Canadian Film Weekly (May 15, 1946)

Page scan 0006 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
May 15, 1946
Volume:
Canadian Film Weekly (May 15, 1946)
Leaf #:
0006
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 14, 2025
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May 15, 1946 Building Plans Going Forward (Continued from Page 1) many will 'think twice about announced intentions, will stand up, according to present indications. Ontario, with 25 plans already submitted to the Provincial theatre inspection branch, seems behind Quebec, where a number of theatres are in the process of erection. Metropolitan building is far behind that in rural areas, where Independents are active. Work has begun on a $20,000 house in St. Donat De Montcalm, Quebec, for Jean Lavoie. It will seat 300 and be part of a twostorey building. Construction will start immediately on a 500-seat theatre in Humberstone, Ontario, for Mrs. R. Zielski. Norman A, Kearns designed the building, which will be completed this summer and will be the first theatre in Humberstone. Luke, Little and Mace are preparing plans for Grand-Mere, Quebec’s first theatre, a 625seater. Owner is Dr. J. E. Guibord of Grand-Mere. Guy Bachand, Aurelian Noel, Joseph Bessette and Benoit Vanier have obtained a permit to build a 700-seat theatre in Sherbrooke, Quebec. Denis Tremblay and Andre Royer, architects, ‘have drawn up plans for a build ing which will also contain a restaurant and cloak room. Sherbrooke now has three theatres operating. Campbellford, Ontario, which has one theatre operating at present, may get two new ones. A. Barnes, lessee of the Foto Nite-owned 305-seat Hollywood Theatre, is almost set to start building a theatre of his own. At a council meeting, Theatre Amusement Company of Toronto tendered an offer of $2,000 for the south side of the town parking lot on which they may build a theatre. Theatre Holding Corporation, a leading circuit, which now operates the 483-seat Park Theatre in Preston, Ontario, will begin construction there of a new 750seat theatre as soon as possible. Heineman To Check ‘Caesar’ For Rank William J. Heineman, vicepresident and general sales manager of United World Pictures, will represent J. Arthur Rank during United Artists’ distribution of “Caesar and Cleopatra” on this side. Rank, who is a partner in UWP, got Gradwell Sears’ okay on Heineman in London, states Robert S. Benjamin, USA. Rank chief. Canadian FILM WEEKLY Variety Award To General Booth General Evangeline Corry Booth of the Salvation Army and its former international leader has been selected as the 1945 recipient of the Humanitarian Award, presented each year by the Variety Clubs of America in recognition of unusual service rendered to and in behalf of world-wide humanity. A _ silver plaque and a check for $1,000 will be given to General Booth at the Humanitarian Award banquet the evening of May 18 as a climax to the four-day national convention of the Variety Clubs in the Hotel Astor, New York. General Booth was selected by a committee consisting of 70 newspaper and magazine editors and publishers, radio commentators and others well informed in world affairs, none of whom is a member of the Variety Clubs. Known as the “Heart of Show Business,” the Variety Clubs, with chapters in principal cities, are composed of members of the motion picture industry with charitable activities as_ their prime purpose. Now 80 years of age, General Booth “overtowered everybody in the final balloting,’ according to Albert Kennedy Rowswell, chairman of the National Humanitarian Award committee. Past recipients of Humanitarian Awards were Father Edward J. Flanagan, Martha Berry, Dr. George Washington Carver, Sister Elizabeth M. Kenny, Cordell Hull and Dr. Alexander Fleming, the latter being the discoverer of penicillin. General Booth was born in London on Christmas Day 80 years ago, the fourth daughter of General William Booth, founder of the Salvation Army. At an early age, Evangeline was one of her father’s most able assistants in his work among the poor of the East Side of London and had preached her first sermon mounted on a chair in the open street. Thus commenced a public life that has, ever since, been unreservedly devoted to the service of humanity. While still in her teens, she was appointed captain of the Salvation Army Corps in the worst part of the West End, overcoming fierce and brutal opposition. At 23, she was appointed to command all the Army activities in London and subsequently became leader in Canada, a post she held for nine years. During the gold rush of 1898, Evangeline Booth organized a mission and nursing corps, taking it herself to the Klondike and sharing the perils and hardships of the pioneers. In 1904, Miss Booth was appointed to the national leadership of the Salvation Army in the United States, a post which she held for 30 years, extending and consolidating the Army’s operations. In 1934, upon the retirement of General Edward J. Higgins, Miss Booth was elected general of the _ international forces. She retired in 1939 to her home at Hartsdale, N.Y., having become a citizen of the United States years before. In citing her for the award, the committee pointed out that Evangeline Booth, throughout her entire life “has given unselfishly of her love and service toward the betterment of humanity and has brightened the pathways of countless men and women by her devotion to a righteous cause, without thought of race, color or creed.” Page 7 Kiwanis Benefit From RKO Short? (Continued from Page 1) it on a non-profit basis. A requirement of the committee which governs the distribution of proceeds to organizations is that such contributions be taxexempt, according to Leo Devaney, Canadian general manager of RKO and president of th distributors association. Dominion government regulations provided a snag and attempts to Overcome it are being made by Kiwanis officials. The Kiwanis Club was brought into the picture when Bill Redpath of General Films, a member, made representations for it to Devaney, leading to discussions with Hercules Smart, Toronto president. The service body conducts the famed K Clubs, juvenile organizations. Twelve to 18 months from time of release are required to exhaust the Canadian earning power of “The House I Live In.” Show Clesed DUE TO BREAKDOWNS A catastrophe to any theatre. Avoid shut downs by having your equipment regularly inspected and serviced by DOMINION SOUND'S trained technical staff, Dominion Sound Equipments LIMItTEo Head Office: 1620 Notre Dame Street West, Montreal MALIP AR Saeaecatear Toronto REGINA cCarGcary vancouves A National Theatre Service, such os maintained by Dominion Sound Equipments Limited, means — an orgenization with a specially trained personnel to provide regular and emergency technical service, equipment ond supplies for theatres. EOE EEO OoOOOovoOvVvVV—— ee