Der Kinematograph (March 1929)

Page scan 0008 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
March 1929
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (March 1929)
Leaf #:
0008
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
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.

folg halle, so nur deshalb, weil eine originelle Regie das Stück lebendig machte. Fern allen märchenhaften Elementen, konnte vor drei Jahren ein Reißer von Rene Fauchois die Bühnen er¬ obern. In Berlin wurde dieses Boulcvardstück mit l’aul Graelz in der Hauptrolle eine ganze Saison lang vor- geführt und gefiel in allererster Linie weil Graelz sich mit Hilfe seines Friseurs eine fabelhafte Maske z-recht¬ gemacht halte. Der ..Sprechende Affe" ist ein Schau¬ spieler. der wegen seiner Häßlichkeit überall Anstoß erregt, deshalb in ein Affenfell schlüpft und nun als Schimpanse mit menschlicher Intelligenz weit und breit berühmt wird. Es ist also eine Umkehrung des Themas MENSCHEN iner seiner Vorgi Jahrzehnten in seinen Grotesk« Kinos gefacht wurde, bärbeißigen Schwic- unt< r ein Tierfell :hreckt« «then Farbenrausch gestattete: und Varielö und Zirkus endlich entlehnten der Tiermaske das groteske odet Edmond Rostand. brachte in schönen Versen einen Hühnerhof mit all seinem Getier auf die Bühne, aber wie Zuschauer fanden den Spaß etwas langgezogen, obgleich man um 1910 noch mehr V'crständnis für eine Satire hatte die sich in das Federkleid hüllte, weil man anders gewisse politische und gesellschaftliche An- 5 Piclungen nicht aussprechen konnte. Die Massary