Canadian Film Weekly (Sep 27, 1944)

Page scan 0008 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Sep 27, 1944
Volume:
Canadian Film Weekly (Sep 27, 1944)
Leaf #:
0008
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 01, 2024
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September 27, 1944 Some Movie Fees Have Been Upped (Continued from Page 1) The cost of stage production has gone up, there being no Canadian ceiling on it because a great portion of that cost must be paid to American concerns operating on their own side of the border. Theatres which feature purely Stage shows do not come within price-freezing regulations but the Casino, because it shows a B or second-run moyie, finds itself within the scope of the Theatre and Film section of the WPTB, now under the jurisdiction of J. R. Croft, Administrator of Serv ices. Since the inception of the Wartime Prices and Trade Board there have been but two or three cases of motion picture theatres receiving permission to raise prices. The theatre operators proved that they were losing money and exceptions had to be made. 3 In Trail, Brtish Columbia, the Rialto Theatre was allowed to raise prices recently. The theatre had been destroyed by fire and was rebuilt with permission of the Controller of Construction. The population of the community had increased greatly and two good-sized theatres were necessary. The Rialto fee for orchestra seats went up by six cents, bringing it on a level with the admission price of the town’s other first run house. io ee TiS. ee » %, .¥. } Canadian FILM WEEKLY Golf Tournament Big Attraction (Continued from Page 1) radeship and laughter. The entry fee is $4.00 and entry forms are being distributed by members of the committee. The price to those who wish to kibitz and join the dinner is $2.50. There will be trophies, awards and prizes not only for the golfers but for their non-golfing friends. It has been several years since a film golf tournament has been held, the pressure of work and the war situation having prevented its continuation. Film and theatre men feel that the tournament should resume and be held annually. The annual tournament held in New York and sponsored by Film Daily is a feature of industry life in the USA. The Canadian tournament is nation-wide, entrants being welcomed from any point in Canada as long as they are associated with the motion picture industry. The tournament committee has decided that no player will be eligible to win more than one prize in individual competition. This does not apply to a winner or runner-up in team play. The makeup of the yarious events and the allocation of the prizes will be left in the hands of the tournament committee, which is busy soliciting prizes and trophies. Each industry firm may enter one or more quartettes in the foursome. The doings will provide a great deal of fun and the opportunity to see old friends. An entry form is printed in this issue of Film Weekly. If you haven't signed with a committee member, fill it in and send it to this office or to Tom Daley, secretary-treasurer, Imperial Theatre, Toronto. Make sure it is accompanied by a cheque or money order. If you intend to attend only the dinner, send $2.50 with it. You will receive your ticket by mail. Al Troyer will act as starter and handicapper. The general committee is comprised of Jack Arthur, chairman; Tom Daley, secretary-treasurer; Ralph Dale, Odeon; Raoul Auerbach, Twentieth Century Theatres; Harry Lester, Bonita Theatre, Independents; Martin Bloom, Premier Operating; and Hye Bossin, Canadian Film Weekly. Daley is manager of the Imperial, Toronto, and Arthur is a Famous Players supervisor. It has been the endeavor to have all branches of the industry represented on committees, For your information here is a list of the various committees: Club and Dinner Committee; Jack <Arthur, chairman: Jack Hunter, Sam Fine and Harry Lester. Tournament and Prizes: Ralph Dale, chairman; Archie Laurie, Walter Kennedy, Harry Lester and Syd Taube Entertainment: Archie Laurie, chairman; Walter Kennedy and Hye Bossin. Ticket Sales: Martin Bloom, chairman; Herb Allen, Syl Gunn, Hye Bossin, Mark Plottel, Joe Plottel, Lionel Lester, Ted Gould, Dick Main, Harvey Harnick, Len Bishop, Harry Lester, Frank Fisher, Harry Hurwitz (Hamilton) and Syd Taube. Publicity: Hye Bossin. Starter and Handicaps: A1 Troyer. The boys are going to haves their hands full with so little time left and your cooperation will make their tasks much easier. . Granada, Hamilton Granada, Hamilton, an FPCC unit, will get a $7,000 renovation under the supervision of Kaplan and Sprachman, architects, Toronto. CWAC Recruiting Drive Did Well Summary of the “CWAC Movie Fortnight,” made known to the trade by Brigadier James Mess, reveals that theatre co-operation was excellent. While enlistment during the period of the drive revealed a better than average trend, considerable improvement was shown during the last two weeks. Since results were cumulative it is not known how many enlistments were due to. the efforts of the industry. In almost every community the theatre displays and boosting caused much interest and the CWAC film, “Badge of Honor,’ undoubtedly served to raise the prestige of that branch of the service in the public mind. The theatre and film effort, it is claimed, gave the CWAC its best publicity so far. Most theatres had recruiting and information booths manned by CWAC personnel. Slides and the CWAC film were shown on the screen and drop-ins used in newspaper advertising. Many theatres held theatre nights in which CWACs served as ushers, In some there were speeches from the stage and sing-songs. The radio was used in a number of centres Although public imterest was greater in small communities, a number of these did not conduct extensive campaigns because information did not arrive in time Page 9 Covering Canada's Film Front All The News of The Film World