Canadian Film Weekly (Oct 11, 1944)

Page scan 00010 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Oct 11, 1944
Volume:
Canadian Film Weekly (Oct 11, 1944)
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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@ r 4 ; ‘ October 11, 1944 Description of Candid Camero Shots of Golf Tourney On Back Page Sam Glasier of Fox, who shoots on sight, took the candid camera shots down on the back page. (1) Len Bishop, Tivoli, catching the boys off guard with his camera. (2) Syd Samson, Fox, studies his hand while Al Jeffery, United Artists, waits and Sam Glazer of Columbia looks on. (3) All Perry, Empire-Universal. (right) argues with Handicapper and Starter Al Troyer, Famous Players (right), while Sam Glazer (centre) acts as peacemaker. (4) Archie Laurie of Republic makes an award to Syl Gunn of FPCC. Al Troyer is in the centre. (5) Jack Arthur Dala of Odeon. (6) The kibitzers gallery—Charlie Dentlebeck, FPCC; Jimmy Powis, Fox; Sam Glazer; Syd Taube, MPTOA; and Abe Cass, Columbia. Walter Kennedy of Sovereign is standing. (7) Jack Arthur, tournament chairman and toastmaster of the dinner, calls on Rube Bolstad to present the FPCC trophy to Martin Bloom. (8) Bill Weiss of Odeon and three Dominion Sound lads—Harry Eve, Frank Cox and Hy Goldin. (9) Old-timers and projectionists—Charlie Dentlebeck, George Lester, Arthur Milligan, Dave Seigel and Jake Smith. (10) Syd Taube; Jeke Smith, of KenvueExcelsior; Win Brown, Regal; Ted Gould, of FPCC and Ralph Regal; Tom Daley, Imperial; Dewey Bloom, Regal; and A. H. Weaver, Imperial Bank. (11) Paramount lads — Willard O'Neil, Win Barron and Leo Haag. (12) Haskell Masters of Odeon tees off. Shirley Temple Set For Victory Loan: Shirley Temple, ex-child star who is one of the stars of UA’s “Since You Went Away,’’ will be in Toronto on October 18 and Montreal on the 19th and 20th for Victory Loan appearances. (Continued from Page 5) subjects, each from fifty to one hundred feet in length. Mothers and their children would enjoy a free ten-minute movie show during intermission at the pavilion. Father was probably busy having his kind of refreshment at the promenade, The founders of Sohmer Park decided that movies, attracting such interest in Guay’s stand, would be a cheaper form of entertainment. They arranged with Percy L. Waters of New York, a film dealer, to provide them and he sent his half-brother, Bert Fenton, to take charge. Ernest, eager to learn, was glad to buzz around Fenton and be handy. The Theatre National was closed on Sundays and Ouimet used that time to study Fenton’s operations. Fenton used to come from New York each Friday with new films and return on Monday. Customs officers got in the way of unhindered passage and Waters decided to ship the films to Ouimet and let him run the show. That was during the winter season of 1904-5. In the spring of 1905 a British cameraman, F. Guy Bradford, showed scenic reels in Montreal which he had filmed under tho sponsorship of the Canadian Pacific Railway. Some 5,000 feet was run at a performance in Windsor Hall. In the fall Bradford began a weekly schedule of shows with films rented from Waters but after three weeks gave up what was the first try at a regular movie show in tho city. In the meantime the Countess and Viscount D’Hauterive, mother and son, came to the United States with a group of handcolored films based on French fables and made by the Melies 3rothers in France. The D’Hauterives lectured with their films before college and convent audiences. Proctor, looking for movies to match Keith's policy of showing a reel or two at every vaudeville performance, booked the D’Hauterives over his circuit and under his banner they played for four weeks at His Majesty's Theatre, Montreal. Did the D’Hauterives show the first color films in North America during 1895 or earlier? Ouimet thinks so. All the early color films were shot in black and white and each frame painstakingly colored by hand. The D’Hauterives had brought theirs from France where art and photography were prominent. Over 100,000 frames had to be tinted to make a single print, the artist working with a brush and a magnifying glass. Some tried dyeing the film, In May, 1908, G. A. Smith and Charies Urban showed their Kinemacolor in London, England before an audience. Theirs was the first natural color films, made without artificlal methods or hand-coloring, and they first revealed them on February 26, 1907. Color filters were necessary for their projection. The London showing was followed by one in the United States on December 11, 1909. But camera~shot color films were many years away. In 1911 there was opened in Los Angeles the Kinemacolor Theatre, which featured scenes of flowers, birds and landscapes. The same year a show of films, though indistinguishable at times, attracted interest at the New York Theatre Roof. Hand-colored films were still the best and in 1912 Gaumont offered two of them, “Bells of Paradise” and “The Lion’s Revenge.” In 1917 Technicolor made its first film and continued to improve its process until it reached its present position. color E <NEST OUIMET, while public m4 curiosity grew about movies, continued at Sohmer Park. He was alive to things. With the permissionof park officials he flashed a slide at every perform ance which identified him by name and carried his offer to provide film entertainment for concerts, meetings and so on. One of his projectionists was Ed English, now Fox branch manager in Montreal. Among the other jobs this bit of enterprise brought him was a date to screen film at a benefit staged by Ottawa firemen. He chose tdison’s first long film, “The life of an American Fireman,” for the smoke-eaters and their supporters. It was 600 feet in length and ran for eight minutes. Inspired by the business habits of the D’Hauterives, Ouimet rented an Edison-imported Passion Play and showed it to an audience made up of members of the clergy. During the early part he lectured but soon realized that his patrons knew more about the subject than he and stopped the verbal accompaniment, In the fall of 1905 Ouimet took to the streets with his entertainment, A. Montreal newspaper had contracted to handle the advertising of a soap concern and hired him to films outside the stores that particular show which cleanser, sold His varied activities as an ex hibitor gave Ouimet much personal advertising and did much to develop his future along hoped-for lines. (Te Be Continued) Page 11 OF CANADA LTD. 277 Victoria Street, Toronto. LOOK AT these Moneymakers ! ENEMY OF WOMEN The private life of Dr. Goebbels A WAVE A WAC and A MARINE with MARJORIE WOODWORTH RAMSAY AMES ELYSE KNOX 2 ® WHEN STRANGERS MARRY (Variety says “superb’’!) with KIM HUNTER DEAN JAGGER * Oh, What a Night! with JEAN PARKER EDMUND LOWE These 1944-45 hits are now ready for dating The fastest growing company in the Industry. MONOGRAM PICTURES Toronte, Montreal, St. John, Winnipeg, Calgary, Vancouver.