios are a film studio located in Tempelhof in the German capital of Berlin. They were founded in 1912, during the silent era, by German film pioneer Alfred Duskes, who built a glass-roofed studio on the site with financial backing from the French company Pathé. The producer Paul Davidson's PAGU then took control and constructed a grander structure. The First World War propaganda drama The Yellow Passport, the historical comedy Madame DuBarry and the expressionist 1920 silent film The Golem were made there by PAGU.
The Daredevil is a 1931 German crime film directed by Richard Eichberg and starring Hans Albers, Gerda Maurus and Mártha Eggerth.
The Weissensee Studios was a collection of separate film production studios located in the Berlin suburb of Weißensee during the silent era.
Decla-Film was a German film production and distribution company of the silent era, founded by Erich Pommer and Fritz Holz in February 1915.
Ways to a Good Marriage is a 1933 German drama film directed by Adolf Trotz and starring Olga Tschechowa, Alfred Abel and Hilde Hildebrand. It was shot at the EFA Studios in Halensee in Berlin. The film's sets were designed by the art directors Heinz Fenchel and Botho Hoefer. The film was based on the ideas of the sexologist Theodore H. Van de Velde and was in the tradition of the enlightenment films of the Weimar Republic. Although his work had already been forbidden by the new Nazi regime, it was not formally banned until 1937 despite protests by Nazi students in Kiel who were successful in having the film pulled from cinemas there.