The emergence of the mass market as a concept ordering distinctions in urban space is investigated through newspaper reporting and promotion of early movie‐going in Toronto, 1907–1916. The analysis builds upon a revision of Chicago Sociology's text on The City, shifting the method and theoretical weight to rest more on Park's Natural History of the Newspaper than Burgess' Growth of the City. The metropolitan newspaper is both document and agent of urbanization, and is used here to describe how modernity was grounded in mass culture. The newspaper provides a sensible version of urban living for city dwellers, a map or menu of the city's rhythms and spaces. Specific to the movies, there is a shift from journalism to promotion, from trying to understand the audience to letting advertising for ever‐changing film titles stand in for the urban practice. In particular, the brief fad of serial films with accompanying stories in newspapers perhaps marks when a mass audience was first assumed. Serial films provided an umbrella text to explicitly show how the variety of spaces, times, prices, and classes of audiences encompassed a common practice, a mass practice.
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