Advertisement in Erste Internationale Film-Zeitung.1
As the surge of the Monopolfilm in Germany began at the end of the year 1910 it transformed the way cinemagoers perceived films. A transition from a program based approach to a centric one pivoting around feature films took place and alongside promotional practices changed with it. While it was common practice for a production company to accompany a release with posters the aspect of promotion evolved over the months as well.
(more…)Continental-Kunstfilm-Gesellschaft was a Berlin based production company that emerged in spring of 1912.1 Originally founded as Schmidthässler-Film-Gesellschaft on October 23, 1911, by Max Rittberger and the actor Walter Schmidthässler the company was later converted to Continental-Kunstfilm-Gesellschaft (in this article abbreviated as CF).2
(more…)List of publications that were published under the Kino-Bibliothek label by the Filmtext-Verlag, Berlin.
(more…)Doing research in trade journals I once came across an article featuring photos of the premises of a distributor. Before that I actually knew almost nothing about distributors apart from the obvious historic legacy like ads, texts and promotional material that usually revolves around the films rather than people and the space behind it. Therefore a peek inside is mend as a category of stories that will give an unusual glimpse into to microcosm of film distribution.
The following photos accompanied an article about the visit to the distributor Martin Dentler that was published in April 1912 in the German trade journal Lichtbild-Bühne.1Lichtbild-Bühne, 06/04/1912, no. 14, p. 25–27, available at archive.org Not only picturing the words of the author they very well represent the divers tasks and activities of a distributor.
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