Der Kinematograph (October 1911)

Page scan 000103 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
October 1911
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (October 1911)
Leaf #:
000103
Language:
German
Subjects:
Motion Pictures, Film Industry Trade Magazine","German Cinema
Collection:
Germany, Hollywood Studio System, Global Cinema, and Early Cinema
Format:
Periodicals
Contributor:
Media History Digital Library, Mikrofilmarchiv der deutschsprachigen Presse, in collaboration with Michael Cowan and the Department of Film Studies, University of St Andrews
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Germany’s first film trade journal, Der Kinematograph, played a prominent role in the film publishing landscape during the late Wilhelmine and Weimar periods and remains a key source for film historians today. The journal’s early history exemplifies the gradual emergence of cinema from the cinematograph, since it began as supplement to the popular variety journal Der Artist before becoming an independent publication dedicated to all aspects of the burgeoning film industry. As other scholars have pointed out, Der Kinematograph played an important role in the development of film criticism, especially after the ascension of Alfred Rosenthal to the position of chief editor in 1923. But it also covered a wide variety of topics from film history to technology to economic and juridical questions. The journal could also provide an interesting case study for the film politics of the Weimar period. In the early-1920s, it came under the control of the Scherl Verlag, run by the conservative media mogul Alfred Hugenberg (the Rupert Murdoch of his day), who would also acquire the UFA studio in 1927. This made it a prime target for left-wing groups such as the Volksverband für Filmkunst (Popular Association for Film Art), who saw Rosenthal and Hugenberg as key representatives of a capitalist mass media system dedicated to dumbing down the masses. In 1933, Der Kinematograph, like other film publications, was purged of Jewish colleagues, and the journal itself folded in 1935. —Michael Cowan, 2020
Date Added:
August 28, 2022
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D«r Klmnufamrayh — PamMort. in die Natur, warum boH -Bich der Kino von der Natur entfernen, nur um der InHzenierunf(Bku wt einen vorüber¬ gehenden Triumph *u bereiten, der zudem die LeheiiB- a-ahrheit des Dramae »ehädigt ? Leopold Sohmidl. Allerlei kinematographisdie Verbesserun¬ gen französischer Art. (V’on unBerem technüichen Korre«pondenten in PariB.) Um kinematographische Bilder in natürlichen Farl)en nach dem Prinzip der Dreifarbenphotogniphie in der Weiso Da» Verfahren wird in der Weise ausgefühit, das» in jede» Strahlenfeld dreier Projektionsapparate eine durch einen entsprechenden gemeinBchaftliehen Antrieb drehbare, mit violettem, grünem und orangefarbenem Lichtfilter ver¬ sehene Filterseheibt! und in das Strahlenfeld de» einen Projektionsapparate» ausHerdem ein gleichzeitig angetrie- Itencr Kinematograph eingeHchaltet wird, der mit einem nach dem Dreifarbenproze»» aufgenommenen diapositiven Filmstreifen ver»ehon ist. Die Filter»cheiben sind dabei derart eingerichtet, dasa »ich bei der Drehung jeweilig die drei komf^mentären, ohne eingesehalteten Film eine weisse Bildfläche ergebenden Filter in dem Strahlenfeld der drei Apparate befinden. Wird atisaerdem in dem Kinomato¬ graph, n ein positive» Teilbild eingeschaltet, so ergibt »ich ein einfarbiges Teilbild auf weissera Grunde. .Mofftnann A «. Ein neuer Stahl-Kinematograph Besondere Vorzüge: Grösste Vereinfachung des Apparates u. dadurch bedingter leichter und regelmässiger Gang. Stahilste Konstruktion: Alle stark abnutzbaren Teile sind aus zähestem Stahl gefertigt. Peinlichste Sorgfalt bei Herstellungdes Maltheser- kreuz-Getriebes. Unbedingte Schonung des Films durch zweck¬ entsprechende Anordnung. Verlangen Sie unseren Spezial - Prospekt Unger & Hoffmann Drasden-A. 28 Berlin C. 19