Der Kinematograph (March 1919)

Page scan 000250 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
March 1919
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (March 1919)
Leaf #:
000250
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 Kiiiematograph Düsseldorf HN DER SCHÖNEN BLAUEN DONAU I genügt. “Der Inhalt des Films fei im Folgenden kurz skizziert: < Sommernachmittag I den jungen Grafen treibts hinaus an die Jchöne blaue Donau. £r hat den ganzen I Nachmittag mufizierf, Strauß'fhe Walzerweifen laffeu ihren Zauber nachwirken. Unter ■ fchattigem Baume läßt er fich nieder. Cr reckt fich, dehnt fidi und während er unbe- I wujit die feinen Rythmen des ewig fchönen Walzers fummend nachempfindet, fchläfi I er leifc ein. Cr träumt - ? Natürlich von nichts anderem als von der ‘Donaufee. I die aus den Wogen fteigt. fchön wie ein Märchen, berückend und bezaubernd, wie I es Feen nun einmal find. Sie tanzt leicht und befchwingt über die Wiefen. Ihr leichtes I weites Gewand wallt und wogt, die Sinne umfchmeichelnd und betörend. Unfer I Cräumer fchlägt die /lugen auf, feine firme wollen die fichöne Frau hafchen .... I vergeblich, ein Craumbüd wars, das ihn täujchte und neckte. Das Spiel wiederholt fich I noch einmal. Genau jo wie Strauß es in feiner Mufik gemalt. Immer lebendiger, I immer aufreizender und aufpe.tfchender dreht fich die Herrfcherin des fchönen blauen I Flujfes vor dem Jüngling. Das Spiel ift zu £nde. Ceis finkt fie neben dem Schläfer * RHEINISCHE / LICHTBILD / AKTIENGESELLSCHAFT * * BIOSCOP / KONZERN/ CÖLN *