Der Kinematograph (1912)

Page scan 00020 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
1912
Volume:
Der Kinematograph (February 1912)
Leaf #:
00020
Language:
German
Collection:
Germany, Hollywood Studio System, Global Cinema, and Early Cinema
Format:
Periodicals
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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Oer Kinemsiogrmiih — Diünldorf.V Gloria-Lichtschild Oscar Burkhardt, Abt A., Frankfurt a. M. FIrmenachilder-, Uchtschilder- und SchanlcMten-Fabrik. Triplar-Objektivel SCiSlBllS SCllaißr-lfBrllil Wer das beste bieten will, wer seinem Publikum Licht¬ bilder von '„geschnittener Schlrfe“ zeigen will, benutze als Objektiv das ausser¬ ordentlich lichtstarke Stein- a heilsche Anastigmat a „Triplar“ Das Instrument wird auch in Tnbenform gelieiert, und zwar in verschiedenen Brennweiten. FOr kinematograpbiiche Aufnahmen gibt es kein besseres Objektiv und kein lichtstarkeres als das Neu-Triplar 1:2,5. Ed. Liesegang, Düsseldorf Kcgrdndet 1854 == Projektions - Apparate, Kinemato- graphen und Lichtbilder. Passionsspiele. Sklave der Uebe. Giack auf. Wenn die Uebe sUrbL Die Tochter der Eisenbahn. Die lustigen Schladiterfrauen. Eine von Vielen. Leo Sapperloter. Der Leidensweg einer Frau. Die Asphaltpfianxe. Der Rächer seiner Ehre. Ein Uebesleben. Dr. Gar el Hama. Dia vier Teufel. Verirrte Seelen. Ballhaus-Anna, ii. TsU. Der Glöckner von Nolra-Dame. Sündige Uebe. Der Schandfleck. Der Aviatiker und die Frau des Journalisten. Die Opfer des Alkohols. Das befreite Jerusalem. Das gefähriiche AHer. Die t^rsuchungen der GrosstadL Aus Deuteohlands Ruhmeatagen 1870 - 71 . Kurier von Lyon. Eine tolle Nacht. riappsitze für ■InematograplKiL a Perlen bedeuten Tränen, n Die weisse Roee der Wildnis, rt Die Brieftaube. rflter & Co.. Zelte. III BdolphSdiiiidler. leiHKDUadi l sal I IIM I C* D Negativ und Positiv L U Iwl I k la k psilwlsrt eed eiipsrtsrtort 7715 KINO-FILM nr Mater-sBaltoMidulinra : IfuM-OtHMchramaL Mat LumMra & JougU, MOIhauMn L Eh.