Canadian Film Weekly (Mar 21, 1945)

Page 2 Vol. 10, No.12 March 21, 1945 HYE BOSSIN, Managing Editor Bilan Weehln eae A A¢ —— TK A“ fe Adeéress all communications—The Managing Editor, Canadian Film Weekly, 25 Dundas Square, Toronto, Canada. Published by Film Publications of Canada Ltd., 25 Dundas Square, Toronto, Ontario, Canada. Phone ADelaide 4317. Price 5 cents each or $2.00 per year. Entered as Second Class Matter. Printed by Eveready Printers Limited, 78 Wellington Street West, Toronto, Ontario. Why Not Now? (Continued from Page 1) distribution companies with American control and Canadian administration just aren’t governed domestically to the extent we think they are and their executives wait through habit for New York’s guidance. Or again it may be more proof that the Canadian motion picture industry needs an exhibitor-distributor organization to watch over its welfare. We brought this matter up some time ago in a story headed “Asleep at the Television Switch?” Leo M. Devaney, head of the , Canadian distributors’ association, asked about the failure of the distributors to show any interest in the Planning Board, opined that there was no hurry. We Disagree Despite Mr. Devaney’s opinion, we feel that if the Canadian government thought a Planning Board similar to one in the USA should be organized here, that opinion should be valued. One of the chief purposes of the Planning Board’ is to advise the government about the allocation of wave lengths for frequency modulation and television. All who use the ether are studying the shape of things to come so that they will know best how to protect their welfare—all but the Canadian motion picture industry. Yet there are a number of Canadians actively engaged in the industry who are qualified to sit on the television panel. In the USA the Television Broadcasters Association has atheatre television panel on which Paramount, RKO and other film companies are represented. Do Canadians think that we won’t have television here? Or do they think that those who worked out what they believe to be a fair allocation of frequencies without representation, opinion or advice from the motion picture industry will allow us to march in grandly afterwards and take what we want? It is better to do things now than have to undo them Jater. Toronto exhibitors learned that when the ban on midnight shows was passed without their representatives even being present. Actually there were early indications of anti-midnight show agitation but these were ignored. The situation with regard to the proposed amusement tax in Ontario shows what preparatory action can do. Exhibitor representatives have organized against the tax and caused opposition opinion generally to make itself felt. . Let the distributors or the exhibitors or both appoint one or more capable people to the Planning Board, thus serving the industry and faling in with the government’s wishes. The War Is On The battle between the radio and motion picture industries for power in the post-war television field has gone beyond a few minor skirmishes. They are squaring off and the objective of their first real engagement is the allocation of air frequencies. Columbia Broadcasting System filed a brief with the Federal Communications Commission in Washington urging that such frequencies be denied theatre television. Paul Larsen, representing the Society of Motion Picture Engineers before the FCC, stated that the SMPE had asked for frequencies “to permit the picture industry to establish a theatre television service in the immediate post-war period with the equipment now known to be available.” This move had been made to give theatre television equal opportunity with radio. Admitting that “theatre television is in direct conflict with the basic concept of broadcasting,” he still felt that it should be allowed to bring the public entertainment which reflects the technical excellence of Hollywood production. The position of the Columbia Broadcasting System could only be interpreted as a fear of competition by theatre television, Larsen stated. His organization does not fear competition of television broadcasting but invites it, he said, and he hoped the radio people would take the same attitude. — March 21, 1946 Canadian FILM WEEKLY —@ —@@§& ——————— Proposed PEI Theatre ananarenenenay ene : SARA ARRAS AAAS SA RCRA . Se. Mv . Semen * This is the new Paramount Theatre, proposed for Summerside, Prince Edward Island, by Harold E. Gaudet, owner and operator of the Capitol. The Paramount, a post-war project, will cost $75,000 and seat 800. Kaplan & Sprachman, Toronto, are the architects. No Raise in CPRS Fees for 1945 Current issue of the Canada Gazette reveals that there is no raise in fees of the Canadian Performing Right Society for the current year. Fees per seat per annum as given are: 1,600 and over, 15c; 801 to 1,599 seats, 12c; 800 and under, 10c; 800 and under operating three days per week or less, 5c; minimum fee, $10. Post-War Theatre For Liverpool, N.S. There will be a new theatre in Liverpool, N.S. when building restrictions permit. Astor Theatre Limited is planning it on a site acquired two years ago almost directly across from its Astor Theatre. The plans, now completed, call for a seating capacity between 800 and 900 on one floor. Astor Theatre Limited is controlled by S. M. Bartling of Liverpool and F. G. Spencer of Saint John. Mr. Spencer, the Maritimes leading theatre figure, recently entered into partnership with Famous Players. Contractor is Kenny of Halifax and Yarmouth, Canada Also Does anyone think for a moment that what is revealed above will have no bearing on the Canadian situation in the future? There are any number of ways in which what happens across the line can affect us. We will have to apply for what we want along with others. And who shall judge the fairness of our requests ? To begin with, the Canadian Broadcasting Corporation controls television in the Dominion. Radio in Canada is in a large measure a public enterprise and even that part which is private is under the control of Ottawa. It is quite likely that radio may find itself favored unless the relationship of the motion picture industry to television is established now in the minds of those who will have to declare for or against us. It is hard to specify now exactly what differences of opinion may arise in Canada between both industries. Exhibitors will certainly need channels for the presentation of television, whether they arrange for it from movie outlets or the radio companies. This is not the time to be asleep. In Canada today there are a number of men—some of them members of the SMPE—connected with the motion picture industry who aré authorities on television and might well represent us on the Canadian Radio Technical Planning Board. We haven’t a thine ‘ thing to gain. ling to lose and every Radio and movies are the parents of television. The squabble over the custody of the child will certainl both parents, ainly affect the future of