Der Kinematograph (July 1931)

Page scan 000142 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
July 1931
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (July 1931)
Leaf #:
000142
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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gtvße Operettenfilme IN DER HAUPTROLLE OER BEIDEN MIME. J O S £ WEDORN Ausstattung: ROBERT NEPPACH / Tonsystem: TOBIS-KLANGFILM Eine Klasse von Filmen hat immer die Massen in dieTheoier gezogen, ein Genre hot sich in immer gleichem Maße in der sonst so wandelbaren Gunst des Publi¬ kums zu behaupten gewußt: der große Operettenfilm Ein witziges Buch — populäre, ins Ohr gehende Musik — prächtige Ausstattung — beliebte Dar¬ steller - dos sind die Voraussetzungen für den großen Publikumserfolg des Operettenfilms. - Auf dieser Erfahrung fußend, werden wir mit diesen . -pEMl J^SciT )ie <offeiv»Herrn O.F Nach der gleichnamigen Komödie von HEINZ HOMBERG REGIE: ALEXIS GRANOWSKY Die Komödie, die diesem Film zugrunde liegt, erzählt die Ge¬ schichte einer kleinen Stadt, die ihren wirtschaftlichen Aufschwung in fast amerikanischem Tempo einem lächerlichen Irrtum verdonkt. Zwölf große Schrankkoffer rollen eines Tages in das verschla¬ fene Städtchen Ostend, mit den geheimnisvollen Buchstaben O. F. gezeichnet, und ein Telegramm fordert die Reservierung von 12 Hotelzimmern. Die Stadt fiebert vor Neugier, wer ist dieser Herr O. F., was beabsichtigt dieser anscheinend märchenhaft reiche Herr O. F.? Alles drent sich um Herrn O. F. Das Hotel wird auf¬ gestockt, der einfache Friseur Schulze verwandelt sich in einen „Coiffeur Figaro", der Moterialwarenhändler wird zum „Traiteur", eine Bar, Weinlokale.Tanzdielen schießen wie Pilze aus der Erde, - Ostend wächst in rasendem Tempo zur Großstadt - bis der Irrtum sich aulklärt und die noch Ostende bestimmten Koffer auf Umwegen heimlich aus Ostend fortgeschofft werden. — Eine Zeitsatire, wie sie lustiger, ironischer nicht gedacht werden kann. iPBisT