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THE HAUNTED MAN was a comedy whose lead character's visions were fueled by drunkenness; that is to say, its doppelgänger was not supernatural in origin, but rather the product of one man's alcohol-soaked imagination. It was Denis Gifford, in his A Pictorial History of Horror Movies, who first mentioned the movie specifically as a precursor to THE STUDENT OF PRAGUE, although even his brief write-up indicates the film's comic nature:

...that favourite literary myth of the doppelgänger (...) had appeared on screen as early as 1909. THE HAUNTED MAN was produced by Düskes [sic]. 'Wherever he goes the same ghostly figure (apparent to none but himself) rises up with horrid imitations of his own actions.' Dogged by his remorseless spook, the haunted man flies to his lodgings where he is promptly doused by his landlady. (p.46)

Very few subsequent researchers have made anything of Gifford's reference to THE HAUNTED MAN, although Leon Hunt mentions it in passing in his essay 'The Student of Prague' in the academically-minded collection: Thomas Elsaesser (ed.), Early Cinema: Space, Frame, Narrative (BFI, 1990). Part of the problem has been that, aside from the review in The Bioscope, there really is just about no material available on the title, with its original German title also having long remained unknown.

In fact, THE HAUNTED MAN was one of Duskes' series of 'Lehmann comedies', and was originally titled LEHMANN HAT 'N KLAPS (1909, 'Lehmann Has a Turn'), recorded by the Berlin censor as 'a doppelgänger scene' --- which either the censor or the production company had cut down to 100m for its release with a 'U' certificate (with the boozing scenes at the beginning apparently having been excised, meaning that these were seen only in Britain):
http://www.earlycinema.uni-koeln.de/films/view/42661

The German title LEHMANN HAT 'N KLAPS has a second meaning, and could equally well be translated as 'Lehmann Gets Slapped/Thwacked'. I could well conceive that the shortened German edit of the movie commenced with Lehmann walking into something, or getting hit by something, or being punched by someone - an event which had originally concluded the boozing scenes, but which was now presented as the specific catalyst for his double-vision. So long as no contemporary German write-ups of the film are known to exist, this must remain pure conjecture.

As far as 'manifest doppelgängers' are concerned (as opposed to split personalities à la Jekyll and Hyde or DER ANDERE), there really isn't much before THE STUDENT OF PRAGUE. There are plenty of split-screen comedies from around 1908 onwards in which the lead comedian meets a double of himself, but the intended effect is very much that of the 'mistaken identity comedy' and far-removed from any sense of the doppelgänger as conceived in the German literary tradition; likewise the many earlier trick films in which performers are surely duplicated on screen, but with only a sense of 'playful technology' flavoring the proceedings.

Meanwhile, the various pre-WWI releases which mention a doppelgänger in their very titles pretty much without exception are referencing a criminal or other ne'er-do-well who disguises him- or herself as someone else in order to gain access to a household --- for example, Nordisk's DOBBELTGÆNGEREN (1910, released in the US under the more straightforward title THE COUNT'S DOUBLE), or German producer Karl Werner's one-reel DER DOPPELGÄNGER: AUS DEM TAGEBUCH EINES WELTDETEKTIVS (1909), which latter was subsequently remade as a three-reeler by the company, DER DOPPELGÄNGER (1913, the 4th film in the 'Multimillionär Lincoln' detective series). There are many, many further examples of this type.

As a side-note: if one does start to include 'split personality' titles such as DER ANDERE (1913), then that film has a couple of cinematic precursors which follow a very similar narrative, the British-made THE SOMNAMBULIST'S  CRIME (1909) and Nordisk's  MUSEUMSMYSTERIET, ELLER SØVNGÆNGEREN (1910, released in the UK and US as THE MYSTERY OF THE MUSEUM, OR, THE SOMNAMBULIST'S CRIME), both of which had also been released in Germany.