俄国动画，採 stop-motion (定格摄影) 的方式拍摄。
整部片的角色都是昆虫，以拟人化手法表达。剧情从一对甲虫夫妇开始说起。甲虫夫妇住在郊区，生活十分平静，只是这样的生活不免让他们夫妻俩都觉得无聊。甲虫先生因工作的关係常进城，他为了应酬经常会到一间叫「快乐蜻蜓」(Gay Dragonfly) 的酒吧去看表演。某天，他照往常来到这间酒吧，有一场表演是蜻蜓女郎跳舞。蚱蜢对蜻蜓女郎示好，甲虫先生也有此意，便不管三七二十一地打翻蚱蜢，迳自带着蜻蜓出场，叫车到「爱的旅馆」开房间。蚱蜢作为摄影师。为了报复，拖着笨重的摄影机，跟踪甲虫先生和蜻蜓女郎到旅馆，把摄影机对着钥匙孔拍摄。摄影机运转的声音惊动了甲虫先生，他从房间冲出来一路追着蚱蜢到旅馆门口。蚱蜢看势头不对就抱着摄影机骑脚踏车逃跑了。
同一时间在家中，甲虫太太也开始不安于室。她想到她的艺术家朋友，便写了一封信派人送去，信的内容是：「亲爱的，他不在家，我现在一个人，快来吧！」艺术家正在画甲虫太太，接到她的信十分高兴，便打扮了一下带画去拜访。两人见了面都很开心，而壁炉前的温暖气氛也让他们不禁卿卿我我起来。正当两虫陷入热吻时，甲虫先生回来了，他敲了半天门没人应，就直接破门而入。艺术家无处藏身，只好躲到壁炉裡。先生回来一开始没觉不对，不过艺术家留下的帽子和画洩了底，他马上质问老婆，太太解释不出，甲虫先生也猜到是老婆偷人，就把画直接往他老婆头上砸下去，甲虫太太连忙逃走。这时艺术家已从烟囱爬出来，却刚好碰上追出来的甲虫先生，甲虫先生立刻扑上去揍他，两隻男虫就开始在地上扭打，不过细瘦的艺术家不敌粗壮的甲虫，在一番缠斗后狼狈地逃走。甲虫先生后来没再跟他太太计较，还带他太太去看电影，可是好死不死，电影放映师就是那隻蚱蜢，他把当初在旅馆偷拍的画面放出来，放完以后甲虫太太差不多快气死了，而甲虫先生在求饶的同时也怒火中烧，先砸了银幕，再去后台找蚱蜢算帐。夫妇俩把蚱蜢揪出来痛揍一顿，还把放映棚烧了，最后这对夫妻双双进了监狱，这场偷情风波也至此告一段落。

Fantômas makes it as the emperor of Crime. First is the robbery at the Royal Palace Hotel. Then he abducts Lord Beltham. As Fantômas' fame increases actor Valgrand creates the rôle of public enemy No.1 on stage. Eventually Inspector Juve, with a little help from Fandor, arrests Fantômas and he is soon sentenced to die on the guillotine. But... Written by viktor-18

本片时代背景为公元前三世纪，一次火山爆发时，混乱中一个女孩卡比莉亚被海盗绑架，卖身为奴。买家正要用女孩作为祭品献给神庙时，一个罗马人还有她自己的奴隶均挺身而出救了她。十年后，腓尼基输给了罗马，卡比莉亚重返故乡。

2006年6月在法国安锡（Annecy）国际动画电影节上，本片被评为“动画的世纪·100部作品”第一名，本片也是世界上第一部角色动画。
因为拍摄于1914年，本片今天看来稚气十足，不过一只叫Gertie的雌性恐龙按字幕所示（在相关工作人员的提点下）做出一个个动作，期间她乐意有时不乐意有时。但影片当年曾让美 国观众大为吃惊，其时动画仍是新事物，真人与动画相结合的构想亦是超前。论说动画片的先驱，该片导演Winsor McCay当之无愧是其中之一。

这套由路易斯·弗伊拉德自编自导的法国片，可以说是电影史上最早的一套犯罪片集，自1915年至1916年推出，一共发行了十集，共七小时。所谓“吸血鬼”，指的是一群珠宝窃匪，他们自成一党，成员包括：经常意图不轨的女侍应；专门窃玉偷香的绅士；没落王孙公子以及一个经常能在关键地方变换工作岗位的女子（如为偷窃需要充任银行职员或饭店的电话接线生等）。追捕这个“吸血鬼党”的，主要是一位热心的青年报纸编辑，和一个改邪归正的罪犯，这个罪犯能在观众一霎眼之间就将偷窃阴谋导向一个新发展。同时，“吸血鬼”还要对抗一个同行的组织，而一位迷恋没落王孙公子的女恶棍则经常向他们通风报信。

Filibus is a mysterious sky pirate who makes daring heists with her technologically advanced airship. When an esteemed detective sets out on her trail, she begins an elaborate game of cat and mouse with him, slipping between various male and female identities to romance the detective's sister and stage a midnight theft of a pair of valuable diamonds.

The most important and prolific of all American women directors of the silent era, Lois Weber entered films in 1907 at Gaumont, working alongside Alice Guy-Blaché. In the ensuing years, she and her husband Phillips Smalley acted in, directed, wrote and edited films for Gaumont, Rex and Universal. By 1914, Weber was a well-known director when she went to work for the Bosworth Company to make Hypocrites.
Hypocrites is an amazingly complex film in both narrative and technique, following the parallel stories of an early Christian ascetic and a modern minister, with most actors in dual roles. Gabriel (Courteney Foote) is a medieval monk who devotes himself to completing a statue of “Truth,” only to be murdered by a mob when his work turns out to be an image of a naked woman. The contemporary Gabriel is the pastor of a large urban congregation for whom religion is a matter of appearances, not beliefs. The hypocrisy of the congregation is exposed by a series of vignettes in which the Naked Truth, literally portrayed by a nude woman, reveals their appetites for money, sex and power.
Hypocrites was a shocking and controversial film whose release was held up for many months by the difficulty of distributing a film with full nudity. Weber’s sincerity and reputation allowed her to use something that in the hands of a male director would have been considered scandalous and immoral. Widely admired at the time for extraordinary use of multiple exposures and intricate editing, Hypocrites propelled Weber to the front ranks of silent directors.

At 10 years old, Owen becomes a ragged orphan when his mother dies. Abusive next-door neighbors the Conways take him in, and by 17, Owen has learned that might is right. At 25, he's a career gangster: loitering, gambling and drinking in dens of iniquity. Marie Deering arrives in Owen's area, eager to empower the impoverished, gang-affiliated youth through education. Owen slowly but surely leaves his old life behind, choosing the narrow path- all the while falling in love with Marie. Skinny, who's taken over Owen's role in the gang, reappears to him, spelling trouble.

由D.W. 格里菲斯编剧、导演，是其最具创作野心的作品。影片由4段相隔数千年互不相关的故事连缀而成 ：《母与法》、《基督受难》、《圣巴多罗缪的屠杀》和《巴比伦的陷落》。故事虽不相关，但反映了一个共同的主题：祈求和平，反对党同伐异。格里菲斯描述他自己的构想：“四个大循环故事好像四条河流，最初是分散而平静地流动着，最后却汇合成一条强大汹涌的急流。
这部影片在电影语言上的历史贡献在于 ：4 段故事不是一个个单独展开，而是交替进行，十分大胆而又流畅地把时间相距甚远的事件联系在一起，平行交替叙述而造成逐渐紧张强烈的情绪而达到最高潮。影片在影像结构、叙事结构以及镜头运动、剪辑节奏上的创新对世界电影的艺术表现手法影响极大，被认为是最早的经典影片之一。1958年，在布鲁塞尔国际博览会上，它被评为电影史上12部最佳影片之一。
四个发生于不同历史时期，年代跨度超过2000年的故事组成了本片的故事情节。第一个故事叫做“母与法”。讲述20世纪初的加利福尼亚州，一位青年工人被人诬陷为杀人犯，被判处死刑。而他的妻子则必须在行刑之前找出真凶，营救她的丈夫。 第二个故事“耶稣受难”发生在公元27年的巴勒斯坦。耶稣被门徒出卖，受尽折磨后被钉死在十字架上。 第三个故事是“圣巴托罗缪大屠杀”，发生在公元1572年的法国巴黎。天主教徒发动了对新教徒的大屠杀。一对婚期在即的新教徒青年也遭遇不幸。 第四个故事是“巴比伦的陷落”：公元前539年的中东，巴比伦大祭司因为与王子巴尔撒尔的恩怨，竟然在波斯大军来攻之际打开城门，巴比伦古国从此灭亡。

The Battle of the Somme (1916) is one of the most successful British films ever made. It is estimated that more then 20 million tickets were sold in Great Britain in the first two months of release, and the film was distributed worldwide to prove Britain's commitment to the First World War. It is the source of many of the conflict's most iconic images.
The Battle of the Somme gave its 1916 audience an unprecedented insight onto the realities of the trench warfare, controversially including the depiction of dead and wounded soldiers. It show scenes of the build-up to the infantry offensive, including massive preliminary bombardment, coverage of the first day of the battle - the bloodiest single day in the British Army's history - and depictions of the small gains and huge costs of the attack.
As a pioneering battlefield documentary, the very concept of The Battle Of The Somme outraged commentators on its release, inaugurating a debate about the on-screen depiction of combat that continues to this day. Its use of a staged sequence to represent the opening of the assault also set the scene for continuing controversy about the 'truth' of the documentary format.
The film's importance was recognised in 2005 by its formal inscriptions in the UNESCO 'Memory of the World' register - the first British document of any kind to be included.
The film has been digitally restored, offering a startling improvement on previously released video versions.
These words of welcome are by David Lloyd George, Secretary of State for War and where read at the film's first screening on 10 August 1916. This was barely a month after the events it showed. To its original audience the film was not history but a dispatch from the front. This film was shot between 26 June and 7 or 9 July 1916 at the Somme front by Geoffrey Malins (29th Division of VIII Corps) and J.B. McDowell (7th Division of XV Corps) and had it's première at the Scala Theatre in Clapham on 10 August. Geoffrey Malins filmed the offensive from positions near Beaumont Hamel in the northern parts of the battlefield, J.B. McDowell was based further south near Fricourt.

卓别林为Mutual公司拍的第11部影片，讲述移民到新大陆的故事。在短短20分钟之内，影片分成两部分，前者是满怀梦想的通向新大陆的旅程，后一部分则是通过一个用餐的场景来表现新大陆之梦的艰辛以及最终柳暗花明的喜剧结局。

Gwen's family is rich, but her parents ignore her and most of the servants push her around, so she is lonely and unhappy. Her father is concerned only with making money, and her mother cares only about her social position. But one day a servant's irresponsibility creates a crisis that causes everyone to rethink what is important to them.

撒旦狂想曲 Rapsodia Satanica（1915）是由Nino Oxilia的最后执导的一部电影，此片无疑是早期意大利电影最优秀的成果之一。
在影片中，Oxilia杜撰的手法变化了对“浮士德”的理解，由天后Lyda博雷利完美演绎。站在典型奢侈D'Annunzian的唯美主义的高度，撒旦狂想曲Rapsodia Satanica是当时首脑会议后来被称为“尾巴涂膜“之一的电影。耸人听闻的故事设置在上层中产阶级和贵族的沙龙和别墅，导演部署杰出的叙事结构，以展示他们的演技。

一个被遗弃的人蜷缩在传教堂的台阶下，他受到了一位充满激情的传道者的布道启发，并为钢琴演奏家所倾心，以至于他试图通过成为警察来改善自己贫困的生活。他的第一个任务是在安乐街上巡逻，这是一个恶霸及其犯罪团伙经营的地盘。

不明身份的流浪者来到冰岛高原的牧场。一位已经丈夫去世富有的女农场主收留了这个流浪者，让他做雇工。不久，女农场主爱上了这个人，提拔他为总管。肥胖的村长曾经向女农场主求婚，被拒绝了，现在见到这个情况，嫉妒异常。他暗中调查出流浪者的身份，原来这是一个在其他地方被判刑的逃犯。女农场主放弃了一切拥有的财产，和流浪者为了躲避追捕，逃向深山老林，在喷泉和瀑布边上生活。几年以后，他们生下一个男孩。牧羊人发现了他们，村长带人来追捕他们。女农场主和流浪者把孩子扔下悬崖抛入急流险滩中，逃进大山深处。许多年过去，两个情人老去。严冬中，他们在山中的小屋里，回顾过去的往事，感到了一种无名的恐惧，最后在可怕的大风雪中死去。

卓别林为“第一国家影片公司"拍摄的首部电影，片长三卷。卓别林在本片中把流浪汉的生活与狗的生活有趣地构成对比，他与它都同样要挣扎求存，并且忍受社会各阶层将他们踢来踢去。卓别林从本片开始思考到喜剧的结构问题，每一个段落均互相关连而构成一个整体。由于结构完整，使这部在内容上仍然是表现流浪流夏尔洛在贫民窑和酒店被警察追得东奔西跑的喜剧显得笑中有泪。

查理在新兵营里是个插科打诨的乌合之众，但在法国参加战斗时，却立下了赫赫战功：他先是冲到最前线俘获了13个德国佬，然后扮成大树桩一步步逼近德军防线，最后又在一个法国女孩的协助下，俘获了德国皇帝和他的皇太子。所向披靡的查理回到家乡纽约后得到了人们的夹道欢迎……就在查理被荣耀所包围，兴奋得无以复加时，眼前的一切都突然消失了——原来，这只是一场梦。
《从军记》大肆戏谑战争的格局与构想，后被影评界认为是十二年后《大独裁者》的前哨作品。本片拍摄时正值第一次世界大战烽火连天之时，痛恨战争的卓别林适时拍出这部以梦境为叙事主体的电影，无论从创作出发点还是从内容的构架来讲，都不失为一次大胆的创新——借一个协约国小人物的离奇经历，讽刺德军将领及德国皇室。尽管从客观上说，本片的喜剧张力不及卓别林其他平民喜剧来得从容，令观众容易产生昏昏欲睡之感，但笑点设计却依旧保持了卓别林惯有的水准，如片中男主人公戴着防毒面具啃林堡干酪、拿干酪当武器打击敌军、扮成树型冲上火线等等，均带有浓烈的搞笑因子。
《从军记》取得了十分惊艳的票房成绩，但在当时却有观众认为本片存在着致命的瑕疵——结尾部分的梦醒设置相当令人扫兴，这也就是为何《从军记》未能成为像《大独裁者》一样经典的原因之一。当然，这也不排除卓别林在早期创作中难以规避某种“妥协”的可能。

A group of youngsters grow up and love in a peaceful French village. But war intrudes and peace is shattered. The German army invades and occupies village, bringing both destruction and torture. The young people of the village resist, some successfully, others tragically, until French troops retake the town.

Two peasant children, Mytyl and Tyltyl, are led by Berylune, a fairy, to search for the Blue Bird of Happiness. Berylune gives Tyltyl a cap with a diamond setting, and when Tyltyl turns the diamond, the children become aware of and conversant with the souls of a Dog and Cat, as well as of Fire, Water, Bread, Light, and other presumably inanimate things. The troupe thus sets off to find the elusive Blue Bird of Happiness.

　　第一次世界大战敲响二十世纪的第一记警钟，从国际布局、人文精神到文艺和电影，都深受震撼和启发。阿贝尔冈斯透过三个人的爱情和友谊，反抗战争的风暴，并呈现面对国家和战争的思想矛盾，叩问人性和文艺的价值。悲壮的结局，饱含失落与不断战胜失落的愿望，正是视频不衰的意义。冈斯终生热衷于叙事和图像实验，风格今天看来依然前卫先锋。本片与其后的《拿破仑》（1927）同为冈斯的钜构，技法多样而热情，拓展了电影的艺术语言。