Der Kinematograph (November 1919)

Page scan 000119 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
November 1919
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (November 1919)
Leaf #:
000119
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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IIID Der Kinematograpb — Düsseldorf. □III EMIL SCHI vermietet und besit; Der Titanenkampf .5 grandiose Akte, nach dem gleichnamigen, in sämtliche Kultu Irauiiflhmno: Freilog, den 28 . November (und Glänzende Pressebesprechungen folgten der Pressevorstellung i» „Düsseldorfer Nachrichten“ [General-Anzeiger] „Ein neuer italienischer Film .FABIOLA'. In einem Genre scheinen vor allen die Italiener überlegen zu sein 1 im Massenfilm. Bereits vor etwa sieben Jahren hat der Quo vadis-Film die Richtigkeit dieser Behauptung erwiesen, denn er hat einen Erfolg rund um die ganze Erde erzielt, wie nie vor ihm und bisher nie mehr nach ihm ein Film. - Nun hat diesellre Cines < «Seilschaft in Rom. die ihn schuf, wieder einen Film geschaffen, der demnächst auch j in Düsseldorf aligekurbelt werden soll, der die Quo vadis-Leistu ng infolge der im allgemeinen fortgeschrittenen Technik noch übertrifft, und den man als ein Meisterstück schlechthin '«zeichnen kann: Die Verfilmung des historischer Romanes von KARDINAL NICOLAUS WISEMANN FABIOLA. Dasselbe grandios schaurige Thema wie in Quo vadis: zwei Welten, das untergehende Rom und das auf blühende Christentum, in leidenschaftlicher Verstrickung Noch hat das Heidentum die Macht, mit fiewalt glaubt es, das .Liebet euch untereinanderh niederzuhalten. Das Christentum siegt trotz schmerzlicher Opler. Rom fiebert in Kämpfen. Tausend klein* Episoden mosaiken einen gewaltigen Gedanken, dessen Erkenntnis das auslüst, was jedes Kunstwerks Ziel und Voraussetzung ist: sittliche Erkenntnis. Was in erster Linie an dem Fabiolafilm verblüfft, ist das Spiel von Tausenden von Menschen mit einer Sdbstver-