Canadian Film Weekly (May 19, 1943)

Page scan 0000 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
May 19, 1943
Volume:
Canadian Film Weekly (May 19, 1943)
Leaf #:
0000
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Canada, Hollywood Studio System, and Global Cinema
Format:
periodicals
Contributor:
Media History Digital Library, Canadian Picture Pioneers, Paul Moore and Jessica Whitehead
Coordinator:
Media History Digital Library
Description:

Canadian Film Weekly

  • Editor: Hye Bossin (1942-64)
  • Renamed Canadian Film & TV Bi-Weekly (1965-69, editor: Stan Helleur)
  • Renamed Candian Film Weekly(1970, editor: Ed Hocura)

Canadian Film Weekly (1942-70) was edited by Hye Bossin and published by Film Publications of Canada, Ltd., wholly owned by leading exhibitor, Nat Taylor. In the late 1930s, Taylor was head of the Independent Theatre Association and his Toronto-based chain, Twinex-Century (Twentieth Century), was the largest independent circuit in the country. In 1941, however, he negotiated for chain affiliation with upstart Canadian Odeon before leveraging a better deal and greater booking control with nationally-dominant Famous Players Canada, Ltd. No longer independent, he took ownership of the Independent Theatre Association’s semi-monthly magazine, The Canadian Motion Picture Exhibitor (1940-41), installed Hye Bossin as editor, and laid plans to relaunch in January 1942 under a new name, Canadian Film Weekly. This enduring key publication was no longer solely focused on independent exhibitors but instead covered the entire industry on a national scale–exhibition, distribution and production–with some attention given to studio news from New York and Hollywood.

Bossin was a vibrant writer with a canny way with words, admired in the industry in the United States as well as Canada. He was one of a large family who lived above their father’s secondhand shop in the Jewish “ward” downtown in Toronto. His older brother was a bookie with ties to the underground; his younger brother was a famous journalist, protégé of Walter Winchell, and Hollywood screenwriter. In contrast, Hye spent nearly two decades learning the publishing trade in a printers’ shop before trying a stint as a Hollywood publicist, then writing a column for the Toronto Star Weekly before taking Taylor’s offer to edit the Film Weekly. Bossin was central to the creation of the Canadian Film Archive, the Canadian Film Awards, and he wrote some of the first histories of early cinema in Canada, published in the first volumes of the annual Canadian Film Weekly Year Book (1951-70).

In 1957, the Film Weekly had incorporated the rival Canadian Moving Picture Digest (1917-57), and began dating its start to that paper’s earlier start as the Canadian Universal Bulletin (1915-18). Subsequent variants of the Canadian Film Weekly and its yearbooks always claimed their roots all the way back to 1915 and the origins of the film industry trade press in Canada. After Bossin died in 1964, the Weekly’s new editor, Stan Helleur, renamed the magazine Canadian Film & TV Bi-Weekly, scaling back the pace of publishing but adding a purview for television and broadcasting. The annual was renamed similarly, its subtitle amended to “Year Book of the Canadian Entertainment Industry.” An attempted renewal to weekly format in 1970, edited by Ed Hocura, was short-lived and Nat Taylor decided instead to relaunch under an entirely new title, Canadian Film Digest (1971-77) and Canadian Film Digest Yearbook (1971-86).

– Paul Moore, March 2024

Further Reading

  • Bossin, Hye. “Canada and the Film: The Story of the Canadian Motion Picture Industry.” In Canadian Film Weekly Year Book of the Canadian Motion Picture Industry, 21-41. Toronto: Film Publications of Canada, 1951.
  • Moore, Paul. “Chronicling a National History: Hye Bossin’s Canadian Film Weekly and Year Book.” In Eric Hoyt and Kelley Conway, eds., Global Movie Magazines. Berkeley: University of California Press, 2024.

Date Added:
August 01, 2024
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Vol. 8, No. 21 VOICE of TORONTO, MAY 19, 1948 the CANADIAN MOTION PICTURE INDUSTRY $2.00 Per Annum Optimism on Manpower Order First Ruling Was Surprise The inclusion of the motion picture industry in the First Compulsory Employment Trans fer Order came as a surprise. While theatre and film men have not expected the industry to be rated as essential, it was thought that, hard hit for manpower since the war, it would at least be deferred for the later orders. It seems that the industry is (Continued on Page 2) Merchants Beef At Show Lines Although merchants are usually glad to be located near a theatre to share the business that comes from the proximity of crowds, business men of Kingston, Ontarlo, are taking a different view. They claim that the lineups interfere with business. W. M. Nickle, K.C., in a letter to the City Council which was read by the city clerk, said he had (Continued on Page 3) Joseph M. Schenk continues as executive production head of Fox for another seven years. .. . Those midweek 12.05's for war workers started strongly but tailed off and have been discontinued temporarily. ... Esquire has started boosting ‘Victory at Stalingrad,” said to be the best thing yet out of Russia. Jules Levey, who quit as general sales manager of RKO in 1940, will produce Eugene O’Neill’s “The Hairy Ape.” Levey, from Canada originally, runs Mayfair . . . USA exhibs, who fought for Blocks of Five, are asking for season booking again—but with strong cancellation privileges. Elias -Lawland, 62, Montreal film pioneer, passed away recently. . . . There will be no more freezing of USA film coin in England. . . . Committee of Ohio House of Representatives has okayed a bill for debate that will, if passed, ban blind checking. . .. From here it appears that “Mission to Moscow” will provoke plenty of controversy among Reds, Pinks and others. O. J. Silverthorne will speak at the coming Fire Marshals convention on “Entertainment with Safety.” He heads The Ontario Motion Picture Bureau. Managers Rig Up V-Loan Rallies | Theatre managers are busy stunting for the Victory Loan. A number of hardy souls are out selling bonds in whatever spare time they have left but most are whipping up interest. The boys and girls got a big boost when the Se USA Republic Office Buys $50,000 Bond Republic Pictures Corporation of the USA showed a fine spirit of nefghborliness this week by buying $50,000 worth of Canadian Victory Bonds. This purchase is distinct from that of Republic in Canada, represented here by Empire-Universal, which exchange shared a $500,000 purchase with Odeon. ROY ROGERS practical results of purchases came over the news lanes from Tunis. The beating of the publicity drums was drowned out by the cheering. In Welland, Ontario, the Capitol and Park theatres were the heart of one of the biggest events that part of the country has known, a great Victory Loan rally. The managers joined with the Welland-Crowland Victory (Continued on Page 3) places for REPUBLIC. Theatre Key Men May Get Necessary Consideration The general feeling of uncertainty in the industry which prevailed when the First Compulsory Employment Transfer Order became news has given way to one of distinct optim ism. The air was cleared a2 little as a result of an exchange of correspondence between Arthur MacNamara, director of the National Selective Ser Theatre Holding and Premier Buy $220,000 Several big bond purchases were announced last week. Theatre Holding Corporation subscribed $100,000 to the Victory Loan. Premier Operating $80,000 and Casina and Roxy Theatres, Limited $40,000. The Victory Loan officially ended vice, and spokesmen for exhibitors and distributors. Each section of this industry made 2 separate representation and both drew encouraging replies. It is said unofficially that local Selective Service boards have been instructed to treat projectionists and other keymen leniently. Book last Saturday but it will be @/ ers who have registered received while before it’s over. Late sub-| tempora: ermits to keep workscriptions keep rolling in. ei es on Page x Are Theatres Important? | Ottawa and Us | The Ottawa Citizen, an outstanding newspaper with its ears tuned to catch the buzzing in the hive of its governmental neighbours, must have picked up some curious strains in the usual symphony. On May Ist, a few days before Minister of Labor Humphrey Mitchell issued his First Compulsory Employment Transfer Order, the Citizen printed a fine editorial. The editorial, which should win the gratitude of theatre and film men, described clearly and concisely the value of the Canadian motion picture industry and gave expression to the worries which beset it. The Citizen’s comments were indeed prophetic. The editorial, “The Show Business,” follows below: Co-operation is given freely by every Canadian, not only financially but actively, and in groups as well as individually, in any drive, campaign or activity that tends to further the country’s successful participation in the war. Not the least is the co-operation provided by the Dominion’s show business. From coast to coast, film houses are thrown open to ventures of all kinds. At present the industry’s greatest effort is its support in a wide variety of ways of the Fourth Victory Loan. The theatres are donated for use when speakers want to reach specific groups or the public in general, miles of special films are thrown on the screens. Staffs work without payment in most instances, for slight remuneration in others. Three of Ottawa’s largest picture houses were open for two (Continued on Page 2) features are not just. WESTERNS. They're tops in thrills, songs, laughs and outdoor spectacles. A BOXOFFIOE BET for any theatre any time. Be convinced by seeing ROY ROGERS’ latest production, “KING OF THE COWBOYS.” Watch this star. He’s going ; (adyt)