Der Kinematograph (November 1913)

Record Details:

Title:
Der Kinematograph
Date:
November 1913
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph November 1913
Leaf #:
000236
Language:
German
Subjects:
Motion Pictures, Film Industry Trade Magazine","German Cinema
Collection:
Global Cinema, Germany, Hollywood Studio System, 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. 3«0. Der Kinematograph —- Düsseldorf. Irtitw Stunde »ui <1 1 <- hnHoni Einsicht i:m) praktischere Mmm- auffassung uiiM'ivr Volksvertreter zu app. lli.ren und den Nachweis zu versuchen, w ie wenig die der Novelle ei •• -,»t licli zugrunde liegende Besorgnis angebracht erscheint. die l.ielit liidllieater Heien der Ruin <Mler mindesten« ein Hcinntnie für da S| r-chtltenter. und dadurch eine ticfahr für die Kultur und die Htyclio Unsens« Volkes. Die in der Denkschrift des liühucu Vereins licdergclegtcn Argumente gipfeln in der These: Nicht i ie n'lgentciue Teuerung, nicht der Minderwert «ler theatralischen K<»l und der Schauspiel«-, rischen Leistung, sondern einzig und allem das Kino sei schuld <ui dein u irt schalt liehen N ii-tlrrgang der Sprecht heul er. Deshalb uicilcr mit di'tn Kino, sofern es sielt anmasst. nicht nur Ia-lehrcndcn Zwecken dienen, sondern auch Theater sein zu wollen. I 'nd «lass es dies will, dass es dies vor allem will, das werde ja auch von den l.ielitbild- theatern nicht I» stritten! „Allerdings wi-d «lies nicht ln««trittcii. Uestritteu wird aller. dass das Kino an det Niedergang der Sprcrli- Iinline schuld sei und dass cs ..als Theater" I- ein • I laaeinslicriH'ht igmig hals-. Im tiegenteil! Ks wird liehauptet. dass «las Kino nicht nur als w iss4*ns«'haft lieh erzieherisch-hihlendcs Agens, soudi-rn sogar ganz besonders als Theater ein Kulturfakt« r allere-sten Ranges ist. Nicht als Theater, das nueh der laue'sl als irrtümlich erkannten An «las SprechtlMntcr. au« h i‘iiimal von vorgeführte «Irans im Film Ile» linde Stücken, nach den Wertteil, solange d goschlorlit « rzeut Man muss «lal wnrf protestieron. IS. im < iegi'nteil fi ilie sich auf dem •. «sh-r aus dem vor» uiiils llertiuskoinnii Schaden der guten hlikuui gew innen k dass er durch das IlehlM-Tsi-hen Drat so luit is« anderer»