“Asta Nielsen played a decisive part in fleshing out the social drama, as well as a comedy of femininity. This development was interrupted by the First World War; the lost thread of a film production that represented the interests of a female audience was never picked up again. In 1916 Nielsen was refused permission to re-enter Germany after a visit to Copenhagen. In 1919 she took up her film work again in the Weimar Republic, but under the altered conditions of the so-called Author’s Film, and with increasing difficulties”. (Heide Schlüpmann, Unheimlichkeit des Blicks. Das Drama des frühen deutschen Kinos, 1990)