After the invention of film, explorers of the world, travellers, missionaries and expeditions often were accompanied by cameramen. They created fascinating documents, now considered of high aesthetic and historical value. Not always was the lust for exploration aimed at unknown places on the other end of the globe. The curious camera-eye also was directed to unknown regions in Europe, that were almost lying on the doorstep. One of these films picturing unknown Europe is KALABAKA (ca. 1927), which is a cinematographic report of an expedition to the Balkans. It is of particular interest because it is also a document on filmjounalism, partly fictional. The German filmcompany Hegewald “created” a journalist-photographer travelling from Austria into the Balkans in his special Hegewald-reporterscar. KALABAKA makes a portrait of this countries partly through the eyes of an “objective” cameraman, partly through the eyes of the journalist-photographer and partly, seemingly, through no eyes at all. In the last case the film sometimes clearly tries to delude the spectator by manipulating the action in front of the camera by “mise-en-scene”.