Terra Film
Many of the forty films from the era of Ralph Scotoni were influenced by Nazi ideas, transfer was also on Swiss materials and locations (William Tell, 1934; The Knight of Pontresina, 1934; Hermione and the Seven Law, 1935).[3] In the wake of the nationalization of the film industry in July 1937, Terra-Film Art Ltd. changed its name and was now majority owned by the state-owned Cautio Treuhand GmbH.It was followed by films such as Christian Wahnschaffe (Urban Gad, 1920–21), Bigamy (Jaap Speyer, 1927) and Queen Luise (Karl Grune, 1927/28).Terra's directors were Boleslaw Barlog, Géza von Bolváry, Peter Paul Brauer, Erich Engels, Kurt Hoffmann, Helmut Käutner, Wolfgang Liebeneiner, Roger von Norman, Rudolf van der Noss, Heinz Paul, Arthur Maria Rabenalt, Günther Rittau, Heinz Rühmann, Herbert Selpin, Hans Steinhoff and Helmut Weiss.A number of producers at Terra had their own production units; these included Helmut Beck (Mosel trip with Monika), Gustaf Gründgens (Friedemann Bach), Eduard Kubat (Doctor Crippen, The golden spider), Otto Lehmann (Jud Süß, Front Theatre), Heinz Rühmann (The Florentine hat, Quax the Crash Pilot, Quax in Africa, Die Feuerzangenbowle), Viktor von Struve (Opera Ball, Roses in Tyrol, Andreas Schlüter, The Bat), EC Techow (Rembrandt), Hans Tost (What, you know still don't know Korff?, we make music, Great Freedom No.