Canadian Film Weekly (Jul 20, 1949)

Page scan 0009 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jul 20, 1949
Volume:
Canadian Film Weekly (Jul 20, 1949)
Leaf #:
0009
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 21, 2025
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July 20, 1949 Anderson, NFB, Wins USA Post zobert Anderson, National Film Board director of the Mental Mechanism series, Feeling of 2ejection, Over-Dependence and Feeling of Hostility, has left for New York on leave of absence for a year to work as Film Officer for the Joint Mental Health Film Board in the United States. The Joint Mental Health Film Board, sponsored by the National Committee of Mental Health, was recently set up to produce films patterned after the Canadian Mental Mechanism series. A graduate of the University of Saskatchewan, Anderson came to the Film Board from the Canadian Broadcasting Corporation in 1942. During the war years the Board yranted him leave of absence to study documentary film production in Britain. In 1946 he directed the first of the Mental Mechanism series produced by the Board for the Department of National Health and Welfare with the co-operation of the Allan Memorial Institute of Pag> 10 Canadian FILM WEEKLY Leavitts Retire After 37 Years 38% od RE eg i British Films (Frem the Windsor Daily Star) Tae Ontario motion picture censorship and theatre branch makes mention of the increase of British is D==g s2cwn in Canada, and to their excellence. Obicusly it comdemns some of those made in Hollywood. “ywood bcs many masterpieces of production to its wedi. Di=culty is thai for every outstanding one, there are = dozen er more so mediocre the world would have missed mothinc = they never had been made. Still others are deizttely bad. either fom poor plots, poor acting or, even worse. by panderimg to the nastier aspects of humanity. Britsh pictures have many obstacles to overcome on coniment Bui they can be overcome when high-class are produced. What the enteriamment world needs is another Hollycod, contcinins all its merits and lacking its demerits. In seeking to make millionaires of all the producers and star actresses and cciors. it all too often has relegated ex:ellence and decency to second place. Motion Pictures in Arabia (CSA Government Report) i iH fy ‘p I ( ' ' Whe be mess was the erection = tion for the general public in the Kingdom of Saudi Arabia. Psychiatry, Montreal. Another " film in this series is at present Indeed. the showing of motion pictures is anathema to is | mw Soe the ieee ee eee eee 2© ass Mgjesty amd his devout Wahabi ulama or religious —_— under production. + = a eae advisors. Admitiedly. this proscription has not prevented The only mental health films maicr attrections at the 4 & Rumber of wealthy Saudi Arabs, particularly in the Prior to this series were clinical i many a fest end ex. 4 Hejas. Hom importing 16 mm. projectors and equipment SHS acti 8 pee ane of Rockey was wit for their privaie use. These are relatively few in number, ae ahs a. fewispeninieed S92 ec gcse productions for use within such In addition to the above, two 16 mm. sound projectors organizations as the United are owned and operated by the Jidda Film Society under the co-chaimmeanship of the British and United States Am States Navy. It was considered by the Department of National Health and bassaders. Showings are given once a week on the roof cf the United Siates Embassy residence for the benefit of the American and European community resident in Jidda. An cil company is known to be operating 16 mm. equipment in Dhahran, Abgaiq, Ras Tanura and Ras Misha’ah isr iis employees. Also the United States Air Force operates an cpen-air theatre using 16 mm. equipment for the rsomnel of ihe Dhahran Air Base. There are probably about 25 1§ mm. projectors in all Saudi Arabia. Welfare that the use of this series could be broadened to include the instruction of social workers and other professionals in the health field. The films were shown experimentally to general audiences on the rural film circuits of the National Film Board. Their reception caused the Department of National Health and Welfare to reconsider the series as a means of giving the public vital information in a field which is Para Title Change The Lie has been set by Paramount as the new title for the Barbara Stanwyck-John Lund French Film Award Winners Announced Jomes and Gregory [ w 7 y dv bs | sae VS 8 pee cA sa ¢ —— Pe mamed s th e . ; ; — = cities, at new ee ge sen" film now in production under he beginning to receive recog soun a the former, mame. 1. Married. a. ™Monsiiex 2275 acwor Oo: i335 <2 the French film Dead Man. In the United States the series we mew awards made in Paris recently. Was acclaimed by the lay as well thes reEquivalent to Hollywood's Oscar = : 2 afessi = OD) ee ee 2 GONG Menry Set aS aioe ince oe placed r ime famed Wingo z Sva. ss PS “4 _ ae ee ee en eee en aac Columbia has set Gloria Henry eee a ae ect ae ae a! Le ect pire a cif? prea SS EO for the Feminine lead opposite Sooauae y Smee ee dertakin and mers or their representatives. Eddy Arnold in Feudin’ Rhythm sionals and shortly afterward the son a Walt Disey won an award * Joint Mental Health Film Board for his animated features, Bambi 1 u Was established to d imi Cut for animated features, mb as establishec produce s = oS ee ._ .__ amd Dumbo. Sir Laurence OliviHoneymoon For One lar films and explore the medium. AVILES sneasire Has 2 Ways == Hamlet was comsidered the Manfred Kutnick’s Honey, ae ee ee ee ers Banc. wn eee ” R Provided the latest in SHOWS. | _. sorcien Sim and best foreign ™moon for One” has been bought eA = . 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