Der Kinematograph (September 1926)

Record Details:

Title:
Der Kinematograph
Date:
September 1926
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (September 1926)
Leaf #:
00029
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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Seite 28 Rinemntograpl) Numir • ■ 1020 Nur eine Tänzerin (Verfluchtes Geld) Der erste Lil-Dagover-Grotjfilm der Produktion Isepa-Wengeroff ist demnächst vorführungbereit / Die Aufnahmen wurden soeben beendet Oberleitung: Direktor Osk. Hemberg (Svenska-Film, Stockholm) Manuskript : Dr. Merzbach und Olov Morel-Molander Regie: Olov Morel-Molander Besetzung in den Hauptrollen: Lil Dagover, Berlin Lucie Höflich, Berlin K-‘»Sw.n,lrön.,Stod,hol m Har , H .lm, B , r]in Clemenline Plessner . A"n« Li.»Ryd.„8 . Hcrm.nn Pich. . Jakob Ticdike . Jv.nHcdqu.al . HugnPöblln . ' , . Uno Henning ,, ... Walter Jansscn , „ . , . . , B Hans Alben INiI* Anrcn . Hugo Pöblin Hans Albers Entwürfe und Ausstattung: Architekt Franz Schroedter, Berlin Künstlerischer Beirat: Professor Wassily Masjutin, Moskau / Aufnahmeleitung: Landsmann, Bei Operateure: Planer, Berlin, Hugo Edlund, Stockholm ✓ Photographie: Oertel Der zweite Lil-Dagover-Grofjfilm Der starke Mann (Aenderung des Titels Vorbehalten) wird zum 15. November 1926 fertigg' stellt Regie: Gustav Molander Welfvertfrieb: Iflisa - Film - Vertrieb £ « Berlin SW 11, Dessauer Str. 2 Tel.: Kurfürst 2077