Der Kinematograph (1912)

Page scan 00054 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
1912
Volume:
Der Kinematograph (February 1912)
Leaf #:
00054
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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= Eine Woche == nur trennt uns vom 24. Februar — dem Ausgabetage des tonangebenden grössten Sensations-Film dieser Saison. .•’TODEBOnFF (975 Mark inkl. Virage). DAS TODESSCHIFF bringt nach Aeusserung bedeutender Fachmänner eine schon lingst erwOnschte Umwälzung in der Art der kinemato- graphischen Darbietungen. DAS TODESSCHIFF bedeutet einen gewahigen Schritt aufwärts in der Qualität und im Ansehen der Vorstellungen. DAS TODESSCHIFF IST IN BERLIN VOLLSTÄNDIü ZENSIERT, AUCH FÜR KINDER. DAS TODESSCHIFF hat seine aufregendsten Szenen direkt der Natur abgelauscht und bringt Momente zur Schau, die noch nie jemand weder im Theater noch im Kinematographen - Theater zu sehen in der Lage war. DAS TODESSCHIFF wird deshalb ein Förderer der Kinematographie „par excellence“ — wird das teilweise theatermüde Publikum wieder in neuen Massen fOr lange Zeit in die Uchtbildtbeater fuhren und den Theatern viele Wochen lang Einnahmen gewähren, die anssergewöhnlich genannt werden dürfen. Noch ist es Zeit für jedes Theater, sich DAS TODESSCHIFF beim Verieiher CnRLUIHSE.DOSSELINIIlF Telephon; 7941. Telegr.-Adr.; Lobse, Düsseldorf.