Der Kinematograph (March 1910)

Page scan 00060 from Der Kinematograph

Record Details:

Title:
Der Kinematograph
Date:
March 1910
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (March 1910)
Leaf #:
00060
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
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 29, 2022
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Beilage zu No. 1310 der .Fachzeitschrift „Der Artist“ Der Xinematograph Organ für die gesamte projektionskimst. Düsseldorf, 16. März „KINEMACOLOR“ URBAN SMITH PATENTS LEBENDE BILDER IN DEN FARBEN DER NATUR, HAT AM 4. MÄRZ SEINEN EINZUG IN DEUTSCHLANDS KINEMATOGRAPHEN-THEATER GEHALTEN. DAS PALAST-THEATER DÜSSELDORF IST DAS ERSTE UND EINZIGE KINEMATOGRAPHEN - THEATER DER WELT, WELCHES „KINEMACOLOR“ VOR DER ÖFFENTLICHKEIT ZEIGT. „KINEMACOLOR“ WURDE IM PALAST-THEATER VON GELEHRTEN — FACHLEUTEN — DER PRESSE UND GELADENEM PUBLIKUM MIT EINEM SO SPONTANEN APPLAUS, SO WARMER ANERKENNUNG EMPFANGEN — UND DER SCHAUSTELLERISCHE ERFOLG WAR AUCH HINSICHTLICH DES THEATER BESUCHES EIN SO FÜHLBARER, SOWOHL ABSOLUT ALS AUCH COMPARATIV— DAS PUBLIKUM BRINGT DIESEM GRÖSSTEN FORTSCHRITT DER WISSENSCHAFT, DIESEM WUNDER MENSCHLICHER INTELLIGENZ — EINE SO GROSSE SYMPATHIE, SO GROSSEN ENTHUSIASMUS ENTGEGEN, DASS VORAUSZUSEHEN IST, DASS BINNEN KURZEM JEDES GRÖSSERE THEATER, WELCHES AUF DER HÖHE BLEIBEN, DEM PUBLIKUM ETWAS BIETEN, DIE KONKURRENZ AUS DEM FELDE SCHLAGEN WILL, „KINEMACOLOR“ AUF SEIN PROGRAMM NEHMEN MUSS UND WIRD. WIMFMArni OR“ ,ST DAS EINZIOE verfahren in „rvant DER WELT, WELCHES DIE REINSTEN FARBEN DER NATUR VON DEN ZARTESTEN ZU DEN REICHSTEN UND TIEFSTEN NUR ALLEIN MIT HILFE DER „SONNE“ REPRODUZIERT. KEIN MALEN I :: KEIN KOLORIEREN.! „KINEMACOLOR“-SZENEN SIND KEINE BILDER MEHR, SIE LEBEN UND - ZEIGEN DIE PLASTIK DER NATUR. DAS PALAST-THEATER, DÜSSELDORF GIBT DAS ALLEINRECHT DER AUFFÜHRUNG AN ERSTKLASSIGE THEATER IN GRÖSSEREN STÄDTEN WESTDEUTSCHLANDS ZU -.—m i— KULANTEN BEDINGUNGEN. - LIEFERT APPARATE, FILMS UND SÄMTLICHES REKLAMEMATERIAL