Canadian Film Weekly (Dec 25, 1946)

Page scan 00029 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Dec 25, 1946
Volume:
Canadian Film Weekly (Dec 25, 1946)
Leaf #:
00029
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 07, 2025
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Page 34 CANADIAN FILM WEEKLY December 25, 1946 PELE NE NE MEO NE NEERING Ya v4 Bt ~ BILTMORE THEATRES LTD. TORONTO PSUS LE HEUG UE RE LE LENE NERC MELEE IE RE IRIE LENE IE IEE IEE LEME NE NEUES LEC LEV NVC LE EVENS EES ANDAMAN AMM AALNAM ND NaS Ite ae Ie DUDS ADDI VIDA & wv. ww PIE UE IEICE PEPE NE NEE EIEN LEREN \S y Season’s Greetings 4 y y i 4 ALBERT a wy ¥ GLAZER & iy a uy is & ia uy PEERLESS i ¥ LABORATORIES a ¥ ¥ TORONTO | v is Ws i t y MD MDVM MDM DSSS LEME VEE VE IEEE NEN ENEMAS S ~i ALL THE BEST I. H. (Izzy) ALLEN ASTRAL FILMS BELEN RAE REVS NE NEUE ENE EIS NEN UE RE ENE EUR UE US NE NE NEUE NE UE NE RE IG RENE IEE NEUE REL, RADDA DDD DARADDM ADD DDD DDD DI DAL DADA DINDIS IAIN WEE RIANA AARADARMARAMAMWAA Johnston (Continued from Page 32) visual education will be a shot of vitamins to the entertainment picture. Films for the schools will not compete with entertainment films. They will vitalize and not vitiate our industry. They will stimulate interest in motion pictures generally. We know the power of the motion picture for good. We know its power to educate, not only through visual education films, but through entertainment films. We know its power to inspire-which is perhaps the greatest of its powers. We know its power to help the restless and the tired to relax. We know its power to inform, to break down intolerance, to exalt the brave, the generous and the kind; to hold up to scorn the cheap, the tawdry and depraved. In our hands, gentlemen, is the mightiest instrument for good so far devised by man. In our hands is a new torch to help enlight the world. In your communities you are the motion picture industry. As you and your theatres are judged, so will the industry itself be judged. We can’t take Center City to Hollywood, nor can we bring Hollywood to Center City. You, in Center City, are Hollywood. You are the industry. Yes, you are the industry, an industry with a dream and a vision. It is a dream of peace. It is a dream of peace through consistent, patient, thoughtful education for peace. It is a vision of revitalizing the spirit of democracy. It. is a vision of education for democracy; of reviving democracy where it is dying, where it gasps for breath, where it is chained and fettered to the clammy walls of other concepts which ignore the rights and privileges of man. But to fulfill the dream and the vision, there is one indispensable condition for the motion picture— The screen must be free. It must be free to explore and portray the whole realm of w #Q TVA VERVE LR EIR LEE LE LER RRR ILENE 4 SEASON'S GREETINGS KAPLAN & SPRACHMAN ARCHITECTS DEMERS LE EE LEE EEE ENE NEE EEE EE ELE ‘x rT YRARNRMNMAAMAA WD Dioiaisivimiaois PAMNAMNAMAANMMMDAM VD Moisiviat human knowledge and activity without fear of reprisal or repression. It must never be the plaything of politics or the tool of specious propaganda, On that issue, all of us within the industry must stand together. This is our task. This is our fight. We can win it only by unswerving courage, unswerving devotion to the idea that the screen is a mighty instrument placed in our hands for good, and by unswerving devotion to the ideal of freedom. Ours is the chance to make the motion picture a priceless gift for all mankind, a probing searchlight of hope in the dark areas where the lights of freedom have been extinguished, a beacon of promise against all threats to blot out the rights of man. Kenny O'Morrison In Paramount's ‘Saigon’ Kenny O’Morrison, young Paramount actor who recently portrayed Sergt. Chuck Vincent in ‘Dear Ruth,” has been cast as a happy-go-lucky Army Lieutenant, in “Saigon,” which Leslie Fenton is directing with Alan Ladd and Veronica Lake costarred. To Write, Produce RKO's "Angel Face’ Lillie Hayward has been assigned to write and produce ‘‘Angel Face,” RKO Radio’s screen version of Jean C. Becket’s Saturday Evening Post story concerning a little girl who decided to tell nothing but the truth. Sharyn Moffett, prominentiy featured in RKO Radio’s “The Locket,” will have the top role. Sid Rogell will function as executive producer. "Flying Dutchman’ Hal Chester, Monogram producer, will film “The Flying Dutchman” based on the famous legend. WB Give Stardom To Martha Vickers Martha Vickers, Warner Brothers’ contract player, has been elevated to stardom by Jack L. Warner, executive producer. She recently completed roles in “The Time, the Place and the Girl,” with Dennis Morgan, Jack Carson and Janis Paige, and “The Man I Love,” with Ida Lupino, Robert Alda and Andrea King, and will appear next in “Two Guys From Texas.” PERE LEME RE IRE RE REEL ICREREUUC IE US ES BE UC EERE RE I IE LUS NRE N IZ IS Fa URELEHREE MR LENE IR REC RE LEE UREN LE LEVEE Best Wishes To EVERYBODY In the Motion Picture Industry * GEORGE GILES Ansco of Canada Limited ARANARMANAAS statataiainieraiaiaterarateta ra nratalotaiatatata el atat siete a etetatet F punpibei Sree aa RICA IEEE IRIE UE”. Ww 1g Q LRARAAAAM AAI AS AT) 2. ia 5 ii ii a ii i i i i ii i i i ii is A aa : 2 INDEPENDENT POSTER SUPPLY MURRAY SWEIGMAN SSPE UERE RE PEPE VERE RE REE REPRE NEUE HEIR UE LEE LEME LEB PELE HEUER EERE ELE EERE IERIE DE DUDI DDD DDS SUIS ata Dia Sia Sata aaa iN MM SIRI A D1 BI Dt DDD DDIM DWM MMM MIIN s i M4 is ¥ The | Y : z Season’s ‘ i A y Compliments x FA FS y i ¥ from A ¥ a ¥ eR: 8 MORRIS STEIN & y ra a