Canadian Film Weekly (Nov 10, 1943)

Page scan 0005 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Nov 10, 1943
Volume:
Canadian Film Weekly (Nov 10, 1943)
Leaf #:
0005
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Global Cinema, Canada, and Hollywood Studio System
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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Page 6 OF CANADA LTD. 277 Victoria St. Toronto For 1943-1944 LADY LET’S DANCE Starring the lovely BELITA in a gorgeous skating and dancing spectacle. To be followed by a 2nd BELITA picture as yet unnamed. * WOMEN IN BONDAGE (formerly ‘Hitler's V omen’) The degradation of women under Nazi rule. * WHERE ARE YOUR CHILDREN Youthful waywardness laid bare. * GROUND CREW starring JACKIE COOPER in a mighty drama supercharged with battlefront action. * FIGHTING QUARTERMASTER A booming saga of the Service of Supply * the fastest-growing Company in the industry MONOGRAM PICTURES Toronto Montreal St. John Winnipeg Calgary Vancouver 2 Pa a ena Wouldn’t You Jusi cai Canadian FILM WEEKLY O. J. Silverthorne, popular head of the Ontario Motion Picture Bureau, went down to the Red Cross blood bank the other day and caused quite a furore. They stuck a needle in the finger of one hand. No blood. They stuck a needle in the finger of the other hand. No blood. They stuck a needle in one arm up to the usual penetration. Still no blood. Puzzled, the doctor stuck a needle in the remaining arm— while holding his breath. This time he struck oil—or rather blood. And took plenty. What was the matter? Nothing. Our censor has thicker skin than the average man, that’s all. It was probably like onion skin before he became associated with film men. + * * Stars Fell on Toronto The Victory Loan brought Pat O’Brien, Gail Patrick, Jimmy Cagney and other stars to Toronto. Some of them dropped around the local offices, causing some excitement On the Square. .. The most popular was Jimmy Cagney, who went on a broadcast from here with a packed and painful tooth. Cagney also wrote a statement for the Modern Digest, a Canadian publication, as “an American citizen, an actor and a trade unionist.” Wrote Cagney: “There are no citizens in conquered Europe. Just as there are no citizens, there are no actors. Artists cannot exist in a society dedicated to murder, and bloodshed and conquest. .. The achievements of each member of the United Nations are the common property of all. That is why we Americans are as proud of Canada’s magnificent fighting and production record as we are of our own”. . Modern Digest, incidentally, got a very interesting article out of the Motion Picture Herald’s “What This Picture Did For Me” department, giving the fans a look at the other side of the advertising. . . The first available boxoffice report at the opening of the Edison Kinetoscope peep-show arcade in New York in 1894 showed receipts amounting to $5.38. % ae = The Same the Whole World Over At the luncheon to welcome Leonid Altzev, representative of . the Soviet Cinema Committee, many questions were asked about the film industry there. Though Altzev doesn’t speak English, he’s a likeable cuss with an eagerness to make friends. The boys ised to see him in action. One asked Altzev if, since all films are made by the government, critics suggested to the public that they avoid those panned. His answer got a laugh. “Sure,” he said, “but the people go anyway.” A question about advertising drew the information that two lines in the press were enough~-to draw capacity audiences, “Ask him,’ Herb Allen said to the interpreter, “how we can get away with that here?” It was a friendly gathering that might easily have been a preview of the spirit between countries in the near future. Greet Your Friends in the CHRISTMAS ‘EDITION of the CANADIAN Film Weekly sound and the have longed forl 56.60.” “TEST FILM, 10,000 cycles 35 mm., with easy instructions, so that you can focus your Sound Lens in absolute precision and secure clear Maximum from your sound System. Just what many theatre owners Bargain . November 10, 1948 | Six More Theatres Acquired By Rank (Continued from Page 1) price is reported to have been $3,000,000, It has been estimated that Rank, who was a stranger to the film business until seven years ago, now controls over 1,000 of Britain’s 4,500 theatres, as well. as 75 per cent of the “A” playing time in that country. He is also the leading figure in production. Rank’'s every move takes on a great significance in the film world. American companies with large circuits in Britain are worried about his ever-increasing activity. His announced intention of competing with American film companies on a large scale for foreign markets after the war is causing them plenty of worry. Leading USA executives are heading for conferences with him. The British leader claims that British films, which do not maintain their own distribution agencies in the USA, are not getting a fair share of booking. He wants more playing time or will take measures to get it through his own setup. It is Rank’s contention ‘that British playing time is not enough to make production worth while and that the continuation of that production depends on a wider market. He feels that he can win @ prominent place for British films within four years after the war. Rank was reported bidding for a Canadian and a South African chain, Television Policy Studied by RKO RKO has become the first studio to announce the establishment of a special department to work out a television and radio policy. Ralph B. Austrian has been appointed by N. Peter Rathvon, president, to examine television and radio and submit recommendations for their best use to boost the company’s product. Austrian, recently a member of the War Production Board’s Planning Committee in Washington, was for seven years assistant vicepresident of RCA. es YE 202 oR MORE ‘OF YOUR MONEY conan aie SULLY i | SUECLALI Sts: Tae Ze VERA. GSK ahi Aa ae WAC KACWS UL: DOMINION THEATRE EQUIPMENT CO 867 DAVIE 3T WANCOUVER EC — i i tie ee tt te, Eh.