Der Kinematograph (November 1927)

Page scan 00065 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
November 1927
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (November 1927)
Leaf #:
00065
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 27, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

|?eunxl)rte#*^c^leufö aber- dm erfkirGnui $&wnin£s- , ^. l^ravnount-film . ^jjjjj^. S§ Df&VflES- ® ALLEM FLEISCHES IfauF^ofk RE&IE' VICTQgjR-EniN6^ Der Film ist ohne Zweifel einer der besten aller Zeiten. JVeu> Kort Evening Graphik. Es waren stumme, erschütterte Zuschauer, die das Theater nach der Premiere verlieSen. New York Morning World. Der Film ist einer der besten. Jannings' starke persönliche Note sowie die fabelhafte Technik zwangen jedermann zur Be¬ wunderung. New York Sun. Dieser Film ist ungefähr das technisch Vollkommenste, was bis jetzt produziert wurde. New York American. Jan-iings ist ein vollendeter Künstler. Der Film hat keinen schwachen Punkt. New York World. Der Film ist ein starkes, ergreifendes Drama . . . Jannings ist der größte lebende Filmschauspieler. New York Mirror. Jannings. der größte Filmschauspieier der Welt, übertrifft noch „Der letzte Mann und „Variete", Los Angeles Express. „Der Weg allen Fleisches" ist ein wirkliches, inhaltsreiches, erstklassiges Drama der Leinwand und übertrifft alles, was deutsche oder andere ausländische Studios je herausgebracht £o*ulow Tamar Lane in The Film Mercury. Von dieser Art Schauspielkunst im Film können wir nichl genug zu sehen bekommen. London Kinematograph Weekly „Der Weg allen Fleisches" kann als die beste Fusion zweiei großer Schulen der Filmproduktion angesehen werden. London Daily Film Renler. Jannings versteht es in „Der Weg allen Fleisches" vorzüglich, deutschen und amerikanischen Geschmack miteinander zu ver¬ schmelzen: dieser Film wird in jedem Land einen Kassen¬ schlager darstellen. Lichtbildbühne. 27 6. 27 Uraufführung in Berlin am Montag, den 21. November 1927