Canadian Film Weekly (Jun 28, 1944)

Page scan 0005 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jun 28, 1944
Volume:
Canadian Film Weekly (Jun 28, 1944)
Leaf #:
0005
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Hollywood Studio System, Global Cinema, and Canada
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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Page 6 Warner's British Guest Jack Beddington, head of film department in Great Britain’s Ministry of Information under Brendan Bracken, as guest of Jack L. Warner, executive producer ef Warner Bros. Studio, addressed a gathering of company’s producers in the private dining room. In this picture are, left to right: Alex Evelove, Studio Publicity Director; James Allen; S. C. Einfeld, Director of Advertising and Publicity; Martin Jurow, assistant to Mr. Steve Trilling; Willlam Jacobs, producer; Louis Edelman, producer; Henry Blanke, producer; Jules Epstein and Philip Epstein, producers; T. C. Wright, General Studio Manager; Robert Buckner, preducer; Delmer Daves, director; Alex Gottlieb, producer; Jerry Wald, producer; Jack Beddington; Edmund Golding, director; Jack L. Warner, executive producer; Jack Chertok, producer; Jesse Lasky, producer; Steve Trilling, executive assistant to J. L. Warner; Robert Florey, director; James Geller, story editor; Irving Rapper, director; Jean Negulesco, director; James Kerns, director; and Wolfgang Reinhardt, producer. @ Neither does the gradual wear and eventual failure of the mechanica] and electrical parts of a Sound System.. That's why it's essential that they be inspected regularly in order to detect and replace worn and defective parts before they fail. DOMINION SOUND EQUIPMENTS LIMITED Head Office: 1620 Notre Dame Street West, Montreat VANCOUVER Seomcenser HALIFAX TORONTO WINNIPEG REGINA CALGARY Canadian FILM WEEKLY June 28, 1944 Pix Social Foree Warner Declares (Continued from Page 1) M. Warner, president of Warner Bros., in a message to the Allied Theatre Owners of New Jersey on the occasion of the exhibitor group’s Silver Anniversary which was celebrated in Atlantic City. Part of Mr. Warner’s address under the heading the “The Broader Scope of the Screen,” follows: “As business men, we try to make pictures that will make money for our company and for exhibitors. “As members of the entertainment industry, we try to make pictures that will provide pleasure and recreation for those who seek it. “There are a lot of people in our industry who like to believe that their pictures are simple entertainment and nothing more; that they have no effect on the people who see them other than to entertain them. There are other people who would like to see every picture have a definite crusading purpose. I don’t agree with either school of thinking. “I believe that whether we like it or not our pictures have a profound effect on the people who see them. Whether a producer makes a picture for pleasure or for profit, for pure entertainment or for pure education—or just for art’s sake—he is up against the incontrovertible fact that his picture will produce some effect, for good, or for bad, on its audiences. “There is nothing mysterious or insidious about this. The theatre has been a vital force among men throughout the history of civilization. The motion picture is such a force to an extent never dreamed of in times past. It is such a force merely by virtue of the numbers of people it reaches and the fascination it holds for them. “Hach year more and more people come to realize the importance of the motion picture in our way of life. As this realization grows, something else grows with it. That is the ever increasing responsibility of picture makers and exhibitors to make and to show pictures which in the long run will be regarded by the public as a force for good in the land. “We are living in a faster age, in a more eventful era. Radio has joined the press and the screen in making the public more thoroughly and more speedily informed about everything. Ideas are being exchanged faster and more widely, people are being educated in a greater variety of ways, and through all this we are gradually developing a keener audience, a more discriminating audience. “This is both a boon and a challenge to the motion picture industry and the theatre operators of the future. “Tt provides us on the one hand, with appreciative patrons for our finest efforts; and, on the other hand, it calls upon us to keep pace with the increasing intelligence of our public. “In fact, we must do more than just keep pace with the mental growth of the mass audience. We must be the ones to set that pace, always forging ahead, always providing new and better stimulants to broader education. “That is the way the motion picture industry can maintain its leadership as a social force working for the general good of mankind. “And that is the best assurance of future progress and ‘security for both producers and exhibitors.” PRCs Canadian Old Goldwyns (Continued from Page 1) grown even greater in public favor since the films were first played. Those reissues being currently released by PRC are: ‘Mead End,” starring Humphrey Bogart, Sylvia Sidney and Joel McCrea, with Wendy Barrie, Clair Trevor, Allen Jenkins, Marjorie Main, Leo Gorcey, Minor Watson, Ward Bond and Elizabeth Risdon; “Kid from Spain,” the Eddie Cantor hit with Robert Young, Ruth Hall, John Miljan, Noah Beery, Jr., J. Carrol Naish, Robert Emmett O'Connor, Stanley Fields, Theresa Maxwell Conover and Walter Walker; “The Cowboy and the Lady,” with Gary Cooper and Merle Oberon in the lead roles, supported by Patsy Kelly, Walter Brennan, Fuzzy Knight, Mabel Todd, Henry Kolker, Harry Davenport, Berton Churchill and Charles Richman; “Bulldog Drummond,’ famous detective thriller starring Joan Bennett, Montagu Love, with Lawrence Grant, Claude Allister, Adolph Miller, Charles Seller and Tetsu Monei; “Wuthering Heights,” Merle Oberon, Laurence Olivier and David Niven in the Bronte classic with Flora Robson, Donald Crisp, Geraldine Fitzgerald, Hugh Williams, Cecil Humphreys, Miles Mander and Cecil Kellaway.