Der Kinematograph (January 1913)

Page scan 000111 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
January 1913
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph January 1913
Leaf #:
000111
Language:
German
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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No 315. Der Kineniatograph — Düsseldorf. städtischen Billett kontrolle gemacht worden sind und cs also dom Oberbürgermeisteramt uiict den Sfadt verordnetcn freisteht, diese Ziffern auf das Genaueste nachprüfen zu lassen. Pariser Clnrnts. Hohestrasse. Ihe Kinnahmen betrugen vom I. 9. his 30. 11. 1911.Mk .-,6 970.55 gegen 1»«2 Mk. 42 326,45 im gleich«!! Zeitraum des Jahres 1912. I>in AnwAsn betrugen vom 1 . 9. his 30. II. I»ll Mk. 33 039.61 l»IS . 45 537.18 W ahrend als» 1911 noch «in M -hr Einnahme von Mk. 23 »30.95 vorhanden war. hat sieh 1912 in der Hochsaison eine rnterbilanz von Mk. 3 210,73 ergeben. Vorjahr eine bedeutend verminderte Einnahme war. während andererseits die Steuern eine solch erschreckende Höhe angenommen haben, dass alle Theater mit Unterbilanz arbeiten. Die Ursachen, soweit sie nicht bereits angegeben worden sind, liegen klar auf der Hand. Zunächst einmal hat «las Matinee verbot, welches erst in diesem Jahre in Kraft getreten ist. einen ziemlich schwerwiegenden Einfluss auf die Einnahmen gehabt und sie bedeutend reduziert. Dann ist durch das gänzliche Verbot des Kinderbesuch es den Lichtbild-Theatern direkt die Existenz geraubt worden. Es handelt sich ja nicht allein darum, dass die Kinder nicht mehr ins Theater kommen, nein, was die Hauptsache ist. auch die Eltern und Verwandten, die bisher in Begleitung der Kinder unsere Th -ater besuchten, hleihen jetzt diesen vollständig fern, weil sie die Kinder während dieser Zeit doch