Canadian Film Weekly (Sep 8, 1943)

Page scan 00010 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Sep 8, 1943
Volume:
Canadian Film Weekly (Sep 8, 1943)
Leaf #:
00010
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 08, 2024
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§ | _— September 8, 1948 Quebec Allied For Natl Body (Continued from Page 1) followed the address of Syd Taube, executive secretary of the Motion Picture .Theatres Association of Ontario, and it was decided to get behind any move that would lead to a common Canadian organization. The Quebec Association reelected Arthur Hirsch president. One hundred and fourteen theatres were represented at the meeting, which tackled a number of important problems such as the price ceiling and the new heat regulations. Jules Wolfe, purchasing agent for Famous Players, who is in charge of engineering, maintenance and construction, spoke on the new heating regulations. The members promised to assist in the conservation of coal in every way possible, beginning by watching the new regulation closely that the use of fuel must be cut by 80 per cent. B. C. Salamis delivered an analysis of the operations of the Theatre and Film section of the Wartime Prices and Trade Board. Toronto, and still running everywhere. The UA lineup holds every type of picture, all well-staffed with strong names, some of which will be in Technicolor. Below is a summary of the present situation on the lot: Shooting “Jack London,” produced by Samuel Bronston, directed by Alfred Santell, with Susan Hayward and Michael O’Shea as Jack London. Preparing Mary Pickford has purchased “Junior Miss,’ the Broadway hit. “Since You Went Away,’ produced by David O. Selznick, with Claudette Colbert, Jennifer Jones, Joseph Cotten, Monty Woolley and Shirley ‘Temple. “The French Bluebeard,” to be produced, directed by and starring Charles Chaplin. “Tomorrow Never Comes,” produced by Arnold Pressburger, with Dick Powell and Jack Oakie. “One Man’s Family,” from the NBC radio serlal, “The Gaunt Woman,” from the Saturday Evening Post serial, and “Peggy O'Neill,” produced by Charles Rogers. Your Membership Will Help Build a Greater ‘United Front For the Industry’ Make Your Reservations NOW! TODAY, to Attend The Annual MEETING and LUNCHEON Motion Picture Theatres Association of Ontario TUESDAY, SEPT. 21st, 1943 at KING EDWARD HOTEL Toronto (12:30 P.M.) Motion Picture Theatres Association of Ontario 26 Queen St. East ELgin 9630 Toronto, Ont. Canadian FILM WEEKLY United Artists’ Promising Sked (Continued from Page 1) ,in charge of production. “The Raft,” from the best-seller by Robert Trumbull, “Big Time,” a musical starring Ed Wynn, “Cagliostro,” from the Alexander Dumas classic, “The Life of Valen tino,” ‘The Ghost of Monte Cristo,” produced by Edward Small. “Stone’s Frolics of 1944,” a Technicolor musical, produced by Andrew Stone. ‘DPishonored Lady,” “Guest in the House,” “This Is Life,’’ produced by Hunt Stromberg. “The Moon Their Mistress,” based on “The Shooting Party,” by Anton Chekov, produced by Seymour Nebenzal. “The Hairy Ape,” from Eugene O’Neill’s play, produced by Jules Levy. “There Goes Lona Henry,” “The Bridge of San Luis Rey,” in Technicolor, produced by Ben Bogeaus. “Music From MWHeaven,” with music by Jerome Kern, George and Ira Gershwin, Cole Porter, directed by Rouben Mamoulian, produced by Producing Artists Ine. “Hollywood Canteen,” ‘Three’s a Family,” produced by Sol Lesser. “Tall Timber,” a Western starring William Boyd, “Forty Thieves,” a Hopalong Cassidy starring William Boyd, “Wherever the Grass Grows,” from the Saturday Evening Post story by Allan Bosworth, with Rod Cameron and Linda Grey, produced by Harry Sherman. Editing “The Girl From produced by Gregor with Anna Sten and Kent Smith. “The Gunmaster,” produced by Harry Sherman, with Claire Trevor and Albert Dekker. “False Colors,” produced by Harry Sherman, with William Boyd, Andy Clyde and Claudia Drake. “Riders of the Deadline,” “Texas Masquerade, “Thundering Hoofs,’” three Hopalong Cassidy productions starring William Boyd, produced by Harry Sherman. 7 of 24 PRC Films Are on War Themes PRC Pictures President O. Henry Briggs announces the titles of the 24 features on the company’s 1943-44 schedule, following ten days of close conferences with Arthur Greenblatt, sales manager, and Leon Fromkess, vice-president Only Leningrad,” Rabinovitch, , seven of the pictures have to do with war or post-war elements, a breakdown shows. Of the 24, seven are dramas; five, melodramas; five, musicals, or comedies with music; four, comedies; two, adventure Five are stories, and one, horror. already finished, Page il Pictures With Everything the Exhibitor Needs to Boost His BOXOFFICE READ THIS LIST— “Isle of Forgotten Sins,” starring Jehn Carradine and Gale Sondergaard, with Sidney Toler, Veda Ann Borg, Rita Quigley and Frank Fenton; “Submarine Base,’”’ starring John Litel and Alan Baxter with Fifi D’Orsay; “Danger—Women at Work,” starring Patsy Kelly with Mary Brian, Isabel Jewell, Cobina Wright, Sr., Wanda McKay and -Warren Hymer; “Two Worlds,” formerly “Strange Music,” with Francis Lederer, J. Carrol Naish, J. Edward Bromberg, Sigrid Gurie and Alexander Granach; “Tiger Fangs,” starring Frank Buck, with Duncan Renalde and June Duprez; “The Girl From Monterey,” comedy Starring Fifi D’Orsay; “Forgotten Children,” a Jim Tully story; “Berlin Revolts,” story of the German “underground”; “‘Woman of Horror,’’ drama of a modern Medusa; “When the Lights Ge On Again,” musical with a post-war background; “The Cessacks Ride Again,” dealing with heroic women defenders of Stalingrad; “‘Mauhattan Rhythm,” semimusical; “Oh Say Can You Sing,’’ musical with all-star cast; “Juke Box Girl,” semi-musical romance; **‘Waterfront,” San Francisce melodrama; “My Boy,” meledramatic comedy about a broken-down prizefighter; “The Executioner,” drama; “I’m from Arkansas,” hillhilly comedy with music; “The Warning,” concerning a ration racketeer; “Suspected Person,” mystery involving an international crook; “Avalanche,” outdoor melodrama; “Cry of Youth,” a story of neglected daughters; “End of the Road,” drama about two Spanish War veterans; “The Last Page," based upon a marital triangle. > CORREGIDOR Otto Kruger and Elissa Landi * Producers Releasing Corporation Executive Offices: 277 Victoria St., Toronto, 2, Ont.