Der Kinematograph (April 1917)

Page scan 00012 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
April 1917
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (April 1917)
Leaf #:
00012
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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Der Kineraatogrsph — Düsseldorf No. 6j«. am . V. Erlebnis des Rat Anheim V. William Kahn-Serie ... Der Fall Clemenceau ...1 Frei nach dem berühmten Roman von H. Dumas Bearbeitet und Inszeniert von William Kahn Motto: Drei Frauen in einem Weibe. Drei Seelen in einem Leibe, Puppe. Künstlerin und . . Kurtisane Die sensationelle Rollenbesetzung... Pierre Clemenceau. Ludwig Hartau vom „Theater m der KöniggrätzersUasse". Berlin. Der genialste Strindberg-Darsteller der Welt, der zulstzt bei der Erstaufführung »om „Totentanz“' von dem bekannten Kunst¬ kritiker Alfred Kerr folgendermassen besprochen wurde „Hartau war wie ein Druck. Ein Toter, wandelnd. Aeusserlich zwischen einem grau¬ haarigen Gorilla, einem Neger-Affen, dem Antlitz Kuno Fischers und einem Gespenst. Als dieser Hartau. der heute vermutlich der tiefste Mann-Darsteller auf deutschen Szenen i*«, im Stuhl sass. Menschliches im Auge, fühlte man den Unterschied gegen Wegener . Wegener war lastend gewaltsam, prahlhänsig. unfähig, böse, krank, Mitleid packend, aber Hartau hatte das Menschenlos im Auge das Menschenleid Rat Anheim .. Carl Auen Iza Dombronowska.. Mart Orlanda vom Theater des Westens. Berlin vom Kgl Theater. Copenhagen Kunstmaler Rietz Bruno Ziener, Lessing-Theater. Berlin Konstantin, dessen Sohn Rolf Brunner, Lustspielhaus, Berlin Baron Leuven Lupu Pick, Kleines Theater, Berlin Serge Vitanoff . J. Falkenberg, Lessing-Theater, Berlin Gräfin Dombronowska L. Hoermann, Königgrätzer-Theater, Berlin Frau Clemenceau, Pierres Mutter Marga Köhler, Residenz-Theater. Berlin William Kahn-Film G. m. b. H. Berlin SW. 48, Friedrichstr. 238 Fernspr : Amt Lützow 389 Telegr.-Adr. Kahnfilm Berlin