Regional trade paper that began in Philadelphia, but expanded to include editions for other markets.

Le Film

Editors: Fernand de Verneuil (1921-42), Gerald Danis (1942-51), Thérèse Fournier (1952-), Gerard Laberge ( -1961)

Le Film (1921-61) continued Le Panorama (1919-21), also edited by de Verneuil from the same publisher, Poirier, Bessette et cie. Smaller and cheaper, but featuring similar illustrated, translated stories of Hollywood stars, this Québécois fan magazine was published for many years, until at least 1960. In the 1930s, Le Film was promoted as “the only French-Canadian cinema magazine (l’unique revue de cinéma canadienne-française).” The publisher also issued Le Samedi weekly and La Revue Populaire monthly, from the same editorial team but offering general reading about popular culture.

– Louis Pelletier and Paul Moore, 2024.

First issue in 1915; absorbed Shadowland in November 1923; became Movie Classic in September 1931. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Motion Play Magazine (1920-22) was one of many magazines for movie fans, but unique by virtue of being a newspaper supplement distributed free with Sunday papers such as the Washington Herald and the Indianapolis Star, along with a half-dozen others in the Midwest and Northeast. The syndicated magazine expanded the national reach of an earlier 1919 insert in the Philadelphia Record, which provided “news of screen players and plays, in rich sepia rotogravure.” Circulation reached nearly six hundred thousand by the end of 1921.While this was a modest result compared to syndicated color comics, it gave Motion Play a higher circulation than any fan magazine in the 1920s. In 1922, the movie features were folded into a general magazine in 1922 and the title “Motion Play” discontinued. Motion Play’s slim eight pages did not require staples or a glued spine, but its layout and content otherwise fit the form of other fan magazines of its day—a full-page poster cover of a movie star and other “portraits of the foremost cinema stars, together with interesting gossip about them and their work.”

– Paul Moore, March 2024

Originally Motion Picture Classic (first issue 1915), renamed Movie Classic in September 1931. Sold as 'The Newsreel of the Newstands'; on par with Picture Play and Screenland in terms of content, quality, and circulation (solid but below that of Photoplay, et. al.) until it was absorbed by Motion Picture in 1937. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Relatively short-lived magazine that nonetheless played a crucial role in the gossip industry. Launched in 1929, it cost only ten cents, when the majority of high-end magazines sold for a quarter. It was also primarily sold through Woolworth’s five and dime stores; the combination of cost and accessibility led to its dominance, by 1933, over all other magazines (circulation: 650,000). As a result, the other magazines decreased their price to match New Movie’s. New Movie had less content and poorer quality drawings and illustrations, but the content similar in tone and quality to that of the high end magazines. Ceased publication in 1935. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

PREMARC/SERLOC merged record

The leading Hollywood fan magazine of the 1920s and 1930s. Photoplay offered readers portraits of their favorite movie stars and stories about their personal lives. The magazine played an important promotional function for the Hollywood industry, but its editors and reviewers could also be highly critical of Hollywood. Beginning in 1921, Photoplay bestowed its annual 'Medal of Honor' for the film readers voted as the best of the year. -- Eric Hoyt, 2011.

Began publishing in 1915; mid-level fan magazine on par with Movie Classic and Screenland. Cost a twenty five cents an issue up until pricing pressure from New Movie (c. 1932) incited an across-the-board price decrease to 10 cents. Merged with Charm in 1941, which would later become Glamour magazine (1959). -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Began publishing in 1915; mid-level fan magazine on par with Movie Classic and Screenland. Cost a twenty five cents an issue up until pricing pressure from New Movie (c. 1932) incited an across-the-board price decrease to 10 cents. Merged with Charm in 1941, which would later become Glamour magazine (1959). -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013

Originally Motion Picture Classic (first issue 1915), renamed Movie Classic in September 1931. Sold as 'The Newsreel of the Newstands'; on par with Picture Play and Screenland in terms of content, quality, and circulation (solid but below that of Photoplay, et. al.) until it was absorbed by Motion Picture in 1937. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013

Screen and Radio Weekly (1934-40) was launched by the Detroit Free Press in April 1934 and published with that masthead until 1940, when its material was folded into the paper’s general content Sunday Magazine. By October 1934, it was syndicated nationally in dozens of different newspapers, all offering “a week-end of gala reading enjoyment. Not just ‘another section,’ but a full-size tabloid in brilliant colors and breezy pictorial, FREE with your Sunday Free Press,” or Sunday Oakland Tribune, or Sunday Democrat and Chronicle, or whichever location the novelty began, separated by months and thousands of miles across the entire United States. The sixteen-page tabloid magazine was printed in bold color blocking, featuring rainbow-bright portraits of movie stars on its front and back covers. There are indications it was available as a magazine in its own right, not only as a newspaper supplement, at least in Detroit. Over its six years of publication, Screen and Radio Weekly was included in at least thirty-two papers, at least fifteen concurrently in 1937. Its circulation approached 1.5 million copies weekly at the time, higher than the watermark for Photoplay (1911-80) of 1.4 million circulation in the mid-1950s. Douglas Martin was editor in Detroit and Grace Wilcox, his recently widowed sister-in-law, penned the main gossip column from Los Angeles, “Hollywood Reporter” (apparently no relation to the fledgling magazine of the same name). Wilcox’s bylines also often used her married name, Edith Dietz. She had worked in the publicity departments at Mutual and Universal, then writing for the Los Angeles Express in late 1910s, It Magazine in the early 1920s, and the Los Angeles Times in the late 1920s, before writing screenplays for Anna May Wong. Another near-weekly reporter in the magazine’s first months was Douglas W. Churchill, just before he became Hollywood correspondent for the New York Times.

– Paul Moore, March 2024

Mid-range fan magazine. Ran from 1920 to 1952, at which point it changed its name to Screenland Plus TV-Land. Merged with Silver Screen in 1971 and ceased publication. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Mid-range fan magazine. Ran from 1920 to 1952, at which point it changed its name to Screenland Plus TV-Land. Merged with Silver Screen in 1971 and ceased publication. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Monthly high end fan magazine described by Anthony Slide as 'very much a sophisticated publication, almost too good to be described as a fan magazine' (31). Its marketing slogan: 'The Handsomest Magazine in the Whole World.' Featured coverage of ballet, the stage, literature and architecture alongside Hollywood films and stars. Ceased publication in 1923 when it merged with Motion Picture Classic. -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.

Radio Mirror (later known as Radio and Television Mirror) was a fan magazine for radio listeners and later TV viewers that includes profiles of the stars, visits to radio and television studios, and program listings. The early years in the 1930s show the interaction of motion pictures, recordings, the stage, radio and even politics. The role of radio in World War II is well covered in the 1940s, and by the 1950s the focus shifts to television and a new generation of personalities. -- David Pierce, 2013