Kine Weekly began its life in 1890 as the monthly publication Optical Magic Lantern and Photographic Enlarger. In 1903, it was retitled Optical Lantern & Cinematograp(ic) Journal, before becoming a weekly title in 1907 under the name Kinematograph and Lantern Weekly. In 1919, it changed its name to Kinematograph Weekly, and continued in regular publication until 1971. Known colloquially within the film industry as Kine Weekly for many years, it finally adopted that shorter title in 1959.
Given that length of publication, Kine Weekly represents a source of unique historical information about British cinema (and the impact on Britain of other national cinemas, most notably from the U.S.A.) across a time period that covers the silent era, the coming of sound, cinema in wartime, the introduction of television, the Swinging Sixties, and beyond.
Kine Weekly was owned by the periodical publisher Odhams. In 1960, when Odhams took over their rival Hultons, publisher of Picture Post (which pioneered photojournalism in the UK) and the Eagle comic, among other titles. Odhams renamed Hultons as Longacre Press, and Kine Weekly was published through this imprint until it ended in 1971.
The story of Kine Weekly doesn’t completely end in 1971, however. IPC Specialist and Professional Press – the company that bought Odhams in 1970 – sold Kine Weekly to British & American Film Holdings Ltd., owners of rival film trade paper, Today’s Cinema (first published in 1957, initially as Daily Cinema). This merged title – still called Today’s Cinema – ran until September 1975, when the merged titles were relaunched as Screen International. Now owned and published by EMAP, Screen International continues to be a major source of British and international film industry news.
Kine Weekly is thus a unique and invaluable record of the development of the British film and television industries, and is widely used by researchers.