Canadian Film Weekly Year Book of the Canadian Motion Picture Industry (1952)

Page scan 00046 from Canadian Film Weekly Year Book of the Canadian Motion Picture Industry

Record Details:

Title:
Canadian Film Weekly Year Book of the Canadian Motion Picture Industry
Date:
1952
Volume:
Canadian Film Weekly 1952-53 Year Book of the Canadian Motion Picture Industry
Leaf #:
00046
Language:
English
Collection:
Hollywood Studio System, Year Book, Canada, and Global Cinema
Format:
Periodicals
Contributor:
Media History Digital Library, Canadian Media Magazines Project, Paul Moore and Jessica Whitehead
Coordinator:
Media History Digital Library
Description:

Canadian Film Weekly Year Book of the Canadian Motion Picture Industry

Editor: Hye Bossin (1951-64)

Renamed Canadian Film & TV Bi-Weekly Year Book of the Canadian Entertainment Industry (1965-70, editor: Stan Helleur)

Hye Bossin was central in the 1950s 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 (1951-1970), an annual directory appendix to Bossin’s editorship at Canadian Film Weekly (1942-1970), owned by Nat Taylor’s Film Publications of Canada, Ltd. Early volumes included several significant historical essays under his byline, remarkably comprehensive and still cited today. Later volumes provided an annual spotlight of the Canadian Picture Pioneers of the Year. In the late 1960s, after Bossin’s death, the magazine was renamed Canadian Film & TV Bi-Weekly, scaling back the pace of publishing but added a purview for television and broadcasting. The annual was renamed similarly, its subtitle amended to “Year Book of the Canadian Entertainment Industry.” When the Film Weekly was relaunched as Canadian Film Digest (1971-76), the publication continued to include an annual, Canadian Film Digest Yearbook (1971-86), which was subsequently renamed Film Canada Yearbook (1986-2007).

– 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.
  • ———. “At the Very Beginning, The Holland Brothers of Ottawa Ushered in the World Motion Picture Industry.” In Canadian Film Weekly Year Book of the Canadian Motion Picture Industry, 45-49. Toronto: Film Publications of Canada, 1952.
  • ———. “The Story of L. Ernest Ouimet, Pioneer.” In Canadian Film Weekly Year Book of the Canadian Motion Picture Industry, 23-43. Toronto: Film Publications of Canada, 1952.

Date Added:
February 24, 2025
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At the Very Beginning THE HOLLAND BROS. OF OTTAWA USHERED IN THE WORLD MOTION PICTURE INDUSTRY (Public Archives of Canada) ANDREW M. HOLLAND HE Academy of Motion Picture | Arts and Sciences plans to build the only movie museum in the world that will offer a look at the kind of gadgets devised by persons attempting motion pictures before screen projection came. The most modern piece of equipment to be displayed will be an Edison Kinetoscope—one like those used for the first public exhibition of movies, which was given in the Kinetoscope Parlor of the Holland Bros. at 1155 Broadway on April 14, 1894. The Kinetoscope was 4_ peep-show box into which the viewer gazed for a few minutes after inserting 25 cents. Long lines waited to see “the Wizard’s greatest invention” and hun dreds of similar parlors were en in. the next couple of years. By the time Edison’s machines were used commercially by the Hollands he had invested a total of $24,118.04 in their development, Terry Ramsaye says 45 GEORGE HOLLAND in his “A Million and One Nights,” published in 1926 by Simon and Schuster, NY. The firm which had distribution rights paid him $200 each for them and they retailed at from $300 to $350 each. With that commercial exhibition of the Kinetoscope the motion picture became an industry—the beginning of what we have today. “Both in England and in Europe the work of screen inventors began with the foundation of the Edison Kinetoscope,” wrote Ramsaye, who searched records thoroughly when writing his two-volume work. Others have tried to establish priorities according to their land of origin. “But _it was from that basic attainment of the Kinetoscope film that the magic screen of the whole world sprang.” _ Raff and Gammon were the agents for the Edison Kinetoscope when it was ready for. commercial use. In Ottawa there were two enterprising brothers,