The LHMC is provided courtesy of Dr. Carolyn Halladay and Terrence Brady, who together have contributed high-resolution scans of various “Southern Screen,” “Cinemart,” and “Hong Kong Movie News” issues. An issue from each month (January ’72 to December ’82) will be represented by one of these three publications. Every issue will be complete (cover to cover), down-loadable in full-print size, 200 dpi, and no watermarks. That’s over 10,000 pages! As an added bonus, Brian Dyer has contributed approximately 300 Lobby Card scans which will be available for download as well.

About Southern Screen
Southern Screen was a magazine published monthly by Shaw Brothers. It ran from a span of almost 30 years, from the late 50′s through the mid-80′s. The premise for the publication was to cover all the latest films at the time, info on the actors of the films, as well as behind-the-scenes stories, gossip, and anything and everything Shaw related.

About Cinemart
Cinemart magazine began in 1970 and ran for approximately 200 issues ending in the mid 80s. Unlike Southern Screen and HKMN, which focused on Shaw productions, this HK based publication featured films and stars from a broader spectrum of countries (Taiwan, Korea, etc.) and filmmakers outside of Shaw – such as Seasonal Film Corporation, Ocean Films, Golden Harvest and First Films.

About Hong Kong Movie News
Hong Kong Film News was the second official publication of Shaw Brothers. The publication began it’s run in 1966 and ceased abruptly in the early 1980s when the Shaw Studios stopped its productions.

Linn’s love of these cult flicks was not a one-dimensional endeavor for him. No, he had a true respect for the Asian people and their culture. Linn spent hours researching Asian history, folklore, customs, and the development of the kung fu film genre. Not only could he tell you the thousands of films put out by the Shaw Brothers (or any other company), he could also tell you why they put out those particular story lines in that year, why they chose the actors and choreographers, the previous and subsequent films of those actors, choreographers and directors, the various alternate titles of the films, if they were letterboxed, subtitled or dubbed, and what films one should watch next. Linn was a wealth of knowledge and his lifelong friends always thought that instead of sleeping he just hooked into the mother satellite and downloaded
information.

This collection is just the beginning of tangible evidence that Linn’s knowledge and passion for Asian films, particularly kung fu, has made a difference for this genre. I hope that this collection will spark more interest, more discussions, and more mainstream promotion of what I call “my husband’s mistress.” Here’s to the success of the Linn Haynes Memorial Collection and thank you to all who made this possible.

With love,
Monica Haynes
June 2009