Extensive Publication Runs
![A scan of a printed black-and-white photograph. The photo shows a bookshelf filled with large books. The center shelf contains a radio set and a fold-out table.](../images/bookshelf.jpg)
The Media History Digital Library contains issues from over 690 unique publications! This page lists the publications that we have extensive runs (10 or more issues) and provides links to browse the individual issues of each publication. In addition to the publications listed here, browsing the collection pages or searching Lantern are other great ways to find what you're looking for!
Publications
![Cover image for 20th Century-Fox Dynamo](https://archive.org/download/dynamo29-1956-02-11/page/n10_w200.jpg)
20th Century-Fox Dynamo
![Cover image for American cinematographer](https://archive.org/download/americancinemato42unse/page/n10_w200.jpg)
American cinematographer
Read More![Cover image for Ballyhoo](https://archive.org/download/profit-blitz-for-fitz-1955-10-14/page/n10_w200.jpg)
Ballyhoo
Ballyhoo
- Ontario 'B' District Ballyhoo, editor: Dan Krendel (1952-55)
- Profit Blitz for ‘Fitz’, editor: Dan Krendel (1955)
- National Ballyhoo, editor: Dan Krendel (1956-57)
- Time Out for Ticket Talk, editor: Norman Barker (1960-61)
Ballyhoo (1952-61) was published by Famous Players Canadian Corporation as a mimeographed internal sales and theatre managers’ newsletter. Editor, Dan Krendel, had been division manager of the Ontario ‘B’ District since 1942, and initially created Ballyhoo in 1952 to circulate weekly updates for a regional sales contest. Ontario ‘B’ District Ballyhoo continued until 1955 as a tool for sharing and incentivizing new sales techniques and publicity methods as the movie business declined in the face of television and the baby boom.
In Fall 1955, Profit Blitz for ‘Fitz’ was a nationwide sales contest, named for Famous Players’ president J. J. Fitzgibbons, honouring his 25th year as head of the business. Dan Krendel was made National Drive Captain and edited a weekly newsletter for the campaign.
From 1956 until at least 1957, National Ballyhoo was published weekly with Krendel as editor. He continued the style and content developed earlier for his Ontario ‘B’ District, but now extended vastly for a chain-wide coast to coast scale. Ballyhoo’s sharing promotional tools came at a time of contracting box office as television and automobile ownership became prevalent in the mid-1950s.
By 1960 until at least 1961, Time Out for Ticket Talk continued as a mimeographed newsletter, edited by Norman Barker of the head office publicity department. Time Out was compiled on a less ambitious scale than Ballyhoo. Compared to the earlier national compilation of local publicity gimmicks, Time Out often contained only a single memo or reproduced local story, and was often undated and only informally edited.
– Paul Moore, March 2024
![Cover image for Boxoffice](https://archive.org/download/boxofficeoctdec183boxo/page/n10_w200.jpg)
Boxoffice
![Cover image for Boxoffice barometer](https://archive.org/download/boxofficebarometer1962-03-26-61-62/page/n10_w200.jpg)
Boxoffice barometer
![Cover image for Broadcasting](https://archive.org/download/broadcasting16unse/page/n10_w200.jpg)
Broadcasting
![Cover image for Canadian Film Digest](https://archive.org/download/canadian-film-digest-1976-12/page/n10_w200.jpg)
Canadian Film Digest
Canadian Film Digest
Editors: Dan Krendel (1971-72), Garth Drabinsky (1972-76)
Canadian Film Digest (1971-76) was owned and published by Nat Taylor’s Film Publications of Canada, Ltd., and initially edited by Dan Krendel, who had edited What’s New? (1942-74) and originated Ballyhoo (1952-61) for nationally-dominant chain, Famous Players Canada, Ltd., also Taylor’s exhibition partner. Despite these ties to a Paramount-controlled theatre chain, the magazine nonetheless aimed to provide news and features about all aspects of the industry across Canada, exhibition, distribution and production. The Digest began when an attempted 1970 renewal of Canadian Film Weekly (1942-70) was short-lived. Taylor decided to relaunch under an entirely new title with a more contemporary, colour layout. Taylor later hired young Garth Drabinsky to edit, impressed by his initiative publishing Impact (1972), a lobby give-away for moviegoers. Drabinksy’s interest turned to film producing in 1977, letting the Digest come to an end, although he and Taylor continued to collaborate in building the original 18-screen Cineplex at Toronto’s Eaton Centre. Canadian Film Digest also published an annual directory Canadian Film Digest Yearbook (1971-86), which similarly continued Canadian Film Weekly Year Book (1951-70), and subsequently became Film Canada Yearbook (1986-2007). Because Canadian Film Digest originated in the Canadian Film Weekly, which had incorporated Canadian Moving Picture Digest (1917-57), which in turn had merged with Canadian Universal Bulletin (1915-18), the magazine dated its roots back to 1915, a single thread of ownership publishing these main periodicals and annuals of English Canada’s film press.
– Paul Moore, March 2024
![Cover image for Canadian Film Weekly](https://archive.org/download/canadianfilmweekly-1970-04-10/page/n10_w200.jpg)
Canadian Film Weekly
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.
![Cover image for Canadian Film Weekly Year Book of the Canadian Motion Picture Industry](https://archive.org/download/canadianfilmweekly-yearbook-1955/page/n10_w200.jpg)
Canadian Film Weekly Year Book of the Canadian Motion Picture Industry
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.
![Cover image for Canadian Moving Picture Digest](https://archive.org/download/canadian-moving-picture-digest-1948-03-06/page/n10_w200.jpg)
Canadian Moving Picture Digest
Canadian Moving Picture Digest
Editors: Merrick R. Nutting (1917-18), Raymond S. Peck (1918), Ray Lewis (1918-19 and 1920-54), Walter Greene (1919-20), Jay Smith (1954-57)
Canadian Moving Picture Digest (1917-57) was initially a Montréal-based rival of the first film paper in Canada, Toronto-based Canadian Universal Bulletin (1915-18, edited by W.A. Bach 1915-17, J.W. Cambridge 1917-18, Raymond S. Peck 1918). The two periodicals were combined in 1918, keeping the Digest name, but moving production to Toronto with Peck as editor. Canadian Moving Picture Digest assumed The Bulletin’s volume numbering and always claimed 1915 as its year of origin. Ray Lewis (née Rae Levinsky) was a writer and playwright, who spent time in early Hollywood’s publicity departments. She briefly took the Digest helm in 1918, then long-term editor, later owner and publisher, from 1920 until her death in 1954. Under Lewis’s leadership, the trade paper claimed to serve as a voice for independent exhibitors and advocated for a Canadian cultural presence in cinema, particularly emphasizing British films as a way to keep a distance from Hollywood. Lewis's editorials were notable for their advocacy, wit, and critique of American dominance in the Canadian film market. While initially positioning herself as an outsider, she became integrated within the industry and a true insider. She even had an ongoing correspondence with Canadian Prime Minister R. B. Bennett, advocating for the industry as a whole and supporting British film imports. She was well-known at Toronto’s Dundas Square film row as well as in New York and Hollywood. Variety’s Sime Silverman called her “the Girl Friend in Canada,” and she delighted when U.S. writers not “in the know” presumed “Ray” was a man’s name. Lewis was later an inaugural member of the Canadian Picture Pioneers, eventually the group’s first female president and Pioneer of the Year. After she died in 1954, her son Jay Smith took over editorial duties until Canadian Moving Picture Digest was bought by Nat Taylor’s Film Publications of Canada in 1957. Taylor incorporated the legacy journal into a joint masthead for Canadian Film Weekly (1942-70), which subsequently dated its roots back to the 1915 origins of the film press in Canada.
– Jessica Whitehead and Paul Moore, March 2024
Further Reading
- Whitehead, Jessica, Louis Pelletier and Paul Moore, “‘The Girl Friend in Canada’: Ray Lewis and Canadian Moving Picture Digest (1915–1957).” In Daniel Biltereyst and Lies Van de Vijver, eds., Mapping Movie Magazines: Digitization, Periodicals and Cinema History, 127-52. London: Pagrave-Macmillan, 2021.
![Cover image for Captain George's Penny Dreadful](https://archive.org/download/captain-georges-penny-dreadful-1975-03-14/page/n10_w200.jpg)
Captain George's Penny Dreadful
Captain George's Penny Dreadful
Editor: Peter Harris (1969-82)
The Vast Whizzbang Organization combined the intense film nostalgia of George Henderson and Pete Harris, among others, operating out of Henderson’s Memory Lane bookshop, a comic collectors’ and movie memorabilia haven in Toronto. Harris issued a quarterly magazine, Captain George’s Whizzbang. The weekly newsletter Captain George’s Penny Dreadful (1969-1982) was dedicated to celebrating silent and classic movies. Subscribers reportedly included Stan Lee and Pierre Berton.
– Paul Moore, June 2024.
![Cover image for Cine-Journal](https://archive.org/download/cineaugde02gdur/page/n10_w200.jpg)
Cine-Journal
Read More![Cover image for Cine-mundial](https://archive.org/download/cinemundial27unse/page/n10_w200.jpg)
Cine-mundial
![Cover image for Cinema Canada](https://archive.org/download/cinema-canada-1980-08/page/n10_w200.jpg)
Cinema Canada
Cinema Canada
Earlier Title: Canadian Cinematography (1961-67)
Cinema Canada (1967-89) was the primary trade journal for film and television production in Canada. The magazine originated as Canadian Cinematography (1961-67), published by the Canadian Society of Cinematographers, but was renamed to appeal to a wider readership and to recognize a degree of maturity of the national film production industry. Cinema Canada hosted a new slate of stridently nationalist film critics, scholars and writers. The magazine’s emergence coincided with a threshold, of sorts, when a national cinema became recognizable in character as having an independence from Hollywood genres, even if output remained relatively small in quantity. The publication’s archives are housed at the Toronto International Film Festival’s Film Reference Library.
– Paul Moore, 2024
![Cover image for Close Up](https://archive.org/download/closeup02macp/page/n10_w200.jpg)
Close Up
![Cover image for Der Kinematograph](https://archive.org/download/kinematograph-1912-04/page/n10_w200.jpg)
Der Kinematograph
![Cover image for Exhibitor's Trade Review](https://archive.org/download/exhibitorstrad00newy/page/n10_w200.jpg)
Exhibitor's Trade Review
![Cover image for Exhibitors Herald](https://archive.org/download/exhibitorsherald25unse/page/n10_w200.jpg)
Exhibitors Herald
![Cover image for Famous News](https://archive.org/download/famous-news-1990-03-10/page/n10_w200.jpg)
Famous News
Famous News
Editors: Michelina Trigiani (1981), Elizabeth Pollack (1981-82), uncredited (1990-91)
Famous News (1981-91) was a bi-monthly corporate newsletter for Famous Players Canada, Ltd., reviewing promotional ideas for early 1980s blockbusters, combined with news about the latest openings of multiplexes. Famous News revived and rebranded What’s New? (1942-74) when Famous Players moved into a new headquarters on Bloor Street in Toronto. Edited by Michelina Trigiani for its first issues, then by Elizabeth Pollack, the newsletter addressed all employees as “family.” Personal milestones of local ushers and head office staff alike were celebrated in every issue, noting birthdays, weddings, anniversaries, and retirements, alongside baby pictures and family snapshots.
– Paul Moore, March 2024
![Cover image for FilmIndia](https://archive.org/download/filmindia194208unse/page/n10_w200.jpg)
FilmIndia
Read More![Cover image for Harrison's Reports](https://archive.org/download/harrisonsreports25harr/page/n10_w200.jpg)
Harrison's Reports
![Cover image for Heinl radio business letter](https://archive.org/download/heinlradiobusine1937hein/page/n10_w200.jpg)
Heinl radio business letter
![Cover image for Hollywood](https://archive.org/download/hollywood24holl/page/n10_w200.jpg)
Hollywood
Read More![Cover image for Home Movies](https://archive.org/download/homemovies194613verh/page/n10_w200.jpg)
Home Movies
Read More![Cover image for Independent Exhibitors Film Bulletin](https://archive.org/download/indepe14film/page/n10_w200.jpg)
Independent Exhibitors Film Bulletin
![Cover image for Inside facts of stage and screen](https://archive.org/download/insidefacts11-1930-01-11/page/n10_w200.jpg)
Inside facts of stage and screen
![Cover image for International photographer](https://archive.org/download/internationalpho07holl/page/n10_w200.jpg)
International photographer
![Cover image for International projectionist](https://archive.org/download/internationalpro29finn/page/n10_w200.jpg)
International projectionist
![Cover image for Journal of the Society of Motion Picture Engineers](https://archive.org/download/journalofsociety21socirich/page/n10_w200.jpg)
Journal of the Society of Motion Picture Engineers
![Cover image for Kinematograph year book](https://archive.org/download/kinematographyea27unse/page/n10_w200.jpg)
Kinematograph year book
Read More![Cover image for Le Film](https://archive.org/download/le-film-1926-07/page/n10_w200.jpg)
Le Film
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.
![Cover image for Modern Screen](https://archive.org/download/modernscreen9101unse/page/n10_w200.jpg)
Modern Screen
Read More![Cover image for Motion Picture](https://archive.org/download/motionpicturemag18moti/page/n10_w200.jpg)
Motion Picture
Read More![Cover image for Motion Picture Daily](https://archive.org/download/motionpicturedai66unse/page/n10_w200.jpg)
Motion Picture Daily
![Cover image for Motion Picture Herald](https://archive.org/download/motionpictureher196quig/page/n10_w200.jpg)
Motion Picture Herald
![Cover image for Motion Picture Magazine](https://archive.org/download/motionpicturemag32brew/page/n10_w200.jpg)
Motion Picture Magazine
Read More![Cover image for Motion Picture News](https://archive.org/download/motionnew34moti/page/n10_w200.jpg)
Motion Picture News
![Cover image for Motion Picture Reviews](https://archive.org/download/motionpicturerev00wome_4/page/n10_w200.jpg)
Motion Picture Reviews
![Cover image for Motion Play](https://archive.org/download/motionplay-1921-11-20/page/n10_w200.jpg)
Motion Play
Motion Play
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
![Cover image for Motography](https://archive.org/download/motography18elec/page/n10_w200.jpg)
Motography
Read More![Cover image for Movie Classic](https://archive.org/download/movieclassic09moti/page/n10_w200.jpg)
Movie Classic
![Cover image for Movie Makers](https://archive.org/download/amateurmoviemake31amat/page/n10_w200.jpg)
Movie Makers
![Cover image for Moving Picture World](https://archive.org/download/movingpicturewor20newy/page/n10_w200.jpg)
Moving Picture World
![Cover image for NAEB Newsletter](https://archive.org/download/naeb-b111-f06-18/page/n10_w200.jpg)
NAEB Newsletter
![Cover image for NBC Transmitter](https://archive.org/download/nbctransmitter3193nati/page/n10_w200.jpg)
![Cover image for New York Clipper](https://archive.org/download/clipper42-1894-12/page/n10_w200.jpg)
New York Clipper
![Cover image for Paramount Press Books](https://archive.org/download/artcraftpressboo02famo_4/page/n10_w200.jpg)
Paramount Press Books
Read More![Cover image for Photoplay](https://archive.org/download/pho1314chic/page/n10_w200.jpg)
Photoplay
![Cover image for Picture-Play Magazine](https://archive.org/download/picturepl32stre/page/n10_w200.jpg)
Picture-Play Magazine
![Cover image for Publix Opinion](https://archive.org/download/publix-opinion-1927-11-07/page/n10_w200.jpg)
Publix Opinion
Publix Opinion
Editors: John E. McInerney (1927-28), Ben Serkowich (1928-30), Robert Faber (1930-32)
Publix Opinion (1927-32) was a broadsheet house organ for Paramount-Publix Corporation sharing nationally various exhibition stunts and ideas among managers of first-run locations. Content aimed to coordinate collegial competition among local exhibition managers, furthering the standardized management style implemented by Balaban & Katz in Chicago before the merger to create Publix. The paper offered news, insights, news and ideas about new features and the studio’s productions. “Contents strictly confidential,” editor Ben Serkowich explained in a short article, “How to Use Publix Opinion” (January 17, 1930): “the paper is sent only to theatre advertising managers… It is by order of Mr. Katz that these copies are not to be cut or mutilated… They are not to be taken from the theatre.” At a couple of points, the masthead changed to mirror a seasonal sales contests (“Publix Harvester” in fall 1927, “Comin’ Thru” in spring 1928). Bound, numbered compiled folios of issues were indexed and provided to managers for reference.
– Paul Moore, March 2024
![Cover image for Radio Broadcast](https://archive.org/download/radiobroadcast1314unse/page/n10_w200.jpg)
Radio Broadcast
![Cover image for Radio Digest](https://archive.org/download/radiodigest19261618radi/page/n10_w200.jpg)
Radio Digest
Read More![Cover image for Radio and television mirror](https://archive.org/download/rad00mac/page/n10_w200.jpg)
Radio and television mirror
![Cover image for Radio annual and television yearbook](https://archive.org/download/radioannual194500radi/page/n10_w200.jpg)
Radio annual and television yearbook
Read More![Cover image for Radio broadcast ..](https://archive.org/download/radiobroadcast05gardrich/page/n10_w200.jpg)
Radio broadcast ..
![Cover image for Radio mirror](https://archive.org/download/radiom00mac/page/n10_w200.jpg)
Radio mirror
![Cover image for Screen and Radio Weekly](https://archive.org/download/screen-and-radio-weekly-1934-04-29-detroit/page/n10_w200.jpg)
Screen and Radio Weekly
Screen and Radio Weekly
Editor: Douglas Martin (1934-40)
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
![Cover image for Screenland](https://archive.org/download/screenland24unse/page/n10_w200.jpg)
Screenland
![Cover image for Showmen's Trade Review](https://archive.org/download/showmenstraderev37lewi/page/n10_w200.jpg)
Showmen's Trade Review
![Cover image for Silver Screen](https://archive.org/download/silverscreen05unse/page/n10_w200.jpg)
Silver Screen
Read More![Cover image for Sponsor](https://archive.org/download/sponsor56sponno2/page/n10_w200.jpg)
Sponsor
![Cover image for TV Radio Mirror](https://archive.org/download/radiotv00macf/page/n10_w200.jpg)
TV Radio Mirror
![Cover image for TV forecast](https://archive.org/download/tvforecast-chicago-1953-02-21/page/n10_w200.jpg)
TV forecast
![Cover image for Take One](https://archive.org/download/take-one-1971-07/page/n10_w200.jpg)
Take One
Take One
Take One (1966-79) was a Montréal-based film magazine offering criticism and news about international, Canadian, and Hollywood cinema. Founded by Peter Lebensold, Adam Symansky, and John Roston—alumni of the McGill Film Society—its creation coincided with the burgeoning Canadian film industry, which Take One placed in global context. Articles included essays by filmmakers themselves, such as Brian DePalma and Richard Dreyfuss. The magazine concluded its run in 1979 after publishing 81 issues, but remained sufficiently influential that a 1992 Toronto-based magazine took the same title in homage to the original.
– Jessica Whitehead, March 2024
![Cover image for The Canadian Independent](https://archive.org/download/canadian-independent-1938-02-15/page/n10_w200.jpg)
The Canadian Independent
The Canadian Independent
Editor: Stella Falk (1936-40)
The Canadian Independent (1936-40) was created to serve as a mouthpiece for the Independent Theatres Association, an alliance of theatre owners in Canada. It emerged in response to the industry's anti-competitive dynamics, aiming to provide a platform free from Hollywood distributors' influence and the monopolistic practices of the Famous Players Canadian Corporation. Edited by Stella Falk, the trade paper positioned itself as a champion for the interests of independent exhibitors, distinguishing its mission and editorial stance from other publications, notably the Canadian Moving Picture Digest (1917-57) edited by Ray Lewis. According to Falk, Lewis had become too much of an insider and was no longer interested in “fighting” for the independent exhibitor. This would lead to an eventual editorial dispute and libel lawsuit, which eventually resulted in a reorganization and rebranding under a new title of The Canadian Motion Picture Exhibitor (1940-41).
– Jessica Whitehead, March 2024
![Cover image for The Canadian Motion Picture Exhibitor](https://archive.org/download/canadian-motion-picture-exhibitor-1941-10-15/page/n10_w200.jpg)
The Canadian Motion Picture Exhibitor
The Canadian Motion Picture Exhibitor
Editors: Stella Falk (1940-41), R. Coper (1941), Hye Bossin (1941-42)
The Canadian Motion Picture Exhibitor (1940-41) emerged from the legal and editorial battles involving The Canadian Independent (1936-40) and the Canadian Moving Picture Digest (1917-57), and represented a significant new phase in Canadian film industry journalism. The first issue was published on December 1, 1940, in the wake of a high-profile libel lawsuit between editor Stella Falk and her Digest rival editor Ray Lewis. Like The Canadian Independent, it continued to act as an official publication of the Independent Theatres Association. After Stella Falk's departure in March 1941, it was briefly edited by R. Coper before Hye Bossin took over in June 1941, under the new ownership of Nat Taylor. No longer focused on fighting for the rights of independent exhibitors, the new editorial direction marked a shift towards a broader coverage of the film industry, including exhibition, distribution, and production, under a renamed Canadian Film Weekly (1942-70).
– Jessica Whitehead, March 2024
![Cover image for The Edison phonograph monthly](https://archive.org/download/edisonphonograph07moor/page/n10_w200.jpg)
The Edison phonograph monthly
![Cover image for The Exhibitor](https://archive.org/download/motionpictureexh73jaye/page/n10_w200.jpg)
The Exhibitor
![Cover image for The Film Daily](https://archive.org/download/filmdailyvolume55152newy/page/n10_w200.jpg)
The Film Daily
![Cover image for The New Movie Magazine](https://archive.org/download/newmoviemagazine07weir/page/n10_w200.jpg)
The New Movie Magazine
![Cover image for The Picture Show Annual](https://archive.org/download/pictureshowannua00amal/page/n10_w200.jpg)
The Picture Show Annual
Read More![Cover image for The billboard](https://archive.org/download/billboard23-1911-06/page/n10_w200.jpg)
The billboard
Read More![Cover image for The film daily year book of motion pictures](https://archive.org/download/filmdailyyearboo00film_2/page/n10_w200.jpg)
The film daily year book of motion pictures
Read More![Cover image for The radio annual](https://archive.org/download/radioan00radi/page/n10_w200.jpg)
The radio annual
Read More![Cover image for The talking machine world](https://archive.org/download/talkingmachinewo18bill/page/n10_w200.jpg)
The talking machine world
Read More![Cover image for Transactions of the Society of Motion Picture Engineers](https://archive.org/download/transactionsofso89soci/page/n10_w200.jpg)
Transactions of the Society of Motion Picture Engineers
![Cover image for Universal Weekly](https://archive.org/download/universalweekly100movi_7/page/n10_w200.jpg)
Universal Weekly
![Cover image for Variety](https://archive.org/download/variety56-1919-10/page/n10_w200.jpg)
Variety
![Cover image for What's New?](https://archive.org/download/whats-new-1954-06/page/n10_w200.jpg)
What's New?
What's New?
Editors: James R. Nairn (1942-68), Dan Krendel (1968-71), Bud Barker (1972-74)
What's New? (1942-74) was the house organ for Famous Players Canadian Corporation, the nation’s largest chain of cinemas for 85 years from 1920 to 2005. The Manager was an early Famous Players’ house organ, launched by 1934 and edited by head of publicity, James R. Nairn, director of publicity for the company since 1930. James Nairn, was also head of publicity for Famous Players, renaming an earlier magazine following a major 1941 realignment of theatre ownership in Canada, with the creation of Odeon Theatres, a new national competitor. What’s New? was “issued in the interest of employees and associates coast to coast.” Dan Krendel became editor in 1968, after many years as district sales manager and editor of Ballyhoo (1952-61) local management newsletters. Bud Barker was then editor when Krendel left to take the helm of Canadian Film Digest (1971-76). With a move to new headquarters in the 1980s, What’s New? was replaced by a new magazine, Famous News (1981-91).
– Paul Moore, March 2024