Der Kinematograph (April 1932)

Page scan 0009 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
April 1932
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (April 1932)
Leaf #:
0009
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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1_R_ PREM,f ^£A UCHT Gemeinschaftsarbeit von LENI RIEFENSTAHL BELA BALACZ / HANS SCHNEEBERGER LENI RIEFENSTAHL/MATHIAS WIEMANN IM Originalmusik GIUSEPPE BECCE BEGEISTERTE PRESSE! Glänzende Leistungen waghalsiger Kletterkunst. Berl. Morgenzeitung, 26. 3. 32 Es sind schon viele und gute Hoch- gebirgsfilme über die Leinwand ge¬ gangen, doch dieser stellt den Höhe¬ punkt dar . . . Stürmischer Beifall. Deutsche Zeitung, 25. 3. 32. Das Publikum, hingerissen von den Wundern der Alpenwelt, überschüttete . . . Leni Riefenstahl mit Beifall. Neue Zeit, 27. 3. 32. Einfach herrlich . . . Schon als bloße photographische Leistung wird der Film zu einem ungewöhnlichen Genuß. Berl. Börsenzeitung, 26. 3. 32. Naturaufnahmen von ungeahnter Schönheit . . . Der Film ist einzigartig. Der Abend, 26. 3. 32. Höhepunkt und Sensation der gefähr¬ liche Aufstieg an der Felswand . . . Vossische Zeitung, 25. 3. 32. Die höchsten Erwartungen wurden nicht enttäuscht . . . Das schlichte Spiel der Bauern des einsamen Sarntals . . . gehört zu den ganz großen Leistungen des Films . . . Bilder von grandioser Pracht . . . Meisterwerke der Photo¬ kunst - . . Stürmischer Applaus. Lokal-Anzeiger, 27. 3. 32. Eins der wundervollsten Filmwerke. Film-Journal, 27. 3. 32. Von allen Bergfilmen . . . der wunder¬ barste. Der Film, 26. 3. 32. Zwei Stunden filmischen Erlebens, beglückenden Genießens. L B. B„ 26. 3. 32. Die Dolomiten ... in berauschenden Bildern, gepriesen von einer meisterlich beherrschten Kamera. Tempo, 26. 3. 32. Ein Film zu den unvergeßlichen zu stellen. Ein Film von Dauer. Film Kurier, 26. 3. 32. 2. WOCHE PROLONGIERT UFA-PALAST AM ZOO