Der Kinematograph (November 1920)

Page scan 0002 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
November 1920
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (November 1920)
Leaf #:
0002
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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DttinMirf, 7. Novtmbtr 1M0. Dom IDüsen des LidilspieldraiUL Von Dr. Oskar Kalbus, wissenschaftlicher Referent der Kultur-Abteilung der Ufa. Das Theaterdrama muß sich den technischen Be (lingungen der Bühne anpassen. Eine enge Bretter¬ veit, Kulissen, Sofitten, d. h. tote Materie, nirgends eigentlicher Puls des Lebens. Der Bühnenapparat kcnnxeichaet und motiviert daher auch die dramatur¬ gische Funktion des Theaters, baut die Handlung des Theaterdramas auf und veranschaulicht es. Eine ge¬ rollte großzügige Disposition der Handlung wird ge¬ hindert durch die Schwerfftlligkeit des Szenenwechsel« Und durch die traditionelle Elinteilung in Akte. Machte die unverä»'derlich feststehende Bühne im antiken Theater die Einheit des Ortes notwendig, so ist auch das modernste Theater, von den wenigen Drehbühnen abgesehen, über die Ortseinhei: des Aktes kaum hinaus gekommen. Der Zeitraum der Handlung ist nie durch¬ brochen, die Ereignisse stets zeitlich ineinander ver¬ woben. der Wandel des Bildes unmöglich. Diesem künstlerischen Aufbau der örtlich und zeitlich fest zusammengefügten dramatischen Hand lung ging Shakespeare dadurch aus dem Wege, daß er Dekorationen vermied uni den Ort der Handlung durch einfache, stets auswechselbare Tafeln anzeigte, um so die Lichtspieltechnik unserer Tage unbewußt .zu ahnen, bis die Franzosen und ihre Nachahmer da« Drama wieder mit größter Virtuosität in eine rein technische EInge trieben. Ihre Kunst ist auch heute [ Die Jagd nach dem Tode I. Teil I I Di« wmrhmUmm Stadt I (11. Teil aus dem iteiligeii Zyklus Dsr «arte uad Rtgi«: Karl Sari i arfit «rueds bui der later i sss af n-Vuiiühruog in d«a