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Movie-Going on the Margins: the Mascioli Film Circuit of Northeastern Ontario

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Movie-Going on the Margins: the Mascioli Film Circuit of Northeastern Ontario Movie-Going on the Margins: The Mascioli Film Circuit of Northeastern Ontario A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY JESSICA LEONORA WHITEHEAD GRADUATE PROGRAM IN COMMUNICATION AND CULTURE YORK UNIVERSITY TORONTO, ONTARIO February 2018 © Jessica Leonora Whitehead 2018 ii Abstract Northeastern Ontario film exhibitor Leo Mascioli was described as a picture pioneer, a business visionary, “the boss of the Italians,” a strikebreaker and even an “enemy alien” by the federal government of Canada. Despite these various descriptors, his lasting legacy is as the person who brought entertainment to the region’s gold camps and built a movie theatre chain throughout the mining and resource communities of the area. The Porcupine Gold Rush—the longest sustained gold rush in North America—started in 1909, and one year later Mascioli began showing films in the back of his general store. Mascioli first came to the Porcupine Gold Camp as an agent for the mining companies in recruiting Italian labourers. He diversified his business interests by building hotels to house the workers, a general store to feed them, and finally theatres to entertain them. The Mascioli theatre chain, Northern Empire, was headquartered in Timmins and grew to include theatres from Kapuskasing to North Bay. His Italian connections, however, left him exposed to changes in world politics; he was arrested in 1940 and sent to an internment camp for enemy aliens during World War II. This dissertation examines cinema history from a local perspective. The cultural significance of the Northern Empire chain emerges from tracing its business history, from make-shift theatres to movie palaces, and the chain’s integration into the Hollywood-linked Famous Players Canadian national circuit. Mascioli’s unique links to Italy had always been his advantage in expanding business opportunities peripheral to the economic development of Canadian resource staples. The case of Mascioli presents a complicated dynamic between local and mass popular cultures, here intersecting with studies of Canadian culture and histories of the Italian immigrant diaspora. In bringing movie-going to the geographic margins of Canada’s resource economy, he drew upon Italian ethnicity to consolidate a powerful position regionally, which ultimately left him exposed to interventions by government and big business. iii Acknowledgments My dissertation is dedicated to three pivotal figures in the development of this research: my grandfather Valerio Bellini, film exhibitor and collector David Dymond, and Leo Mascioli. My grandfather and his stories of building the Empire Theatre is what influenced me to start this project. David’s collection of the original theatre records is the basis for much of this study. Finally, Leo’s fascinating history and his lasting legacy is why I have spent the last five years studying this case. Their stories of struggle and love of movie theatres is what inspired my work, and this dissertation is dedicated to their memories. This work would not have been possible without the assistance and support of many. Primarily I need to thank my supervisor Paul Moore who has been a never-ending source of inspiration, and I hope this is just the beginning of many more years of research together. I would like to thank my other committee members Anne MacLennan and Janine Marchessault who have also been incredible sources of support and guidance. I would like to extend my gratitude to the Social Sciences and Humanities Research Council and the Faculty of Graduate Studies at York University, who provided generous funding for this research. I also need to thank the people of Timmins who helped me with this project. I am not able to name everyone but a few notable people include: Paul Loreto and his mother Irene, Frank Giorno, Karina Douglas from the Timmins Library, Karen Bachmann from the Timmins Museum, Diane Armstrong, and Gregory Reynolds. I also want to thank the Mascioli family for supporting my project, especially Paula Mascioli who provided invaluable information about her grandfather and his businesses. Finally, I need to thank my own family: my father Jon Whitehead who read all my early drafts and my mother Brenda Bellini who provided much needed emotional support. I would also like to thank my sister Lila who always reminds me not to take life too seriously iv Table of Contents ABSTRACT ................................................................................................................................. II ACKNOWLEDGMENTS ........................................................................................................... III TABLE OF CONTENTS ............................................................................................................ IV LIST OF FIGURES ................................................................................................................... VII CHAPTER ONE: NORTHERN EMPIRE THEATRES ........................................................... 1 BEING ITALIAN: THE FALL OF LEO MASCIOLI ...................................................................................... 1 CINEMA AND MODERNITY: THE SOCIAL HISTORY OF A CULTURAL INDUSTRY ............................. 9 AN OVERVIEW OF FILM EXHIBITION STUDIES IN CANADA ............................................................. 17 ITALIANS IN CANADA AND THE PADRONE LABOUR SYSTEM .......................................................... 22 METHODOLOGIES AND SOURCES FOR “NEW CINEMA HISTORY” ................................................... 33 CHAPTER ORGANIZATION ..................................................................................................................... 42 CHAPTER TWO: FROM BLIND PIGS TO THE NEW EMPIRE THEATRE .................. 46 THE OPENING OF THE NEW EMPIRE THEATRE ................................................................................ 46 STAPLES THEORY: FROM THE PERIPHERY TO THE CORE ............................................................... 49 THE PADRONE OF NORTHEASTERN ONTARIO .................................................................................. 57 REGULATION AND THE THEATRES ...................................................................................................... 67 EARLY MOVIE-GOING IN THE NORTHEAST AND HOMOSOCIAL LEISURE CULTURE ................... 71 EARLY THEATRES IN TIMMINS ............................................................................................................. 79 THE NEW EMPIRE THEATRE ................................................................................................................ 86 WORLD WAR I: THE EXPANSION ........................................................................................................ 88 v PETE BARDESSONO AND AMERICAN CORPORATISM ........................................................................ 91 MODERN LEISURE IN TIMMINS ............................................................................................................ 98 FILM PROGRAMMING AT THE THEATRES ........................................................................................ 105 CONCLUSIONS ....................................................................................................................................... 111 CHAPTER THREE: THE MOVIE PALACE OF THE NORTH ........................................ 114 THE OPENING OF THE PALACE THEATRE ....................................................................................... 114 THE MODERN FIRM: THE TRANSFORMATION OF THE MASCIOLI CHAIN .................................. 117 THE BUSINESS RECORDS: HOW THE CHAIN EXPANDED, 1933–1936 .................................... 126 WHAT PLAYED AT THE THEATRES: 1930–1936 ......................................................................... 132 THE OPENING OF THE PALACE THEATRE: CHANGING CONSUMER CULTURE IN TIMMINS .... 142 BECOMING PART OF THE FAMOUS PLAYERS CANADIAN NATIONAL CHAIN ............................. 148 THE BUSINESS RECORDS POST-VERTICAL INTEGRATION ........................................................... 157 WHAT PLAYED AT THE THEATRES AFTER VERTICAL INTEGRATION, 1936–1938? ............. 163 CONCLUSIONS ....................................................................................................................................... 169 CHAPTER FOUR: THE WAR YEARS ................................................................................ 173 THE OPENING OF THE BROADWAY THEATRE ................................................................................ 173 ITALY DECLARES WAR ........................................................................................................................ 176 THE RCMP INVESTIGATION INTO ENEMY ALIENS ........................................................................ 180 THE CASE AGAINST THE MASCIOLI BROTHERS ............................................................................. 183 THE EFFECTS ON THE TOWN OF TIMMINS ...................................................................................... 190 PROMOTIONS AND THE MODERN AUDIENCE: MEMORIES OF MOVIE-GOING ........................... 195 THE FIGHT FOR CONTROL OF TIMMINS THEATRES: COURT CASES AND CONTRACTS ........... 203 THE FINANCIAL RECORDS DURING THE WAR YEARS ................................................................... 208 CONCLUSIONS ......................................................................................................................................
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