Der Kinematograph (December 1910)

Record Details:

Title:
Der Kinematograph
Date:
December 1910
Publisher:
Düsseldorf: E. Lintz
Volume:
Der Kinematograph (December 1910)
Leaf #:
00040
Language:
German
Subjects:
Motion Pictures, Film Industry Trade Magazine","German Cinema
Collection:
Early Cinema, Global Cinema, Hollywood Studio System, and Germany
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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Der KlnematoKraph Düsseldorf. No. 207. Selbst schuld ist die Kinematographie, wenn sie noch Feinde im Publikum und in der Presse hat und wenn der grösste Teil des guten Publikums den „Kino*-Theatern prinzipiell fern bleibt. Der riesenhafte Erfolg des Theater-Dramas: ABGRÜNDE (in zwei Akten von Urban Gad) beweist, dass es der Theaterbesitzer selbst in der Hand hat, ohne jede Extra-An¬ strengung das Publikum jeder Gesellschaftsklasse heranzuziehen und dauernd zu behalten. — \ D Dil X] E) p« hat in allen Theatern, wo es bisher gezeigt wurde, 1 ^ mit einem Schlage das beste Publikum herangezogen. Selbst die Kinematographen feindliche Presse ist wie durch ein Wunder umgewandelt und bringt empfehlende und bewundernde Artikel über „ABGRÜNDE“. Seit 3 Wochen jeden Abend enorme nie dagewesene Einnahmen durch „ABGRÜNDE“. So hört man von jedem Theater, welches sich „ABGRÜNDE“ zu verschaffen gewusst hat; — jeden Tag wird der Andrang des Publikums grösser; das Publikum macht die Reklame für „ABGRÜNDE“ von selbst. Monatelang könnte jedes Theater „ABGRÜNDE* auf dem Programm haben und der Erfolg würde mit jeder Woche wachsen. Jeder Theaterbesitzer sollte daher — ehe zu spät — für einige Wochen „ABGRÜNDE“ bestellen bei der Düsseldorfer Film - Manufaktur Ludwig Gottschalk, Düsseldorf Oststrasse 13. Telegramm-Adresse: Gottschalk, Oststrasse. Düsseldorf. Telephon No. 2528.