Der Kinematograph (June 1924)

Page scan 0001 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
June 1924
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (June 1924)
Leaf #:
0001
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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ELISABETH BERGNER- EMIL 3ANHINGS - CONRAD VEIDT In einem Berliner Blatt hat sich unter dem Pseudonym K-UIisses ein geschmackloser Mensch eine bedenkliche Entgleisung geleistet, die sich auf die Zusammenarbeit zweier großer Künstler in unserem Film bezieht. Wir betrachten es natürlich nicht als unsere Aufgabe, bei Mangel an jurnalistischer und menschlicher Kinderstube pädagogisch zu wirken und können über die Sache an sich glatt hinweggehen; ist doch derartiger Ate'iierklatsch für Persönlichkeiten wie Elisabeth Bergner und Emil Janmngs nicht bedeutsamer, als das Gekläff des Hundes für den Mond. Wenn uns diese Angelegenheit überhaupt Anlaß zur Äußerung gibt, so geschieht dies nur aus einem einzigen Gesichtspunkt; man ist einem Künstler vom Range Emil Jannings die Feststellung schuldig, daß die ihm unterstellten Äußerungen, durch die ihm in gehässiger Weise Mangel an Ritterlichkeit, an menschlichem und künstlerischem Takt insinuiert wird, selbstverständlich niemals von seiner Seite gefallen sein können und sind. Für einen Künstler ist es schwer, sich persönlich gegen jur- nalistischen Klatsch zu wehren, der sein Charakterbild in den Augen der Öffentlichkeit verzerren soll. Wir möchten dies hiermit für ihn getan haben. MANWKRIPTu.REGIE PAUL CZINNER* : J AUL CZINNER - PRODUKTION DEPs Rh. . v . . IN BERLIN NW6 5CMIFFBAUERDAHMV 20* FERNSPRECHER: NORDEN5747 Telegramm-Adresse: Rimax-Film