Der Kinematograph (February 1929)

Page scan 000166 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
February 1929
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (February 1929)
Leaf #:
000166
Language:
German
Subjects:
Motion Pictures, Film Industry Trade Magazine","German Cinema
Collection:
Germany, Global Cinema, Hollywood Studio System, 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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SefeiMONA LISA muß ßerftaßen... D ie wirklich berühmten Gemälde, von denen alle Vt'clt spricht, kann man sich an den Fingern der Hand ab- zählen. Zu ihnen gehört in allererster Linie die be¬ rühmte Mona Lisa, vielumstritten, vielnachgcahmt und viel- rc produziert. Wen wundert es weiter, der die Phantasie des amerikani¬ schen Films kennt, daß auch dieses Gemälde eines Tages irgendwie dazu herhalten mußte, den Ruhm eines Filmstars zu verkünden. Lillian Gish hat das Experiment gewagt. Jene pikante, interessante Darstellerin, die hier in Deutschland in letzter «it besonders oft genannt wurde, weil kein Geringerer als rofessor Reinhardt mit ihr in Hollywood einen Film drehen sollte. Heute weiß man, daß dieses Bild nie das Licht der Lein¬ wand erblicken wird, und die Eingeweihten behaupten, daß das eigentlich kein Fehler sei, weil man nur vor einem wenn auch interessanten Experiment bewahrt bleibe. Der große, bedeutende Biihnenregisscur hat vor \ iclen. vielen Jahren schon einmal versucht, im Film Regie zu führen. Damals drehte er mit viel Geld und viel Ambition die „Insel der Seligen", allerhand großangclegte Szenen, die vielleicht, wenn sie wirklich irgendwo in einer großen Arena zur Vorführung gelangt wären, starken Beifall gefun¬ den hätten, die aber als Film beinah unbrauchbar waren, weil es ein großer Unterschied ist, ob man für die Bühne arbeitet oder für das Lichtspielhaus. Reinhardts Kollege Barnowski hat beim Film dieselbe