Canadian Film Weekly (Jul 4, 1945)

Page scan 00013 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jul 4, 1945
Volume:
Canadian Film Weekly (Jul 4, 1945)
Leaf #:
00013
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 15, 2024
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Page 14 Canadian FILM WEEKLY Fr. AELS X a VOICE of the CANADIAN MOTION PICTURE INDUSTRY THANKS THE COMMITTEE of the Canadian Motion Picture Golf Championships For Its Great Work ‘See You Next Year’ « YD FY, (5s >, SHE'S PROBABLY % RIGHT ABOUT IT BEING A FLOPEROO, | . BUT I LIKE.TO FIND TAKE MY ADVICE AND VSS DON'T GO INf ITS THE WORST PICTURE I EVER 1 SAW NOT AT ALL LIKE THE BOOK! THEY CUT * OUT ALL THE MURDERS AND THE GOOD STUFF: LOBBY ? LETS GO | HOME AND SAVE 4 BUT SHE TALKS {{ MUST PAY HER UKE JACK, THE }\ TO KNOCK THIS Lf J] fd y -—7 e = C4 = CEQ +e, \\ Ath Hsetd Il nl ae — — Ales ALL THE CRITICS AREN'T ON THE DRAMA PAGE» THEY'LL DO IT EVERY TIMEmo ¥, \e Wn ik A; COTR 1048, RING FEATURES SYNDICATE, ine. WORLD RIGHTS RESERVED era July 4, 1945 Press Gets Due In NFB Subject Faithful, accurate reporting, during which battle hazards are taken as all in the day’s work in getting the news, is the answer to why Canada is reputed by many American newspapermen to have the best coverage for its front-line army of that of any army in the war. The army was able to get widest coverage because it was not possible for reporters to go aboard ships in the navy or fly with RCAF planes in as large numbers as they were able to accompany ground troops. The National Film Board, in its current Canada Carries On release, “Headline Hunters,” attempts, within the limits imposed by ten minutes running length, to pay a well deserved screen tribute to Canada’s war correspondents in all fields on all fronts. The first short documentary film to be produced showing Canadian war correspondents in action, ‘Headline Hunters” was made from film material photographed by camera crews of the Canadian Film and Photo Unit of the Army, the Combat Camera Unit of the Navy and the Overseas Film Unit.of the Air Force, supplemented by sequences taken at home in Canadian newspaper, radio and press offices by cameramen of the National Film Board. Cameramen dropped from parachutes, scrambled ashore under fire from landing-craft to invasion beaches, and dodged snipers in enemy towns to get many of the sequences in this film. They were part of the news gathering team in which their comrades representing Canadian newspapers and magazines, the CBC, the Canadian Press, and Public Relations Officers of the Armed Forces took equal risks to tell the story of fighting men who were doing an even tougher job than theirs. The film shows how the newsgathering team works, correspondents being briefed at press conferences, individual reporters getting action stories, mobile teletype machines in the field, copy being edited and photographs being developed at headquarters. It follows the stories home, and the camera goes inside a well-known Canadian newspaper office and the Canadian Press to show how the news ‘gets to the Canadian people. The final sequence of “Headline Hunters” films action in the Pacific to show what Canadian correspondents and servicemen are up against until the war against Japan is won. It is a fast-moving, exciting subject.