Der Kinematograph (May 1929)

Page scan 000156 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
May 1929
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (May 1929)
Leaf #:
000156
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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Atelier-Schnee Ernst Lubilsch Was sic vom Sprechfilm denken ndfragc in Hollywood von unserem Sonderberichterstatter Dr. Erwin D« i erster Linie befähigen, • Kunstform abzugeben, h lebt seit acht Jahren i r Filme geschaffen, wie • n-.cn, die es bisher nicht mit cinbarcn können. In der kurzen Zeitspanne leistet worden. Es handelt ! ein anderes Probt« geben kann. Denn wir Menschen. auf das erst die Zukunft dt eder einmal ist das Problem sprechende Film krankt heute genau an cn Unmöglichkeiten, an denen sein seit krankte und totgesagt wurde, stumme Film ist eine Kunstgattung, di vermittelt wird. Der mimische Aust »ein. daß er das Wort überflüssig mach sollte, die phonetische Wiedergabe auf die Höhe d< cn zu bringen, dann kann keine Frage sein, daß de ende Film gesiegt hat. Ob jemals diese technische Wi< •c der menschlichen Stimme gleichkommen wird — da ist fast keine Bühnenkünstlerin auch eine Filmkünstlcrin. I mit .Doubles' zu arbeiten, ist sehr schwierig. .Broadway Melody‘, das gegenwärtig in New York seit m reren Wochen läuft, bedeutet bereits einen erheblichen Fc schritt in der Aufnahmetechnik. In diesem Sprechfilm ist sc typische Bewegung, und der Film ist nicht mehr nur in eil Zimmer heruntergedrebt. Mit einer vervollkommnten Wiedergabe wird der Sprcchf ein großer Fortschritt gegenüber dem stummen Film sein i sich ganz bestimmt durchsetzen. durch da: