Der Kinematograph (April 1922)

Record Details:

Title:
Der Kinematograph
Date:
April 1922
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (April 1922)
Leaf #:
00097
Language:
German
Subjects:
Motion Pictures, Film Industry Trade Magazine","German Cinema
Collection:
Early Cinema, Global Cinema, Hollywood Studio System, and Germany
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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So. 780 Der Kinematograph Düsseldorf mögliche Angewöhnung des Schulkindes un .synthetisches Denken ein. das durch den Zwang der Heclienscha tsablegung über den ge¬ sehenen Film erreicht werde, wie zugleich die Gewöhnung an selb¬ ständiges Denken und Fähigkeit klarer Wiedergabe befördere. Er verbreitete sich dann eingehendst über die einzelnen Arten des Lehr- films, den er in geographische, zoologische, lsitanisehe. biologische, mathematische, medizinische, historische und Tum- ui d Sportfilmc gliederte. Neuland bedeutet der Märchenfilm, etwa in der modernen Aufmachung von „Elfeiisaulier". l'eber :las 8ysteni der Kim. gemeinde durch das der zur Zeit aus finanz: -Heu Gründen schlinunst gefährdete Lehrfilm über böseste Klippen hhiwegkonunen könne. Düsseldorf. Die Hhem.-Film Ges. verunstaltete in den DecI >1 -Lichtspielen < sorgfältige Vorbereitung nicht nur auf stand, sondern sich wirklich bei den Er machte. Gezeigt wurde der Deulig-t Acker“, der von dein Hamburger Hefe ausführlich gewürdigt wurde. Also bleibt .hui Reer Bamsfaim mH seinen tnCbn zu viel versprochen lutt. ,.I>er brennen deutscher Bodenständigkeit, ist in allen 7 (Willy Haas. Thea v. Halls.,i „ml Art Im . Film Ges. in. b. H. (Deulig-Konzern) iehtspielen eine Sondervorfühmng. deren ht nur auf «lern Papier der Einladung lau den Erschienenen angenehm fühlbar Deulig Goron-Fillii ..Der hrriiiiotidc ger Referenten dieses Blattes bereite Iso bleibt mir mir. kurz auzuerkeuneii. i treffenden Einftthrungssätzen nicht brennende Acker", eine Ballade von in allen Teilen, sowohl was Manuskript »I Arthur Kosen) und Bauten (Kochus