B movie - Knowledge

476:, "During these first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising." Then it was off to the subsequent-run market where the double feature prevailed. At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro-budget movies rarely much more than sixty minutes long; these were known as "quickies" for their tight production schedules—as short as four days. 1536:, was in the vanguard of marketing low-budget, sensationalistic films with a "100% saturation campaign", inundating the target audience with ads in almost any imaginable medium. In the era of the traditional double feature, no one would have characterized these graphic exploitation films as "B movies". With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films. The 1960s saw exploitation-style themes and imagery become increasingly central to the realm of the B. 1985: 63: 1328:, half of Arkoff and Nicholson's first twin-bill package. Corman directed over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as "low-budget exploitation films". In later years Corman, both with AIP and as head of his own companies, helped launch the careers of 770:-structured serials that sometimes appeared on the same program. As with serials, however, many series were intended to attract young people—a theater that twin-billed part-time might run a "balanced" or entirely youth-oriented double feature as a matinee and then a single film for a more mature audience at night. In the words of one industry report, afternoon moviegoers, "composed largely of housewives and children, want quantity for their money while the evening crowds want 'something good and not too much of it. 545:. The former heads of Monogram soon sold off their Republic shares and set up a new Monogram production house. Into the 1950s, most Republic and Monogram product was roughly on par with the low end of the majors' output. Less sturdy Poverty Row concerns, with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless, continued to churn out dirt-cheap quickies. Joel Finler has analyzed the average length of feature releases in 1938, indicating the studios' relative emphasis on B production ( 3049: 11039: 10416: 2744: 3115:(1980), whose title character is a barber who develops the ability to kill using psychic energy. According to Weldon, "My original idea with that word is that it's a two-part word. 'Psycho' stands for the horror movies, and 'tronic' stands for the science fiction movies. I very quickly expanded the meaning of the word to include any kind of exploitation or B-movie." The term, popularized beginning in the 1980s with publications of Weldon's such as 10426: 504: 233:, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a "genre film" with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively serious 1540: 1145:(1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes: a "programmer capable of occupying either half of a neighbourhood theatre's double-bill, budgeted at approximately $ 400,000. distributor, United Artists, released around twenty-five programmers with production budgets between $ 100,000 and $ 400,000 in 1955." The film's length, 106 minutes, is A level, but its star, 868: 811:

A-film production, making the smaller studios even more important as B movie suppliers. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $ 200,000. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 95% of U.S. and Canadian box office receipts.

1524:. The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades. The term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly " 137: 1082:

recycling, offering former headlining movies as second features in the place of traditional B films. With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching

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about 25%). Even as the U.S. inflation rate eased, the average expense of moviemaking continued to soar. With the majors now routinely saturation booking in over a thousand theaters, it was becoming increasingly difficult for smaller outfits to secure the exhibition commitments needed to turn a profit. Double features were now literally history—almost impossible to find except at

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production budget for independent features. At the same time, , the quality of digital filmmaking has improved dramatically." Independent filmmakers, whether working in a genre or arthouse mode, continue to find it difficult to gain access to distribution channels, though digital end-to-end methods of distribution offer new opportunities. In a similar way, Internet sites such as

2297:, a Universal production, did something similar. Described by Paul as "essentially an American-International teenybopper pic with a lot more spit and polish", it was 1973's third-biggest film and, likewise, by far the highest-earning teen-themed movie yet made. Even more historically significant movies with B themes and A-level financial backing followed in their wake. 2932:, made a concerted effort towards the development of B-grade movies with some even making such films a key part of their business model. Often, however, many of such were produced in an effort to capitalize on the success of more established features. Moreover, this new direction likewise garnered involvement from veteran B-movie filmmakers such as Roger Corman and 2525:, reached theaters in 1985. The video rental market was becoming central to B film economics: Empire's financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store. A number of Concorde–New Horizon releases went this route as well, appearing only briefly in theaters, if at all. The growth of the 3190:, who formulated the thesis of television programming as a derivative of advertising, creating "a species of information that might properly be called disinformation—misplaced, irrelevant, fragmented or superficial information that creates the illusion of knowing something but which in fact leads one away from knowing". 853:, A pictures sometimes echoed visual styles generally associated with cheaper films. Programmers, with their flexible exhibition role, were ambiguous by definition. As late as 1948, the double feature remained a popular exhibition mode. It was standard policy at 25% of theaters and used part-time at an additional 36%. 3235:, Schumacher proclaims that a talk show host, seen daily on the television screen, becomes almost a part of the family. "Spreading not only inanity, but also a sense of security", the host "provides a fixed portion of our daily routine" along with a daily soap opera, daily infotainment show or a daily game show. 2448:; 1982), described by critic Chris Petit as "the kind of movie that used to be indispensable to the market: an imaginative, popular, low-budget picture that makes the most of its limited resources, and in which people get on with the job instead of standing around talking about it". In 1981, New Line put out 956:. Ten B noirs that year came from Poverty Row's big three: Republic, Monogram, and PRC/Eagle-Lion, and one came from tiny Screen Guild. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood. 1486:—after adjusting for inflation, less than 10% more than it had been in 1950. The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine 3253:

television series to describe the kind of show that is not "genuinely great", but one that "just works—albeit in a vaguely embarrassing and silly way—at entertaining the audience, at stringing along the same characters from week to week, at churning out boilerplate plots that are nonetheless peppered

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is a term coined by film critic Michael J. Weldon—referred to by a fellow critic as "the historian of marginal movies"—to denote the sort of low-budget genre pictures that are generally disdained or ignored entirely by the critical establishment. Weldon's immediate source for the term was the Chicago

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typifies the continuing ambiguities of B picture classification. It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the

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in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of a

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The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series

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in recorded music. However, the production of such films as "second features" in the United States largely declined by the end of the 1950s. This shift was due to the rise of commercial television, which prompted film studio B movie production departments to transition into television film production

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approach is used by television broadcasters to advertise the stations themselves. Schumacher lists three specific principles: grabbing the viewers' attention, establishing emotional involvement with the audience, and maintaining the viewers' interest as the cornerstones to acquiring and maintaining

3073:) is used by some to characterize low-budget pictures with quality standards well below those of most B and even C movies. Most films referred to as Z movies are made on very small budgets by operations on the fringes of the commercial film industry. The micro-budget "quickies" of 1930s fly-by-night 2316:

Most of the B-movie production houses founded during the exploitation era collapsed or were subsumed by larger companies as the field's financial situation changed in the early 1980s. Even a comparatively cheap, efficiently made genre picture intended for theatrical release began to cost millions of

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drummed up publicity by distributing vomit bags to theatergoers, the sort of gimmick Castle had mastered, and arranging for an injunction against the film in Sarasota, Florida, the sort of problem exploitation films had long run up against, except Friedman had planned it. This new breed of gross-out

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boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700. Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with

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Hollywood's A product was getting longer, the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4. In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While

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In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding. These were crucial factors in the progressive shift by most of the Big Five over to

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The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end

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The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the

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chronicles had leading stars and budgets that would have been A-level at most of the lesser studios. For many series, even a lesser major's standard B budget was far out of reach: Poverty Row's Consolidated Pictures featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog

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As Azam Patel describes, "Many of the poorest theaters, such as the 'grind houses' in the larger cities, screened a continuous program emphasizing action with no specific schedule, sometimes offering six quickies for a nickel in an all-night show that changed daily." Many small theaters never saw a

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methods now allow even low-budget filmmakers to produce films with excellent, and not necessarily "grittier", image quality and editing effects. As Marone observes, "the equipment budget (camera, support) required for shooting digital is approximately 1/10 that for film, significantly lowering the

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demonstrated that a heavily promoted horror film could be an absolute blockbuster: it was the biggest movie of the year and by far the highest-earning horror movie yet made. In William Paul's description, it is also "the film that really established gross-out as a mode of expression for mainstream

1106:). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy. At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish. 696:

Taves estimates that half of the films produced by the eight majors in the 1930s were B movies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 75% of Hollywood movies from the decade, more than four thousand pictures, are classifiable as Bs.

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featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter. With such films, Castle "combine the saturation advertising campaign

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films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed feature films, many had running times of 70 minutes or less. The term connoted a general perception that B movies were

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It had taken a decade and a half, from 1961 to 1976, for the production cost of the average Hollywood feature to double from $ 2 million to $ 4 million—a decline if adjusted for inflation. In just four years it more than doubled again, hitting $ 8.5 million in 1980 (a constant-dollar increase of

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was not impressed, claiming that the movie would have drawn "little more than yawns in the film market ... had it not been throughout the country with a deafening barrage of publicity". Levine counted on first-weekend box office for his profits, booking the film "into as many cinemas as he

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Schumacher argues that viewer loyalty is established primarily through the representation of familiar emotional situations and the everyday problems of the viewers, which means that private stations broadcast predominantly private affairs. Further development of this approach led to creation of

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On the other hand, recent industry trends suggest the reemergence of something like the traditional A-B split in major studio production, though with fewer "programmers" bridging the gap. According to a 2006 report by industry analyst Alfonso Marone, "The average budget for a Hollywood movie is

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for "the absolute accuracy of its effects, the decency of its point of view and ... purity of technique". Like Romero and Van Peebles, other filmmakers of the era made pictures that combined the gut-level entertainment of exploitation with biting social commentary. The first three features

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On Poverty Row, many Bs were made on budgets that would have barely covered petty cash on a major's A film, with costs at the bottom of the industry running as low as $ 5,000. By the mid-1930s, the double feature was the dominant U.S. exhibition model, and the majors responded. In 1935, B movie

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became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the

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explained in one 1974 review, "Horror and exploitation films almost always turn a profit if they're brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can't get more conventional projects off the ground." The movie under consideration was

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is both a seminal event in the independent film movement and a classic B picture. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir. The $ 115,000 production, for which Loden spent six years raising money, was praised by

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brought exploitation films to mainstream theaters around the country. The major studios' top product was continuing to inflate in running time—in 1970, the ten biggest earners averaged 140.1 minutes. The Bs were keeping pace. In 1955, Corman had a producorial hand in five movies averaging 74.8

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The introduction of sound had driven costs higher: by 1930, the average U.S. feature film cost $ 375,000 to produce. A broad range of motion pictures occupied the B category. The leading studios made not only clear-cut A and B films, but also movies classifiable as "programmers" (also known as

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The strategy of creating viewer loyalty through emotional sensations is reflected in scandalous "special news" that "favor sex and crime topics and employ highly affective commentary style, a clip aesthetic as well as a musical accompaniment borrowed from the crime film genre". As an example,

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remake. It was a slow year for Corman: he produced just one movie, which had no American theatrical release, true of most of the pictures he had been involved in over the preceding decade. As big-budget Hollywood movies further usurped traditional low-rent genres, the ongoing viability of the

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outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of

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The majors' "clearance" rules favoring their affiliated theaters prevented timely access to top-quality films for independent theaters; the second feature allowed them to promote quantity instead. The additional movie also gave the program "balance", the practice of pairing different sorts of

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television, which adopted "the aesthetics of commercials" with its "inane positiveness radiated by every participant, the inclusion of clips, soft focus, catchy music" as well as "promotion of merchandise through product placement". Schumacher notes that after 1984 deregulation German public

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movie typified the emerging sense of "exploitation", the progressive adoption of traditional exploitation and nudie elements into horror, into other classic B genres, and into the low-budget film industry as a whole. Imports of Hammer Film's increasingly explicit horror movies and Italian

342:(FBO), focused on exactly those sorts of cheap productions. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small-town and urban neighborhood venues, or "nabes". Even smaller production houses, known as 1528:". Audiences might see explicit footage of anything from a live birth to a ritual circumcision. Such films were not generally booked as part of movie theaters' regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for " 2270:

could be felt in such pictures, as well as in a host of theatrical exploitation films. But its greatest influence on the fate of the B movie was less direct—by 1973, the major studios were catching on to the commercial potential of genres once largely consigned to the bargain basement.

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mark for many of its movies. It's also encouraging filmmakers to shoot digitally, a cheaper process that results in a grittier, teen-friendly look. And forget about stars. Of Atomic's nine announced films, not one has a big name". The newfangled B movie division was shut down in 2009.

1001:(1940) was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid." 1670:

was made, "significantly, with the lowest-budgeted film of his American career and the least glamorous stars. greatest initial impact ... was on schlock horror movies (notably those from second-tier director William Castle), each of which tried to bill itself as scarier than

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Likewise, from the year 2000 onward, the acceleration and implementation of computer generated imagery continued at an unprecedented rate. This lent to the creation of effects that would otherwise prove too costly using traditional methods. Certain genres in particular, such as

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and domestic racial conflicts. Its greatest influence, though, derived from its clever subversion of genre clichés and the connection made between its exploitation-style imagery, low-cost, truly independent means of production, and high profitability. With the Code gone and the

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all its attendant distractions. The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the

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Despite the mounting financial pressures, distribution obstacles, and overall risk, many genre movies from small studios and independent filmmakers were still reaching theaters. Horror was the strongest low-budget genre of the time, particularly in the slasher mode as with

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television passed its climax and became marginalized. Newly established commercial stations, operating without the burden of societal legitimacy, focused solely on profitability. To establish and maintain viewer loyalty, these stations broadcast reality shows, sensational

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observed that its "limp technique doesn't seem to matter to the people who want their gratuitous gore. ... e can't get two people talking in order to make a simple expository point without its sounding like the drabbest Republic picture of 1938." Many examples of the

807:(PRC), emerged as third in the Poverty Row hierarchy behind Republic and Monogram. The double feature, never universal, was still the prevailing exhibition model: in 1941, fifty percent of theaters were double-billing exclusively, and others employed the policy part-time. 484:, or screen previews, that presaged its arrival, "he new film's title on the marquee and the listings for it in the local newspaper constituted all the advertising most movies got", writes Epstein. Aside from at the theater itself, B films might not be advertised at all. 1850:

In the late 1960s and early 1970s, a new generation of low-budget film companies emerged that drew from all the different lines of exploitation as well as the sci-fi and teen themes that had been a mainstay since the 1950s. Operations such as Roger Corman's

2417:. The film was produced for New World on a budget of $ 250,000. At the beginning of 1983, Corman sold New World; New Horizons, later Concorde–New Horizons, became his primary company. In 1984, New Horizons released a critically applauded movie set amid the 2729:

budget, became a hugely influential hit by crossing multiple lines, as James Mottram describes: "With its art house narrative structure, B-movie subject matter and Hollywood cast, the film is the axis for three distinct cinematic traditions to intersect."

1981:(1970). These sorts of films played in the "grindhouses" of the day—many of them not outright porno theaters, but rather venues for all manner of exploitation cinema. The days of six quickies for a nickel were gone, but a continuity of spirit was evident. 2579:

along with real estate pressures were making survival more difficult for the sort of small or non-chain theaters that were the primary home of independently produced genre films. Drive-in screens too were rapidly disappearing from the American landscape.

451:, down to shoestring operations, made exclusively B movies, serials, and other shorts, and also distributed totally independent productions and imported films. In no position to directly block book, they mostly sold regional distribution exclusivity to " 1177:(1950), produced and released by small Lippert Pictures, is cited as possibly "the first postnuclear holocaust film". It was at the leading edge of a large cycle of movies, mostly low-budget and many long forgotten, classifiable as "atomic bomb cinema". 1592:

was "Guaranteed the Most Educational Film Ever Produced!" In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product, a few filmmakers began making nudies with greater attention to plot. Best known was

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Dick Tracy literally had been B movie material—the character was featured in four low-budget RKO films in the 1940s. For how espionage and crimebusting thrillers were long "widely regarded as nothing more than B-movie fodder," see Chapman (2000), pp.

2984:, the C grade began to be applied with increasing frequency to low-quality genre films used as filler programming for that market. The "C" in the term then does double duty, referring not only to quality that is lower than "B" but also to the initial 373:

features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age.

2391:. One of the first leading casualties of the new economic regime was venerable B studio Allied Artists, which declared bankruptcy in April 1979. In the late 1970s, AIP had turned to producing relatively expensive films like the very successful 2317:

dollars, as the major movie studios steadily moved into the production of expensive genre movies, raising audience expectations for spectacular action sequences and realistic special effects. Intimations of the trend were evident as early as

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minutes. He played a similar part in five films originally released in 1970, two for AIP and three for his own New World: the average length was 89.8 minutes. These films could turn a tidy profit. The first New World release, the biker movie

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Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram

2141:(1975), an inexpensive film from 20th Century Fox that spoofed all manner of classic B picture clichés, became an unparalleled hit when it was relaunched as a late show feature the year after its initial, unprofitable release. Even as 1820:, also a studio alumnus, free directorial rein. Eventually they arranged a financing and distribution deal with Columbia, as two more graduates of the Corman/AIP exploitation mill joined the project: Jack Nicholson and cinematographer 2634:

At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the "sophisticated" arthouse picture. Director

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big-studio A film, getting their movies from the states rights concerns that handled almost exclusively Poverty Row product. Millions of Americans went to their local theaters as a matter of course: for an A picture, along with the

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Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its

1506:" That year, Roger Corman took AIP down a new road: "When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color." The resulting 1277:, and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s. In terms of content, the majors were already there, with films about 471:

In the standard Golden Age model, the industry's top product, the A films, premiered at a small number of select first-run houses in major cities. Double features were not the rule at these prestigious venues. As described by

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in 1969, soon followed by the dedication of other network slots to original features, time and financial factors shifted the medium progressively into B picture territory. Television films inspired by recent scandals—such as

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in her article "From the True, the Good, the Beautiful to the Truly Beautiful Goods—audience identification strategies on German 'B-Television' programs" as an analogy to "B-movie" to characterize the development of German

1719:. That year, two horror films came out that heralded directions American cinema would take in the next decade, with major consequences for the B movie. One was a high-budget Paramount production, directed by the celebrated 1112:, a leading actress, established herself as Hollywood's sole female director of the era. In short, low-budget pictures made for her production company, The Filmakers, Lupino explored taboo subjects such as rape in 1950's 2715:. This result mirrored the film's scrambling of definitions: Fine Line was a subsidiary of New Line, recently merged into the Time Warner empire—specifically, it was the old exploitation distributor's arthouse division. 463:

had production lines roughly similar to, though somewhat better endowed than, the top Poverty Row studios. In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top-rank

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Syder, Andrew, and Dolores Tierney (2005). "Importation/Mexploitation, or, How a Crime-Fighting, Vampire-Slaying Mexican Wrestler Almost Found Himself in an Italian Sword-and-Sandals Epic", in Schneider and Williams,

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was used in a variety of different ways by reviewers" of the 1930s (p. 431, n. 8). Some present-day critics employ the Miller–Taves usage; others refer to any B movie from the Golden Age as a "programmer" or "program

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By 1940, the average production cost of an American feature was $ 400,000, a negligible increase over ten years. A number of small Hollywood companies had folded around the turn of the decade, including the ambitious

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reality TV shows, which generate new realities by intervening directly in the actual life of its participants. Such personalisation and dramatization of television precipitated the "Fall of Public Man", in words of

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with conceptual rigor, the movie that most clearly presaged the way in which exploitation content and artistic treatment would be combined in modestly budgeted films of later years was United Artists' biker-themed

860:, to develop and distribute relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under the "Premiere" rubric. In 1947 as well, PRC was subsumed by 753:

Series of various genres, featuring recurrent, title-worthy characters or name actors in familiar roles, were particularly popular during the first decade of sound film. Fox's many B series, for instance, included

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in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas. Within a few decades, Hollywood was dominated by both movies and an exploitation philosophy very much like Levine's.

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perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been the purview of the local exhibitor".

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made cruelty respectable. By the end of the decade, the exploitation booking strategy of opening films simultaneously in hundreds to thousands of theaters became standard industry practice." Writer-director

488:"in-betweeners" or "intermediates"). As Taves describes, "Depending on the prestige of the theater and the other material on the double bill, a programmer could show up at the top or bottom of the marquee." 2875:

report suggests, recent technological advances greatly facilitate the production of truly low-budget motion pictures. Although there have always been economical means with which to shoot movies, including

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The Western was by far the predominant B genre in both the 1930s and, to a lesser degree, the 1940s. Film historian Jon Tuska has argued that "the 'B' product of the Thirties—the Universal films with

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programming and the Hollywood series films of an earlier day had long been clear. In the 1970s, original feature-length programming increasingly began to echo the B movie as well. As production of

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reviewer thought little of it: "Under different intentions, it might have made a decent grade-C Roger Corman bike movie—though Corman has generally used more interesting directors than Guercio."

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genre, featuring stereotype-filled stories about African Americans and revolving around drugs, violent crime, and prostitution, were the product of AIP. One of blaxploitation's biggest stars was

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became "the seminal film that provided the bridge between all the repressed tendencies represented by schlock/kitsch/hack since the dawn of Hollywood and the mainstream cinema of the seventies."

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when the cost of marketing for domestic launch (USA only) is factored into the equation. However, we are now witnessing a polarisation of film budgets into two tiers: large productions ($ 120–

2055:(1973), were all nominally blaxploitation movies, but Cohen used them as vehicles for a satirical examination of race relations and the wages of dog-eat-dog capitalism. The gory horror film 1572:, comes complete with enormous, grotesque closeups of VD's physical effects. At the same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: " 240:

From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as

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largely freed the majors from worrying about their Bs' quality; even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios:

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magazine, has subsequently been adopted by other critics and fans. Use of the term tends to emphasize a focus on and affection for those B movies that lend themselves to appreciation as

5329: 2341:(1974). Their disaster plots and dialogue were B-grade at best; from an industry perspective, however, these were pictures firmly rooted in a tradition of star-stuffed extravaganzas. 2529:

industry also helped support the low-budget film industry, as many B movies quickly wound up as "filler" material for 24-hour cable channels or were made expressly for that purpose.

1798:

s significance owes to the fact that it was produced for a respectable, if still modest, budget and released by a major studio. The project was first taken by one of its cocreators,

1619:

pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like

828:

release anticipated practices that fueled the B movie industry in the late 1950s; when the top Hollywood studios made them standard two decades after that, the B movie was hard hit.

289: 740:"northwest action thrillers". One low-budget oater of the era, made totally outside the studio system, profited from an outrageous concept: a Western with a cast consisting of only 3093:, exemplify the classic grade-Z movie. Latter-day Zs are often characterized by violent, gory or sexual content and a minimum of artistic interest; they are often destined for the 3034:'s genre channels in the 1990s and 2000s has meant a market for contemporary C pictures, many of them "direct to cable" movies—small-budget genre films never released in theaters. 7093: 5385: 237:. The term is also now used loosely to refer to some higher-budget, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie. 1513:

budget just $ 200,000 (one tenth the industry average), and its 85-minute running time close to an old thumbnail definition of the B: "Any movie that runs less than 80 minutes."

901:

In the 1940s, RKO stood out among the industry's Big Five for its focus on B pictures. From a latter-day perspective, the most famous of the major studios' Golden Age B units is

369:, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts. 2587:. New Line, in its first decade, had been almost exclusively a distributor of low-budget independent and foreign genre pictures. With the smash success of exploitation veteran 2575:—were also far closer to the traditional arena of the Bs than to classic A-list subject matter. The growing popularity of home video and access to unedited movies on cable and 1165:'s direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb. 280:, worked in B movies for most of their careers. The terms "B actor and actress" are sometimes used to refer to performers who find work primarily or exclusively in B pictures. 5781: 2792: 1951:(1971) is also perhaps the most outrageous example of the form: wildly experimental, borderline pornographic, and essentially a manifesto for an African American revolution. 824:

to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality. The

455:" firms, which in turn peddled blocks of movies to exhibitors, typically six or more pictures featuring the same star (a relative status on Poverty Row). Two "major-minors", 5181: 3014:

presented cheap, low-grade movies, primarily science fiction of the 1950s and 1960s, along with running voiceover commentary highlighting the films' shortcomings. Director

881:(1948), writes scholar Robert Smith, is "resplendent with velvety blacks, mists, netting, and other expressive accessories of poetic noir decor and lighting". Directed by 331:) allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel. 7156: 3224:

five times a week during 1990s. "The title itself encapsulates the message of 'B-TV': real people and their 'real' problems are the focus here", contemplates Schumacher.

2651:(1981), made two works in the early nineties that marry exploitation-worthy depictions of sex, drugs, and general sleaze to complex examinations of honor and redemption: 1355:(1958), an $ 86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature 2377:

on a movie about a children's comic book character and turn a big profit—it was the top box-office hit of 1978. Blockbuster fantasy spectacles like the original 1933

2345:

had demonstrated the drawing power of big-budget, effects-laden horror. But the tidal shift in the majors' focus owed largely to the enormous success of three films:

1502:, ran as a "co-feature" with a now familiar sort of exploitation gimmick: "The dénouement helpfully includes a 'warning bell' so the sensitive can 'close their eyes. 941:

bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age.

346:

studios, made films whose costs might run as low as $ 3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns.

1716: 1094:

series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958. RKO, weakened by years of mismanagement, exited the movie industry in 1957.

1377:

Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor

1205:

But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director

2784:

mark. In 2005, the top ten movies at the U.S. box office included three adaptations of children's fantasy novels, one extending and another initiating a series (

2924:, saw increasing use of CGI. Consequently, this trend spurred a boost in B-grade productions targeted to a mass audience. In this vein, film companies, such as 2621:

reviewer found that the initial installment qualified as "vintage Corman ... spiked with everything from bared female breasts to a mind-blowing quote from

831:

Considerations beside cost made the line between A and B movies ambiguous. Films shot on B-level budgets were occasionally marketed as A pictures or emerged as

1316:, on a $ 12,000 budget and a six-day shooting schedule. Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, 353:

in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of

202:

Today, the term "B movie" is used in a broader sense. In post-Golden Age usage, B movies can encompass a wide spectrum of films, ranging from sensationalistic

62: 2699:, was not comfortably A-grade, but it was hardly B-level either. The film's imagery was another matter: "On its scandalizing surface, David Cronenberg's 777:

Series films are often unquestioningly consigned to the B movie category, but even here there is ambiguity: at MGM, for example, popular series like the

6278: 3193:

Like Postman, Schumacher notes that contemporary television advertisement often chooses to reinforce brand loyalty rather than promoting product. This

931:, and others who became renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir, 10892: 7063: 3238:"Appeals to viewer emotions and the active participation of the consumer enhance the ability of 'B-TV' to exploit the market", concludes Schumacher. 2193:

worldwide and effectively established the slasher flick as horror's primary mode for the next decade. Just as Hooper had learned from Romero's work,

1875:

The biggest studio in the low-budget field remained a leader in exploitation's growth. In 1973, American International gave a shot to young director

7187: 5146: 2810: 1729:

was the first upscale Hollywood picture in the genre in three decades. It was a critical success and the year's seventh-biggest hit. The other was

3487:

See Taves (1995), p. 323; McCarthy and Flynn (1975), p. 20. In its peak year, 1937, Grand National did produce around twenty pictures of its own.

3202:

station described such a building of viewers' loyalty in positive terms: "RTL has discovered something entirely new for television. The viewer".

2160:" films as they were often called, whatever martial art they featured, were popularized in the United States by the Hong Kong–produced movies of 2857:, to concentrate on teen-oriented genre films. The economic model was deliberately low-rent, at least by major studio standards. According to a 1945:, is seen as the first significant film of the type. But the movie that truly ignited the blaxploitation phenomenon was completely independent: 5284: 4788:

after adding on costs for manufacturing exhibition prints and marketing (p. 20). See also p. 21, chart 1.2. The Box Office Mojo website gives

1743:

in its subtextual exploration of social and political issues, it doubled as a highly effective thriller and an incisive allegory for both the

1552:'s reputation for eroticism; the biker theme ("MURDERcycles") that soon proved its popularity in historic fashion; and that trendy title word— 5333: 6479: 5459: 2458:, a gore-filled yet stylish horror movie made for less than $ 400,000, debuted in Detroit. Its writer, director, and co-executive producer, 1762:

exploded. In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film,

864:, a British company seeking entry to the American market. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief. 403:, at first resistant to the double feature, soon adapted; all established B units to provide films for the expanding second-feature market. 10234: 5477: 5363: 5089: 4976: 4662:

For the film's cost: West (1974), p. 9; Rockoff (2002), p. 42. For its influence: Sapolsky and Molitor (1996), p. 36; Rubin (1999), p. 155.

3026:(see below) is perhaps even more applicable to his work. The rapid expansion of niche cable and satellite outlets such as Sci Fi (with its 5460:"From the True, the Good, the Beautiful to the Truly Beautiful Goods—audience identification strategies on German "B-Television" programs" 6706:

Hollywood: Critical Concepts in Media and Cultural Studies—Vol. 1: Historical Dimensions: The Development of the American Film Industry

2980:

is the grade of motion picture at the low end of the B movie, or in some taxonomies, simply below it. In the 1980s, with the growth of

2786: 2601:

cost it had directly backed, the company began moving steadily into higher-budget genre productions. In 1994, New Line was sold to the

2164:

and marketed to the same audience targeted by AIP and New World. Horror continued to attract young, independent American directors. As

1666:

seal of approval helped weaken U.S. film censorship. And, as William Paul notes, this move into the horror genre by respected director

1211: 1662:

in earnings against a production cost of $ 800,000 made it the most profitable movie of 1960. Its mainstream distribution without the

8982: 1078: 9770: 3424:

Taves (1995), p. 317. Taves (like this article) adopts the usage of "programmer" argued for by author Don Miller in his 1973 study

2547: 1225:, is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable spins 5188: 1649:, never shows a fully bared, unpainted breast, but flirts with nudity throughout. The Meyer and Corman lines were drawing closer. 1520:, the 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as 959:

Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included the

1821: 1482:

Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only

9169: 2929: 2109:

In the early 1970s, the growing practice of screening nonmainstream motion pictures as late shows, with the goal of building a

937:(1940), a 64-minute B, was produced at RKO, which released many additional melodramatic thrillers in a similarly stylish vein. 199:

divisions. These divisions continued to create content similar to B movies, albeit in the form of low-budget films and series.

1695:(1963), a movie about human dismemberment and culinary preparation made for approximately $ 24,000 by experienced nudie-maker 10746: 10741: 10462: 7877: 5995: 2069:

made serious-minded low-budget horror films whose implications are not so much ideological as psychological and existential:

5778: 4178: 2383:

had once been exceptional; in the new Hollywood, increasingly under the sway of multi-industrial conglomerates, they ruled.

1955:

wrote, co-produced, directed, starred in, edited, and composed the music for the film, which was completed with a loan from

1935:

Blaxploitation was the first exploitation genre in which the major studios were central. Indeed, the United Artists release

728:

achieved a uniquely American perfection of the well-made story." At the far end of the industry, Poverty Row's Ajax put out

10887: 8630: 8419: 7180: 4413: 1947: 1215:(1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion. 736:, then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the 2780:

By the turn of the millennium, the average production cost of an American feature had already spent three years above the

2235:, which premiered a month after her release from prison in 1979—harkened all the way back to the 1920s and such movies as 1102:

was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as

11065: 5420: 1130:, a 1953 RKO release, is the only film noir from the genre's classic period directed by a woman. That year, RKO released 857: 5630: 1739:, produced on weekends in and around Pittsburgh for $ 114,000. Building on the achievement of B genre predecessors like 10217: 8987: 7490: 4768: 3090: 2325: 1261:. As the film's title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When 5062:

Mottram (2006), pp. 197–98; Wyatt (1998), p. 78. For details of the film's distribution, see Lewis (2002), pp. 286–88.

1525: 10844: 10839: 10834: 10829: 10824: 10819: 10814: 10809: 10804: 10799: 10794: 10789: 10784: 10779: 7050: 7036: 7022: 7008: 6987: 6973: 6944: 6922: 6888: 6874: 6860: 6835: 6821: 6787: 6773: 6759: 6745: 6731: 6717: 6699: 6685: 6671: 6650: 6636: 6622: 6608: 6594: 6580: 6566: 6552: 6523: 6509: 6466: 6454: 6440: 6426: 6412: 6380: 6366: 6352: 6338: 6324: 6297: 6261: 6238: 6224: 6210: 6196: 6182: 6168: 6154: 6140: 6126: 6112: 6098: 6084: 6070: 6056: 6042: 6028: 6014: 5981: 5967: 5953: 5939: 5925: 5911: 5897: 5883: 5868: 5856: 5842: 5828: 5814: 5800: 5764: 5750: 5736: 5715: 5701: 5687: 5673: 5659: 5645: 5613: 5601: 5587: 5573: 5559: 5545: 5516: 3945: 2393: 4102: 1816:. The idea Fonda pitched combined those two proven themes. AIP was intrigued but balked at giving his collaborator, 6243:

Lubasch, Arnold H. (1979). "Allied Artists Seeks Help Under Bankruptcy Act; Allied Artists Files Chapter XI,"

1764: 837: 123: 6266:

Maltby, Richard (2000). "'The Problem of Interpretation...': Authorial and Institutional Intentions In and Around

4946: 4802: 3935: 10971: 9334: 8414: 7517: 7400: 7173: 6309: 4380: 1492: 1289: 1236: 1026: 972: 944:

In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs:

804: 452: 382: 339: 151: 77: 10860: 10761: 10520: 10197: 8543: 8354: 7041:

Wyatt, Justin (1998). "The Formation of the 'Major Independent': Miramax, New Line, and the New Hollywood", in

3027: 1900: 1188: 436:(descendant of FBO), also belonged to companies with sizable theater chains, further securing the bottom line. 9953: 9680: 9297: 8605: 8149: 7972: 7844: 7651: 6275: 4401: 2816: 2605:; it was soon being run as a midsized studio with a broad range of product alongside Warner Bros. within the 2516: 2512: 2507: 2137: 1611: 919: 737: 496:, known as the "Keeper of the Bs". At Fox, which also shifted half of its production line into B territory, 10981: 10882: 10530: 10336: 9568: 9543: 8394: 8374: 7527: 7060: 6740:, ed. Jim Collins, Hilary Radner, and Ava Preacher Collins, pp. 8–36. New York and London: Routledge. 5861:

Greenspun, Roger (1973). "Guercio's 'Electra Glide in Blue' Arrives: Director Makes Debut With a Mystery,"

5745:, ed. Poshek Fu and David Desser, pp. 19–43. Cambridge, UK, and New York: Cambridge University Press. 5223: 4336:

See, e.g., Mathijs and Mendik (2008), p. 167; James (2005), pp. 282, 398; Cagin and Dray (1984), pp. 66–67.

3811: 2994: 2282:

cinema. ... ast exploitation films managed to exploit their cruelties by virtue of their marginality.

2171: 1473: 1312: 1198: 997: 448: 87: 7153: 6655:

Reynaud, Bérénice (2006). "Wanda's Shattered Lives" (booklet accompanying Parlour Pictures DVD release of

10954: 10865: 10751: 10659: 10490: 10098: 9670: 9223: 9088: 8777: 8105: 5137: 2199: 1126: 933: 553:, active 1936–40, occupied an analogous niche on Poverty Row, releasing mostly independent productions): 512: 2454:, a John Waters movie with a small budget and an old-school exploitation gimmick: Odorama. That October 856:

The leading Poverty Row firms began to broaden their scope; in 1947, Monogram established a subsidiary,

357:

before a single featured film. A new programming scheme developed that soon became standard practice: a

10964: 10949: 10756: 10108: 9715: 9558: 8203: 3182: 2602: 2409: 2259: 2135:(1972), with its campy spin on exploitation, spurred the development of the independent film movement. 1715:

The Production Code was officially scrapped in 1968, to be replaced by the first version of the modern

1627: 256:

first became established, and they have provided work for former A movie actors and actresses, such as

187: 2964:, which emerged in association with specific historical phenomena, are now often used as synonyms for 10664: 10559: 10455: 10118: 9675: 9630: 9538: 8916: 8359: 8319: 7870: 7480: 7288: 4435: 3216: 2489: 1971: 1725: 1397: 800: 717: 550: 226:

inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics.

10870: 10627: 10579: 9620: 8640: 8635: 8503: 8344: 7967: 7532: 7325: 7315: 4395: 3151: 2775: 2559: 2483:

One of the most successful 1980s B studios was a survivor from the heyday of the exploitation era,

2306: 1735: 1318: 1253: 1217: 1132: 1120: 1013: 750:(1938) was such a success in its independent bookings that Columbia picked it up for distribution. 92: 31: 17: 9685: 2515:

and a TV cartoon series. One of the few successful B studio startups of the decade was Rome-based

2257:—were action-oriented genre pictures of a type familiar from contemporary cinematic B production. 2125:. The midnight movie success of low-budget pictures made entirely outside the studio system, like 190:, this term specifically referred to films meant to be shown as the lesser-known second half of a 10912: 9610: 9488: 8940: 8744: 7947: 7918: 7773: 7470: 5999: 5976:, ed. Mark Jancovich, pp. 35–53. Manchester, UK, and New York: Manchester University Press. 5081: 4968: 4671:

For the film's cost and worldwide gross: Harper (2004), pp. 12–13. For its influence and debt to

3156: 3085: 3057: 2593: 2126: 1453: 1392: 1158: 952: 746: 6103:

Komiya, Megumi, and Barry Litman, "The Economics of the Prerecorded Videocassette Industry," in

2833:

warned of the impending "extinction" of "the cheesy, campy, guilty pleasures" of the B picture.

2583:

Surviving B movie operations adapted in different ways. Releases from Troma now frequently went

541:

early in the decade. In 1935, Monogram, Mascot, and several smaller studios merged to establish

10922: 10713: 10679: 9882: 9830: 9695: 9416: 9208: 9017: 8889: 8722: 8625: 8610: 8404: 8292: 7746: 7715: 7681: 7658: 7646: 6690:

Sapolsky, Barry S., and Fred Molitor (1996). "Content Trends in Contemporary Horror Films," in

6345:

Kings of the Bs: Working Within the Hollywood System—An Anthology of Film History and Criticism

5441:

See, e.g., Schneider and Williams (2005), pp. 2, 5; Syder and Tierney (2005), pp. 34–35, 50–53.

5393: 2798: 2553: 2331: 1937: 1696: 1059: 913: 907: 820: 4005:

Corman (1998), p. 36. It appears Corman made at least one true B picture—according to Arkoff,

3077:

production houses may be thought of as early Z movies. The films of director Ed Wood, such as

2263:(1976) headed straight into the realm of road-tripping-girls-in-redneck-bondage exploitation. 2247:, FBO pictures made swiftly in the wake of celebrity misfortunes. Many 1970s TV films—such as 1436:

opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned

537:

A number of the top Poverty Row firms consolidated: Sono Art joined another company to create

492:

production at Warner Bros. was raised from 12 to 50% of studio output. The unit was headed by

11043: 10733: 10723: 10066: 9625: 9267: 9157: 8814: 7766: 7522: 7465: 7230: 5113: 4551: 3254:

with just enough originality and uniqueness to make them enjoyable and fun and distracting."

2689:, respectively—to explore issues of contemporary relevance. The budget of David Cronenberg's 2610: 2545:

at the U.S. box office, two would have been strictly B-movie material before the late 1970s:

2379: 2223: 2185: 2099: 2094: 1977: 1960: 1828:

menace, as well as a fair amount of nudity) was brought in at a cost of $ 501,000. It earned

1508: 1202:(1955))—provided little more than thrills, though their special effects could be impressive. 1072: 725: 549:

produced little, focusing on the distribution of prestigious films from independent outfits;

530: 146: 82: 10103: 7113: 4354:

Financial figures per associate producer William L. Hayward, cited in Biskind (1998), p. 74.

2403:

in 1979. The studio was sold off and dissolved as a moviemaking concern by the end of 1980.

1984: 1432:

could for a week's run, then withdrawing it before poor word-of-mouth withdrew it for him".

11070: 10959: 10649: 10448: 10419: 10316: 10212: 9875: 9578: 9443: 9255: 9189: 8600: 8537: 8532: 8409: 8223: 8176: 8058: 8009: 7908: 7863: 7608: 7507: 7261: 5741:

Desser, David (2000). "The Kung Fu Craze: Hong Kong Cinema's First American Reception", in

4374: 3111: 2576: 2369: 2337: 2275:

had been a big hit, but it had little in common with the exploitation style. Warner Bros.'

2243: 2018: 1786: 1759: 1641: 1599: 1585: 1413: 1387: 1329: 1278: 1010: 877: 421: 218: 116: 6494: 5552:

Declarations of Independence: American Cinema and the Partiality of Independent production

4771:

for a record of the sales and mergers involving the eight major studios of the Golden Age.

2511:(1984); its hideous hero, affectionately known as Toxie, was featured in three sequels, a 2179:

for less than $ 300,000, it became one of the most influential horror films of the 1970s.

8: 10877: 10632: 10535: 10525: 9922: 9795: 9780: 9645: 9548: 9483: 9179: 9140: 9012: 8997: 8824: 8583: 8389: 8364: 8329: 8282: 7786: 7778: 7439: 7337: 6217:

Hollywood v. Hard Core: How the Struggle over Censorship Created the Modern Film Industry

4407: 3817: 2717: 2501: 2484: 2319: 2277: 2071: 2045: 1881: 1621: 1403: 1324: 1229:, the army's obsessive secrecy, and America's post-war growth into one fantastic whole". 1114: 733: 413: 320: 6704:

Schaefer, Eric (1992). "Of Hygiene and Hollywood: Origins of the Exploitation Film", in

6459:

Nason, Richard (1959). "Weak 'Hercules'; Italian-Made Spectacle Opens at 135 Theatres,"

4739: 3821:

replaces it in this analysis (the two films happen to be virtually identical in length).

2912:

have opened up entirely new avenues for the presentation of low-budget motion pictures.

2757:

Please help update this article to reflect recent events or newly available information.

1532:", which typically had no regular schedule at all). The most famous of those promoters, 10674: 10326: 10246: 10170: 10056: 10046: 9948: 9840: 9820: 9720: 9700: 9468: 9396: 9302: 9287: 9218: 8923: 8859: 8717: 8697: 8588: 8238: 8159: 8093: 8083: 8046: 7676: 7387: 7210: 6917: 6805: 6474: 6461: 6304: 6245: 5863: 5625: 5608: 5566:

Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock'n'Roll Generation Saved Hollywood

5511: 4892: 3125: 2859: 2712: 2641: 2249: 2153: 1952: 1920:. Hill also directed Grier's best-known performances, in two AIP blaxploitation films: 1906: 1852: 1654: 1544: 1257:(1957) thus brought AIP a large return, made for about $ 100,000, it grossed more than 1240: 984: 525: 473: 433: 417: 203: 7045:, ed. Stephen Neale and Murray Smith, pp. 74–90. New York and London: Routledge. 2367:(1977) had each, in turn, become the highest-grossing film in motion picture history. 1712:, highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend. 1304:

received his first screen credits as writer and associate producer of Allied Artists'

303:'s association with Columbia helped vault the studio toward Hollywood's major leagues. 11004: 10917: 10686: 10554: 10425: 10376: 10165: 10088: 9938: 9892: 9865: 9860: 9850: 9765: 9725: 9503: 9391: 9381: 9307: 9235: 9115: 8960: 8955: 8884: 8839: 8802: 8739: 8727: 8645: 8593: 8527: 8522: 8498: 8466: 8198: 8193: 7942: 7802: 7613: 7502: 7377: 7332: 7310: 7266: 7215: 7046: 7032: 7031:, exp. and rev. ed. New York and Chichester, West Sussex: Columbia University Press. 7018: 7004: 6983: 6969: 6940: 6884: 6870: 6856: 6831: 6817: 6783: 6769: 6755: 6741: 6727: 6713: 6695: 6681: 6667: 6646: 6632: 6618: 6604: 6590: 6576: 6562: 6548: 6519: 6505: 6450: 6436: 6422: 6408: 6376: 6362: 6348: 6334: 6320: 6293: 6257: 6234: 6220: 6206: 6192: 6178: 6164: 6150: 6136: 6122: 6108: 6094: 6080: 6066: 6052: 6038: 6024: 6010: 5991: 5977: 5963: 5949: 5935: 5921: 5907: 5893: 5879: 5852: 5838: 5824: 5810: 5796: 5760: 5746: 5732: 5711: 5697: 5683: 5669: 5655: 5641: 5597: 5583: 5569: 5555: 5541: 4548:

Quoted in Reynaud (2006). See Reynaud also for Loden's fundraising efforts. See also

3941: 3249: 3194: 2722: 2711:, by a consortium of production companies, it was picked up for U.S. distribution by 2691: 2677: 2617:, a series of thirteen straight-to-cable movies produced by Concorde–New Horizons. A 2422: 2293: 2077: 2051: 1928: 1912: 1704: 1632: 1006: 815: 542: 538: 520: 465: 460: 456: 335: 312: 292: 269: 195: 9600: 7055:

Zeitchik, Steven, and Nicole Laporte (2006). "Atomic Label Proves a Blast for Fox",

6881:

Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist

6119:

Sleazoid Express: A Mind-Twisting Tour through the Grindhouse Cinema of Times Square

5582:(1972), ed. William Johnson, pp. 74–76. Englewood Cliffs, N.J.: Prentice-Hall. 1802:, to American International. Fonda had become AIP's top star in the Corman-directed 11024: 10638: 10505: 10396: 10386: 10296: 10224: 10207: 10202: 10123: 10051: 9917: 9912: 9902: 9897: 9845: 9785: 9755: 9710: 9573: 9473: 9386: 9349: 9054: 9002: 8928: 8869: 8782: 8578: 8571: 8461: 8334: 8186: 8171: 8135: 8120: 8053: 8024: 8004: 7913: 7618: 7475: 7349: 7247: 7003:. Cranbury, N.J., London, and Mississauga, Ontario: Associated University Presses. 6396:

Morrow, John (1996). "Cinekirbyesque: Examining Jack's Deal with Empire Pictures,"

6021:

The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles

5918:

Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968

3706:, June 7, 2005; Robert Sklar, "Film Noir Lite: When Actions Have No Consequences," 3243: 3177: 2981: 2653: 2526: 2450: 2363: 2346: 2213:

On television, the parallels between the weekly series that became the mainstay of

2121:. One of the first films adopted by the new circuit in 1971 was the three-year-old 2066: 2039: 1730: 1667: 1569: 1487: 1449: 1445: 1408: 1378: 1366: 1351:

became known as the great innovator of the B movie publicity gimmick. Audiences of

1244: 1182:

of the business. Most down-market films of the type—like many of those produced by

1136:, which concludes in a nuclear test range, and is perhaps the first "atomic noir". 1091: 1021: 946: 924: 894: 861: 444: 425: 366: 316: 234: 171: 7098: 6601:

Fifty Filmmakers: Conversations with Directors from Roger Avary to Steven Zaillian

4186: 2657:(1990) was backed by a group of mostly small production companies and the cost of 2505:(1987), take exploitation for an absurdist spin. Troma's best-known production is 2149:

phenomenon, it contributed to the mainstreaming of the theatrical midnight movie.

10703: 10584: 10346: 10271: 10261: 10256: 10241: 10150: 10093: 9992: 9887: 9805: 9800: 9730: 9665: 9585: 9458: 9453: 9426: 9322: 9120: 9083: 9029: 9022: 8975: 8849: 8819: 8732: 8692: 8687: 8620: 8566: 8551: 8471: 8446: 8441: 8379: 8297: 8287: 8248: 8164: 8088: 8014: 7829: 7552: 7395: 7278: 7160: 7088: 7067: 6331:

Hostile Aliens, Hollywood, and Today's News: 1950s Science Fiction Films and 9/11

6282: 5785: 5666:

Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979

5505:

Archer, Eugene (1960). "'House of Usher': Poe Story on Bill With 'Why Must I Die?

3894: 3228: 3207: 2904: 2896: 2877: 2668: 2627: 2584: 2495: 2431: 2418: 2114: 1860: 1804: 1754: 1663: 1577: 1565: 1517: 1498: 1306: 1294: 1154: 1045: 500:

was similarly in charge of more than twenty movies a year during the late 1930s.

440: 214: 179: 109: 72: 9980: 1652:

One of the most influential films of the era, on Bs and beyond, was Paramount's

327:

and films made quickly for around $ 50,000. These cheaper films (not yet called

11009: 10937: 10331: 10301: 10281: 10143: 10128: 10073: 10031: 9870: 9825: 9815: 9790: 9745: 9735: 9513: 9493: 9463: 9448: 9406: 9371: 9329: 9317: 9312: 9105: 9076: 8965: 8950: 8894: 8749: 8707: 8218: 8034: 7925: 7812: 7567: 7562: 7557: 7547: 4617:

See, e.g., Stevenson (2003), pp. 49–50; Hollows (2003); Staiger (2000), p. 112.

4419: 3199: 3094: 3079: 2999: 2960: 2954: 2659: 2476:, and became a hit. In the words of one newspaper critic, it was a "shoestring 2463: 2462:, was a week shy of his twenty-second birthday; star and co-executive producer 2414: 2237: 2180: 2131: 1891: 1876: 1785:

In May 1969, the most important exploitation movie of the era premiered at the

1778: 1720: 1646: 1636: 1573: 1477: 1371: 1348: 1341: 1333: 1270: 1222: 1183: 1173: 1162: 1141: 1043:

was known as "the Capra of PRC". Ulmer made films of every generic stripe: his

1040: 886: 546: 497: 481: 388: 299:(1928) was made for less than $ 20,000 (about $ 297,791 today). Soon, director 273: 253: 245: 191: 183: 159: 10187: 9985: 9277: 5416: 1615:(1965), made for about $ 45,000, ultimately became the most famous of Meyer's 11059: 10708: 10599: 10574: 10540: 10510: 10500: 10306: 10286: 9835: 9775: 9760: 9650: 9595: 9590: 9563: 9533: 9498: 9339: 9292: 9282: 9245: 9213: 9203: 9194: 9164: 9034: 8970: 8911: 8906: 8844: 8809: 8754: 8712: 8682: 8672: 8665: 8481: 8429: 8399: 8384: 8339: 8324: 8243: 8110: 8063: 8029: 7989: 7957: 7930: 7603: 7593: 7107: 7083: 4009:, to Corman's displeasure, was handled as a second feature (Strawn , p. 258). 2921: 2917: 2900: 2889: 2804: 2472: 2440: 2399: 2388: 2350: 2029: 2010: 1988: 1817: 1700: 1616: 1283: 1274: 1150: 992: 988: 968: 964: 786: 759: 409: 404: 400: 354: 257: 155: 9615: 6928:

Tuska, Jon (1974). "The American Western Cinema: 1903–Present", in Nachbar,

4378:

as 1970, when it made most of its money, but it premiered in December 1969.

3815:

as 1955, when it made most of its money, but it premiered in December 1954.

3048: 960: 10932: 10620: 10569: 10564: 10177: 10160: 10113: 9963: 9907: 9438: 9433: 9364: 9240: 9184: 9135: 9110: 9098: 8829: 8561: 8556: 8493: 8456: 8434: 8424: 8302: 8233: 8213: 8115: 8073: 7979: 7962: 7807: 7761: 7725: 7434: 7354: 7342: 6724:"Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959 3937:

The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema

3187: 3142: 3130: 2933: 2704: 2682: 2636: 2288: 2254: 2231: 2023: 1993: 1886: 1856: 1686: 1605: 1418: 1382: 1337: 1301: 1235:

was released by a new company whose name was much bigger than its budgets.

1146: 882: 763: 755: 429: 362: 241: 141: 7756: 7141: 6472:

O'Connor, John J. (1995). "Horror Hero of the 90's, Half Man, Half Bomb,"

6107:, ed. Julia R. Dobrow, pp. 25–44. Hillsdale, N.J.: Lawrence Erlbaum. 2113:

audience, brought the midnight movie concept home to the cinema, now in a

841:, an RKO thriller made for a fraction over $ 200,000. It earned more than 11019: 10976: 10718: 10594: 10589: 10515: 10495: 10471: 10429: 10391: 10371: 10366: 10351: 10341: 10321: 10251: 10229: 10155: 10061: 10002: 9997: 9855: 9660: 9640: 9605: 9354: 9250: 9007: 8992: 8933: 8899: 8677: 8650: 8615: 8486: 8476: 8349: 8309: 8277: 8228: 8144: 8125: 8098: 7994: 7952: 7903: 7839: 7720: 7686: 7668: 7633: 7623: 7429: 7367: 7362: 7283: 7271: 7165: 4429: 4225:

Frasier (1997), pp. 9–11, 90; Denisoff and Romanowski (1991), pp. 116–18.

3165: 3074: 3007: 2830: 2622: 2606: 2359: 2354: 2176: 2165: 2118: 2034: 1942: 1833: 1799: 1772:. Soon, Corman was creating nudity-filled sexploitation pictures such as 1744: 1691: 1581: 1533: 1357: 1193: 928: 832: 782: 767: 705: 516: 343: 308: 300: 265: 261: 222: 4938: 4794: 3270: 2065:, is also an agonized protest of the war in Vietnam. Canadian filmmaker 1824:. The film (which incorporated another favorite exploitation theme, the 1603:, in 1959. Five years later, Meyer came out with his breakthrough film, 1407:(1958), major influences on future horror film style. In 1959, Levine's 11014: 10944: 10927: 10485: 10381: 10361: 10311: 10291: 10276: 10266: 10182: 10133: 9943: 9750: 9690: 9508: 9401: 9344: 9272: 9230: 9061: 8879: 8864: 8834: 8792: 8761: 8451: 8314: 8078: 8019: 7999: 7889: 7641: 7495: 7131: 7116:, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences 6893:

Strawn, Linda May (1975 ). "Samuel Z. Arkoff ", in McCarthy and Flynn,

6694:, ed. James B. Weaver, pp. 33–48. Mahwah, N.J.: Lawrence Erlbaum. 5522: 3173: 3169: 3161: 2952:

describe progressively lower grades of the B movie category. The terms

2925: 2881: 2854: 2588: 2571: 2565: 2214: 2146: 2057: 2006: 1998: 1965: 1956: 1791: 1699:, established a new, more immediately successful subgenre, the gore or 1645:(1967) for American International, written by veteran AIP/Corman actor 1594: 1549: 1529: 1226: 1206: 1109: 905:'s horror unit at RKO. Lewton produced such moody, mysterious films as 902: 890: 846: 778: 721: 709: 508: 350: 249: 210: 7126: 6908:

Taves, Brian (1995 ). "The B Film: Hollywood's Other Half", in Balio,

6738:

Film Theory Goes to the Movies: Cultural Analysis of Contemporary Film

2487:, founded in 1974. Troma's most characteristic productions, including 1560:

Exploitation movies in the original sense continued to appear: 1961's

1053:; by the end of the year, Ulmer had also made the teen-themed musical 729: 10192: 10138: 10036: 9975: 9968: 9810: 9705: 9655: 9376: 9262: 9125: 9071: 8874: 8797: 8787: 8660: 8655: 8270: 8265: 8255: 8181: 8154: 8130: 8068: 8041: 7984: 7816: 7741: 7598: 7485: 7449: 7255: 7242: 6768:. Berkeley, Los Angeles, and London: University of California Press. 6449:. Berkeley, Los Angeles, and London: University of California Press. 6203:

Wallowing in Sex: The New Sexual Culture of 1970s American Television

6065:. Berkeley, Los Angeles, and London: University of California Press. 6023:. Berkeley, Los Angeles, and London: University of California Press. 5668:. Berkeley, Los Angeles, and London: University of California Press. 5540:. Berkeley, Los Angeles, and London: University of California Press. 2892: 2459: 2438:

Larry Cohen continued to twist genre conventions in pictures such as

2218: 2161: 2110: 2083: 2062: 1917: 1895: 1681: 1248:

flat rate, they were rented out on a percentage basis, like A films.

1149:, had previously appeared in only one major film. Its source is pure 872: 850: 713: 503: 493: 277: 38: 8854: 6708:(2004), ed. Thomas Schatz, pp. 161–80 (originally published in 6692:

Horror Films: Current Research on Audience Preferences and Reactions

6573:

Down and Dirty: Hollywood's Exploitation Filmmakers and Their Movies

6545:

A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980–1989

3006:) after its first year. Updating a concept introduced by TV hostess 1539: 1086:

by the turn of the decade—a 93% rise after adjusting for inflation.

323:. That average reflected both "specials" that might cost as much as 10078: 9740: 9635: 9421: 9411: 9359: 9049: 8508: 8260: 7937: 7751: 7663: 7581: 7444: 7320: 7225: 6792:

Schrader, Paul (1972). "Notes on Film Noir", in Silver and Ursini,

5258: 3232: 2703:

suggests exploitation at its most disturbingly sick", wrote critic

2521: 2467: 2014: 1032: 976: 741: 358: 288: 6063:

Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture

5538:

Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939

2992:

Helping to popularize the notion of the C movie was the TV series

2373:, released in December 1978, had proved that a studio could spend 1758:

could now show "adult" imagery, while the market for increasingly

1448:, known for distributing international matinee fare like the 1959 1417:, a cheaply made Italian movie starring American-born bodybuilder 10401: 10026: 9044: 7542: 7372: 7237: 7220: 7202: 6915:

Thompson, Howard (1960). "'Hercules Unchained' Heads Twin Bill",

6643:

Going to Pieces: The Rise and Fall of the Slasher Film, 1978–1986

5974:

Defining Cult Movies: The Cultural Politics of Oppositional Taste

5652:

Assault of the Killer B's: Interviews with 20 Cult Film Actresses

5640:

New York and Chichester, West Sussex: Columbia University Press.

3728:

For a detailed consideration of classic B noir, see Lyons (2000).

3052: 3043: 3015: 2909: 2686: 2157: 1825: 1749: 867: 845:

in rentals, industry language for a distributor's share of gross

701: 97: 6752:

The Genius of the System: Hollywood Filmmaking in the Studio Era

6615:

Hollywood 'B' Movies: A Treasury of Spills, Chills & Thrills

5364:

Coleman Francis: The Real Worst Director in Film History – Paste

1496:, opened at neighborhood theaters in New York. A suspense film, 1425:

on advertising and publicity, a virtually unprecedented amount.

1168: 158:

headlines a cast of veteran character actors along with a young

10695: 10356: 9553: 9478: 9130: 9066: 9039: 8702: 8515: 8369: 7823: 7102: 6302:

Maslin, Janet (1997). "An Orgy of Bent Fenders and Bent Love,"

6290:

Hollywood Cauldron: 13 Horror Films from the Genre's Golden Age

2853:

releases are expected." Fox launched a new subsidiary in 2006,

2647: 1963:, then best known for releasing dubbed versions of the Italian 1709: 1597:, who released his first successful narrative nudie, the comic 1036: 980: 248:

learned their craft in B movies. They are where actors such as

230: 10440: 7855: 7136: 6957:" (commentary accompanying Xenon Entertainment DVD release of 5793:

The Big Picture: The New Logic of Money and Power in Hollywood

5680:

How I Made a Hundred Movies in Hollywood and Never Lost a Dime

5638:

Licence to Thrill: A Cultural History of the James Bond Films.

5285:"Inventing 'Sharknado': Inside Syfy's Booming B-Movie Factory" 2793:

The Chronicles of Narnia: The Lion, The Witch and the Wardrobe

2156:

began appearing as imports regularly during the 1970s. These "

136: 10546: 10041: 9174: 9152: 9145: 8945: 7414: 7298: 7015:

High Contrast: Race and Gender in Contemporary Hollywood Film

6937:

The Vanishing Legion: A History of Mascot Pictures, 1927–1935

6373:

Celluloid Mavericks: The History of American Independent Film

5988:

Cultural Borrowings: Appropriation, Reworking, Transformation

5247:

Rabiger (2008), pp. 7, 10; Davies and Wistreich (2007), p. 5.

4518:

Haines (2003), p. 69; Landis and Clifford (2002), pp. 117–21.

2885: 1922: 3702:, August 22, 2006; Dave Kehr, "Critic's Choice: New DVD's," 3288: 1898:, who began her film career with a bit part in Russ Meyer's 766:. These series films are not to be confused with the short, 9093: 7886: 7001:

Hearths of Darkness: The Family in the American Horror Film

6666:. Cambridge, UK, and New York: Cambridge University Press. 5990:, ed. Iain Robert Smith, pp. 8–33. Nottingham: Scope. 5821:

The Films of Roger Corman: "Shooting My Way out of Trouble"

3809:

See Finler (2003), pp. 357–58, for top films. Finler lists

3227:

Mentioning the highly successful entertainment programs of

3003: 4590:

Kauffman (1998), pp. 118–28; Williams (1996), pp. 198–200.

4527:

Haines (2003), p. 49; Landis and Clifford (2002), pp. 3–4.

3220:, a talk show about human sexuality that was televised by 2569:, and the year's biggest hit, the slapstick kiddie comedy 2541:. Of the nine films released that year to gross more than 1609:, which combined sex, violence, and a dramatic storyline. 1568:

about a young lady whose boyfriend's promiscuity leads to

1421:. On top of a $ 125,000 purchase price, Levine then spent 6844:: Evidence of a Style", rev. ver., in Silver and Ursini, 6814:

Drive-In Theaters: A History from Their Inception in 1933

6091:

Beasts and Behemoths: Prehistoric Creatures in the Movies

3324:

Balio (1995), p. 29. See also Schatz (1999), pp. 16, 324.

3221: 3031: 1813: 1381:

financed the shooting of new footage with American actor

408:

profitability of every B movie. The parallel practice of

30:

This article is about the film type. For other uses, see

6803:

Scott, A. O. (2005). "Where Have All the Howlers Gone?"

6405:

The Sundance Kids: How the Mavericks Took Back Hollywood

5904:

Legacy of Blood: A Comprehensive Guide to Slasher Movies

5619:

Canby, Vincent (1984). "Down-and-Out Youths in 'Suburbia

5256: 4675:: Rockoff (2002), pp. 42–44, 50–55; Paul (1994), p. 320. 3924:

Auty (2005), p. 34. See also Shapiro (2002), pp. 120–24.

3369:

Epstein (2005), p. 6. See also Schatz (1999), pp. 16–17.

1269:(1959). David Cook credits AIP with leading the way "in 1265:(1958) turned a profit, hot rod horror was given a try: 7110:

analysis by Michael C. LaBarbera, University of Chicago

6828:

Atomic Bomb Cinema: The Apocalyptic Imagination on Film

6516:

Laughing, Screaming: Modern Hollywood Horror and Comedy

5986:

Hunter, I. Q. (2009). "Exploitation as Adaptation", in

4784:

as the average production cost in 1980, and a total of

4372:

See Finler (2003), p. 359, for top films. Finler lists

3987:

Denisoff and Romanowski (1991), pp. 64–65, 95–100, 105.

3830:

See, e.g., Matthews (2007), p. 92; Lyons (2000), p. 53.

2998:(1988–99), which ran on national cable channels (first 2639:, who built a reputation with violent B movies such as 2466:

was twenty-three. It was picked up for distribution by

1904:(1970). Several New World pictures followed, including 1139:

The most famous such movie, the independently produced

1039:: with his own crew and relatively free rein, director 7120: 6502:

A Reference Guide to the American Film Noir: 1940–1958

6161:

Blaxploitation Films of the 1970s: Blackness and Genre

5972:

Hollows, Joanne (2003). "The Masculinity of Cult," in

5727:

Denisoff, R. Serge, and William D. Romanowski (1991).

5578:

Braucort, Guy (1970). "Interview with Don Siegel", in

5417:"The Psychotronic Man (interview with Michael Weldon)" 4868:

Cost per Bruce Campbell, cited in Warren (2001), p. 45

2537:

By 1990, the cost of the average U.S. film had passed

1832:

in rentals. In the words of historians Seth Cagin and

1588:

pornography of previous decades. As far back as 1933,

1310:. Corman soon independently produced his first movie, 334:

Studios in the minor leagues of the industry, such as

209:

In either usage, most B movies represent a particular

2189:(1978), produced on a $ 320,000 budget, grossed over 1385:

that was edited into the Japanese sci-fi horror film

229:

Latter-day B movies still sometimes inspire multiple

6949:

Van Peebles, Melvin (2003). "The Real Deal: What It

5890:

Heritage Signature Vintage Movie Poster Auction #636

3698:

See, e.g., Dave Kehr, "Critic's Choice: New DVD's,"

2733: 1991:

spent six years raising funds for the production of

6867:

Blockbuster TV: Must-see Sitcoms in the Network Era

6726:. Durham, N.C., and London: Duke University Press. 6629:

Movie Westerns: Hollywood Films the Wild, Wild West

5920:. Durham, N.C., and London: Duke University Press. 5134: 4769:

Major film studio#Historical organizational lineage

4384:, 51 minutes shorter, replaces it in this analysis. 2895:, these media could not rival the image quality of 311:, the production cost of an average feature from a 6869:. New York and London: New York University Press. 6319:. Maidenhead and New York: Open University Press. 6254:Death on the Cheap: The Lost B Movies of Film Noir 5849:The Fitzgeralds and the Kennedys: An American Saga 5383: 5136: 3428:(New York: Ballantine). As Taves notes, "the term 3089:(1957), the latter frequently cited as one of the 1868:, cost $ 117,000 to produce and took in more than 217:was a Golden Age B movie staple, while low-budget 6778:Schneider, Steven Jay, and Tony Williams (2005). 6315:Mathijs, Ernest, and Xavier Mendik, eds. (2008). 5111: 4549: 4282:Heffernan (2004), p. 221; Cook (2002), pp. 70–71. 3915:Lev (2003), pp. 186, 184; Braucort (1970), p. 75. 3680:Schatz (1999), p. 232; Finler (2003), pp. 219–20. 3061:(1957) is often called "the worst film ever made" 1035:, and death. The little studio had its own house 11057: 7154:Paste Magazine's 100 Best "B Movies" of All Time 6599:Rausch, Andrew J., with Michael Dequina (2008). 6343:McCarthy, Todd, and Charles Flynn, eds. (1975). 6135:, 2d ed. Edinburgh: Edinburgh University Press. 5743:The Cinema of Hong Kong: History, Arts, Identity 5708:The Film Finance Handbook: How to Fund Your Film 5221: 4939:"Movie Box Office Results by Year, 1980–Present" 4881:, May 27, 1983), quoted in Warren (2001), p. 94. 4795:"Movie Box Office Results by Year, 1980–Present" 4693:Schaefer (1999), p. 224; Goodwin (1987), p. 341. 4234:Frank (1998), p. 186; McGilligan (1996), p. 183. 2117:setting—something like a drive-in movie for the 1685:(1961), an early step in the development of the 6736:Schatz, Thomas (1993). "The New Hollywood", in 6504:. Metuchen, N.J., and London: Scarecrow Press. 6033:Jewell, Richard B., with Vernon Harbin (1982). 5720:Denby, David (1985). "Where the Coyotes Howl", 5453: 5451: 5449: 5447: 5282: 5187:. Spectrum Strategy Consultants. Archived from 5182:"One More Ride on the Hollywood Roller-coaster" 5179: 3649:Schatz (1999), p. 295; Naremore (1998), p. 142. 2863:report, "Fox Atomic is staying at or below the 1723:. Produced by B horror veteran William Castle, 1548:(1965) was not hard to market. It had director 1098:the Golden Age-style second feature was dying, 1063:, a South Seas adventure set around a brothel. 6992:West, Richard (1974). "Scariest Movie Ever?", 6982:. Cambridge, Mass.: Harvard University Press. 6851:Silver, Alain, and James Ursini, eds. (1996). 4131:Per Corman, quoted in Di Franco (1979), p. 97. 3857:Muller (1998), p. 176; Cousins (2004), p. 198. 3303:Finler (2003), pp. 41–42; Balio (2003), p. 29. 2825:familiar brand of B movie was in grave doubt. 1975:, as well as for its one in-house production, 439:Poverty Row studios, from modest outfits like 182:), is a type of cheap, poorly made commercial 10456: 7871: 7181: 6883:. Manchester, UK: Headpress/Critical Vision. 5958:Hoberman, J., and Jonathan Rosenbaum (1983). 5706:Davies, Adam P., and Nicol Wistreich (2007). 5478:"Blu-ray Review (Sort of): Stargate Atlantis" 4890: 3662:2, no. 1 ), quoted in Ottoson (1981), p. 145. 3377: 3375: 3150:is the term used by the German media scholar 2323:(1970) and especially in the mega-schlock of 1969:"shockumentaries" and the Swedish skin flick 1462: 117: 6547:. Berkeley: University of California Press. 6117:Landis, Bill, and Michelle Clifford (2002). 5444: 5414: 5327: 5259:"What is CGI? – Everything You Need to Know" 5122:Would Have Made a Great Blaxploitation Film" 4176: 2811:Star Wars: Episode III – Revenge of the Sith 1049:was released in May 1943, six months before 871:Often marketed as pure sensationalism, many 712:, the Columbia features with Buck Jones and 529:(1938) lasts just 55 minutes, average for a 7029:Hollywood from Vietnam to Reagan—and Beyond 6766:Boom and Bust: American Cinema in the 1940s 6121:. New York: Fireside/Simon & Schuster. 6051:(1976), pp. 263–79. New York: Warner. 3018:has been called "the master of the 'C-movie 2849:) and niche features ($ 5–20m). Fewer $ 30– 2796:, respectively), a child-targeted cartoon ( 10463: 10449: 7878: 7864: 7195: 7188: 7174: 6816:. Jefferson, N.C., and London: McFarland. 6796:, pp. 53–63 (originally published in 6680:. Jefferson, N.C., and London: McFarland. 6645:. Jefferson, N.C., and London: McFarland. 6589:, 4th ed. Burlington, Mass.: Focal Press. 6447:More Than Night: Film Noir in Its Contexts 6359:Jack's Life: A Biography of Jack Nicholson 6292:. Jefferson, N.C., and London: McFarland. 6233:. Jefferson, N.C., and London: McFarland. 6047:Kael, Pauline (1973). "Un-People," in her 5878:. Jefferson, N.C., and London: McFarland. 5809:, 3d ed. London and New York: Wallflower. 5654:. Jefferson, N.C., and London: McFarland. 5457: 5175: 5173: 4933: 4931: 4780:Finler (2003), p. 42. Prince (2002) gives 4071: 4069: 3960:Strawn (1974), p. 259; Lev (2003), p. 206. 3372: 3271:"B-film | motion-picture commercial grade" 2557:. Three more—the science-fiction thriller 2005:In 1970, a low-budget crime drama shot in 1689:subgenre that took off in the late 1970s. 1066: 376: 124: 110: 6782:. Detroit: Wayne State University Press. 6587:Directing: Film Techniques and Aesthetics 6435:. Englewood Cliffs, N.J.: Prentice-Hall. 6231:Westerns in a Changing America, 1955–2000 6147:RKO: The Biggest Little Major of Them All 6093:. Lanham, Md.: Rowman & Littlefield. 5475: 3622:Jewell (1982), 181; Lasky (1989), 184–85. 3586:Schatz (1999), pp. 19–21, 45, 72, 160–63. 2197:, in turn, largely followed the model of 1444:Also playing rounds during this time was 1079:federal antitrust suit against the majors 10772: 7092:) is being considered for deletion. See 5606:Canby, Vincent (1969). "By Russ Meyer," 4181:Something Weird Traveling Roadshow Films 3333:See Finler (2003), pp. 26, 41–43, 47–49. 3047: 2671:'s micro-budget monster movies, such as 1983: 1538: 1167: 866: 502: 287: 135: 7017:. Durham, N.C.: Duke University Press. 6518:. New York: Columbia University Press. 6219:. New York: New York University Press. 6205:. Durham, N.C.: Duke University Press. 6175:Obituaries in the Performing Arts, 2001 5678:Corman, Roger, with Jim Jerome (1998). 5554:. Bristol, UK, and Chicago: Intellect. 5423:from the original on September 11, 2006 5170: 4928: 4644:Cook (2000), pp. 266–71; Desser (2000). 4535: 4533: 4242: 4240: 4066: 3320: 3318: 2681:(1997), reframe classic genre subjects— 2563:, the action-filled detective thriller 1752:established, major studio A films like 967:comedy series, thrillers featuring the 849:receipts. Particularly in the realm of 762:comedies, and musicals with child star 14: 11058: 7114:Dwight Cleveland collection of posters 6419:Dark City: The Lost World of Film Noir 6105:Social and Cultural Aspects of VCR Use 5759:. New York and London: Chelsea House. 4949:from the original on December 30, 2006 4805:from the original on December 30, 2006 4103:Miami's B-Movie Mogul|Miami New Times| 3884:Schrader (1972), p. 61; Silver (1995). 3411: 3409: 3407: 3405: 3247:used the term "B-TV" when he reviewed 2667:, was financed totally independently. 2221:expanded with the introduction of the 10444: 7859: 7169: 6712:30). New York and London: Routledge. 6491:Journal of American Studies of Turkey 5592:Cagin, Seth, and Philip Dray (1984). 5374:See, e.g., Quarles (2001), pp. 79–84. 5149:from the original on January 11, 2022 5092:from the original on January 17, 2007 4979:from the original on December 6, 2006 4635:Hoberman and Rosenbaum (1983), p. 13. 3978:Cook (2000), p. 324. See also p. 171. 3933: 3180:. In his article Schumacher mentions 3117:The Psychotronic Encyclopedia of Film 3100: 1124:. Her best known directorial effort, 1077:In 1948, a Supreme Court ruling in a 818:brought his bloated-budget spectacle 264:. Some actors and actresses, such as 206:to independent arthouse productions. 6809:, "Arts & Leisure," December 18. 6561:, 14th ed. London et al.: Time Out. 6149:. Santa Monica, Calif.: Roundtable. 6079:. London and New York: I.B. Tauris. 5876:The Moviegoing Experience, 1968–2001 5731:. New Brunswick, N.J.: Transaction. 5384:McDonagh, Maitland (July 17, 2006). 5308:See, e.g., Komiya and Litman (1990). 4530: 4237: 3315: 2737: 995:in six films between 1939 and 1941. 875:also possessed great visual beauty. 519:) did not get much time in harness. 7121:Interviews of B movie professionals 6855:. Pompton Plains, N.J.: Limelight. 6037:. New York: Arlington House/Crown. 5476:Henriksen, Erik (August 19, 2011). 5222:Fleming, Michael (April 19, 2009). 5135:Saroyan, Strawberry (May 6, 2007). 4792:as the 1980 production figure; see 3613:See, e.g., Finler (2003), pp. 4, 6. 3402: 3360:See, e.g., Balio (1995), pp. 103–4. 2939: 2787:Harry Potter and the Goblet of Fire 2413:(1982), written by feminist author 1580:footage or striptease artists like 893:, it was released by Poverty Row's 720:series, the Republic Westerns with 24: 10218:List of American independent films 7491:List of American independent films 6830:. New York and London: Routledge. 6189:Transforming the Screen: 1950–1959 6163:. New York and London: Routledge. 5851:. New York: Simon & Schuster. 5755:Di Franco, J. Philip, ed. (1979). 5568:. New York: Simon & Schuster. 5328:Campos, Eric (December 12, 2005). 4891:Kraus, Daniel (October 30, 1999). 4122:Quoted in Di Franco (1979), p. 97. 3658:Robert Smith ("Mann in the Dark," 3478:Adapted from Finler (2003), p. 26. 2609:conglomerate. The following year, 835:: one of 1943's biggest films was 25: 11082: 7096:to help reach a consensus. › 7075: 6959:Sweet Sweetback's Baadasssss Song 6955:Sweet Sweetback's Baadasssss Song 6191:. New York et al.: Thomson-Gale. 5580:Focus on the Science Fiction Film 5330:"David Payne: Do Fear the Reeker" 5283:Suddath, Claire (July 12, 2013). 5257:Nashville Film Institute (2021). 4345:Cagin and Dray (1984), pp. 61–66. 4300:Heffernan (2004), pp. 190, 200–1. 4018:Rausch and Dequina (2008), p. 56. 3710:, "Week in Review," June 2, 2002. 3671:Schatz (1999), p. 173, table 6.3. 2734:Transition in the 2000s and after 1948:Sweet Sweetback's Baadasssss Song 1300:In 1954, a young filmmaker named 11038: 11037: 10424: 10415: 10414: 7147: 7127:The Astounding B-Monster Archive 6678:The Films of Joel and Ethan Coen 6133:Film Genre: Hollywood and Beyond 5888:Halperin, James L., ed. (2006). 5594:Hollywood Films of the Seventies 5469: 5435: 5408: 5377: 5368: 5357: 5354:See, e.g., Taves (1995), p. 323. 5348: 5320: 5311: 5302: 5276: 5250: 5241: 5215: 5206: 5161: 5104: 5082:"2005 Yearly Box Office Results" 5074: 5065: 5056: 5047: 5038: 5029: 5020: 5011: 5002: 4993: 4969:"1990 Yearly Box Office Results" 4961: 4919: 4910: 4884: 4871: 4862: 4853: 4844: 4835: 4826: 4817: 4774: 4761: 4732: 4723: 4714: 4705: 4696: 4687: 4678: 4665: 4656: 4647: 4638: 4629: 4620: 4611: 4602: 4599:See, e.g., Milne (2005), p. 389. 4593: 4584: 4575: 4566: 4542: 4521: 4512: 4503: 4494: 4485: 4476: 4467: 4458: 4387: 4366: 4357: 4348: 4339: 4330: 4321: 4312: 4303: 4294: 4285: 4276: 3893:Shapiro (2002), p. 96. See also 3541:See, e.g., Taves (1995), p. 318. 3451:Finler (2003), pp. 26, 111, 116. 3312:See, e.g., Taves (1995), p. 320. 3294:Hirschhorn (1999), pp. 9–10, 17. 2808:), a sci-fi series installment ( 2742: 2009:by first-time American director 1765:Finders Keepers, Lovers Weepers! 61: 27:Low-budget commercial film genre 10470: 7885: 7401:Experimental musical instrument 7108:The Biology of B-Movie Monsters 6007:Women Directors and Their Films 5757:The Movie World of Roger Corman 5458:Schumacher, Heidemarie (1995). 5415:Ignizio, Bob (April 20, 2006). 4327:Di Franco (1979), pp. 162, 165. 4267: 4258: 4249: 4228: 4219: 4210: 4201: 4170: 4161: 4152: 4143: 4134: 4125: 4116: 4107: 4096: 4087: 4078: 4057: 4048: 4039: 4030: 4021: 4012: 3999: 3990: 3981: 3972: 3963: 3954: 3927: 3918: 3909: 3900: 3887: 3878: 3869: 3860: 3851: 3842: 3833: 3824: 3803: 3794: 3785: 3776: 3767: 3758: 3749: 3740: 3731: 3722: 3713: 3692: 3683: 3674: 3665: 3652: 3643: 3634: 3625: 3616: 3607: 3598: 3589: 3580: 3571: 3562: 3553: 3550:Quoted in Schatz (1999), p. 75. 3544: 3535: 3526: 3517: 3508: 3499: 3490: 3481: 3472: 3463: 3454: 3445: 3436: 3418: 3393: 3384: 3363: 3186:by an American cultural critic 3136: 1516:With the loosening of industry 1411:bought the worldwide rights to 1237:American International Pictures 805:Producers Releasing Corporation 383:B movies (Hollywood Golden Age) 349:With the widespread arrival of 340:Film Booking Offices of America 152:American International Pictures 6939:. Jefferson, N.C.: McFarland. 6603:. Jefferson, N.C.: McFarland. 6575:. Jefferson, N.C.: McFarland. 6288:Mank, Gregory William (2001). 6177:. Jefferson, N.C.: McFarland. 6009:. Westport, Conn.: Greenwood. 5847:Goodwin, Doris Kearns (1987). 5837:. Jefferson, N.C.: McFarland. 5596:. New York: Harper & Row. 4177:Gibron, Bill (July 24, 2003). 4167:Schaefer (1992), p. 176, n. 1. 4149:Schaefer (1999), pp. 187, 376. 3934:Davis, Blair (April 6, 2012). 3895:Atomic Films: The CONELRAD 100 3354: 3345: 3336: 3327: 3306: 3297: 3263: 3097:equivalent of the grindhouse. 1997:(1970), which was filmed on a 1901:Beyond the Valley of the Dolls 1741:Invasion of the Body Snatchers 1675:." Castle's first film in the 1212:Invasion of the Body Snatchers 1189:Creature from the Black Lagoon 814:In 1946, independent producer 307:In 1927–28, at the end of the 13: 1: 7845:Social peer-to-peer processes 7081: 7043:Contemporary Hollywood Cinema 6375:. New York: Thunder's Mouth. 5906:. Manchester, UK: Headpress. 5835:Russ Meyer—The Life and Films 5724:, January 21, pp. 51–53. 5696:. New York: Thunder's Mouth. 5682:, new ed. New York: Da Capo. 5392:. TVGuide.com. Archived from 5332:. Film Threat. Archived from 5044:King (2005), pp. 167, 170–75. 4482:Willis (1997), p. 254, n. 30. 4402:The Beast with a Million Eyes 4363:Cagin and Dray (1984), p. 53. 4185:. DVD Verdict. Archived from 4140:Quoted in Reid (2005a), p. 5. 3469:See Taves (1995), pp. 321–29. 3257: 2138:The Rocky Horror Picture Show 1612:Faster, Pussycat! Kill! Kill! 10893:Set in academic institutions 6676:Russell, Carolyn R. (2001). 6485:Oppermann, Michael (1996). " 6357:McGilligan, Patrick (1996). 6329:Matthews, Melvin E. (2007). 5892:. Dallas: Heritage Capital. 5791:Epstein, Edward Jay (2005). 5771:The Texas Chainsaw Massacre, 5729:Risky Business: Rock in Film 5390:Magazine Gives Up the Ghost" 5212:Zeitchik and Laporte (2006). 5017:Finler (2003), pp. 287, 290. 4572:Williams (1996), pp. 171–73. 4447:; U.S. premiere: 1971), and 4216:Frasier (1997), pp. 7–8, 13. 4036:Heffernan (2004), pp. 95–98. 4027:Heffernan (2004), pp. 102–4. 3940:. Rutgers University Press. 3719:Jewell (1982), pp. 218, 219. 3121:The Psychotronic Video Guide 2995:Mystery Science Theater 3000 2802:), a comic book adaptation ( 2548:Teenage Mutant Ninja Turtles 2172:The Texas Chain Saw Massacre 2015:international critics' prize 1959:. Its distributor was small 1474:B movies (exploitation boom) 1313:Monster from the Ocean Floor 1199:It Came from Beneath the Sea 1118:and 1953's self-explanatory 1031:brought together teenagers, 998:The Courageous Dr. Christian 449:Sono Art-World Wide Pictures 7: 6826:Shapiro, Jerome F. (2002). 6754:. London: Faber and Faber. 6631:. Morrisville, N.C.: Lulu. 6627:Reid, John Howard (2005b). 6617:. Morrisville, N.C.: Lulu. 6613:Reid, John Howard (2005a). 6431:Nachbar, Jack, ed. (1974). 6077:American Independent Cinema 6061:Kauffman, Linda S. (1998). 5874:Haines, Richard W. (2003). 5833:Frasier, David K. (1997 ). 5650:Collum, Jason Paul (2004). 4879:Los Angeles Herald-Examiner 4684:Waterman (2005), pp. 38–39. 4626:Merritt (2000), pp. 254–57. 4455:: Di Franco (1979), p. 164. 3198:market share. A commercial 3010:over three decades before, 1808:(1966), a biker movie, and 1703:. Lewis's business partner 1019:(1943) and the prison film 934:Stranger on the Third Floor 10: 11087: 11066:Film and video terminology 10965:Indian burial ground trope 10109:Classical Hollywood cinema 9298:Commedia sexy all'italiana 8206:Exploitation film template 8150:Commedia sexy all'italiana 6980:Hollywood's Road to Riches 6968:. New York: St. Martin's. 6421:. New York: St. Martin's. 6361:. New York: W. W. Norton. 6159:Lawrence, Novotny (2008). 5944:Hirschhorn, Clive (1999). 5930:Hirschhorn, Clive (1979). 5795:. New York: Random House. 5515:, September 15 (available 5498: 5465:. Schüren Verlag, Marburg. 5224:"Fox Folding Atomic Label" 5112:Rausch, Andrew J. (2000). 4711:Paul (1994), pp. 288, 291. 4702:Levine (2007), pp. 114–15. 4550:Reynaud, Bérénice (1995). 4264:Rockoff (2002), pp. 32–33. 4093:Hirschhorn (1979), p. 343. 3906:Kinnard (1988), pp. 67–73. 3737:Finler (2003), pp. 214–15. 3640:Schatz (1999), pp. 340–41. 3183:Amusing Ourselves to Death 3140: 3041: 3037: 3022:" in this sense, although 2971: 2773: 2603:Turner Broadcasting System 2519:, whose first production, 2410:The Slumber Party Massacre 2358:(1975) and George Lucas's 2304: 2300: 2260:Nightmare in Badham County 1628:How to Stuff a Wild Bikini 1471: 1463:Golden age of exploitation 1239:(AIP), founded in 1956 by 1070: 387:For British B movies, see 386: 380: 283: 36: 29: 11033: 10992: 10905: 10853: 10732: 10610: 10478: 10410: 10013: 9931: 9676:German underground horror 9631:Documentary Film Movement 9539:American eccentric cinema 9524: 8770: 7896: 7795: 7734: 7699: 7632: 7589: 7580: 7481:American eccentric cinema 7458: 7422: 7413: 7386: 7306: 7297: 7289:Amateur press association 7201: 7066:January 21, 2010, at the 7059:, November 19 (available 6585:Rabiger, Michael (2008). 6347:. New York: E.P. Dutton. 6173:Lentz, Harris M. (2002). 5916:Heffernan, Kevin (2004). 5823:. London: B.T. Batsford. 5612:, September 6 (available 4999:Heffernan (2004), p. 225. 4841:Collum (2004), pp. 11–14. 4729:Heffernan (2004), p. 223. 4464:Di Franco (1979), p. 160. 4445:Scream of the Demon Lover 4054:Heffernan (2004), p. 161. 3523:Taves (1995), pp. 327–28. 3460:Tuska (1999), pp. 183–84. 3351:Taves (1995), pp. 326–27. 3342:Finler (2003), pp. 18–19. 3168:, infotainment programs, 2751:This section needs to be 1916:(1972), both directed by 1398:The Curse of Frankenstein 1267:Ghost of Dragstrip Hollow 315:ranged from $ 190,000 at 186:. Originally, during the 7132:Badmovies.org Interviews 7094:templates for discussion 6978:Waterman, David (2005). 6879:Stevenson, Jack (2003). 6764:Schatz, Thomas (1999 ). 6750:Schatz, Thomas (1998 ). 6543:Prince, Stephen (2002). 6500:Ottoson, Robert (1981). 6445:Naremore, James (1998). 6131:Langford, Barry (2005). 6019:James, David E. (2005). 5819:Frank, Allan G. (1998). 5805:Finler, Joel W. (2003). 5527:The Amazing Colossal Man 5180:Marone, Alfonso (2006). 5138:"King of the Killer B's" 5035:Johnstone (1999), p. 16. 4832:Cook (2000), pp. 323–24. 4581:Wood (2003), pp. 118–19. 4414:The Fast and the Furious 4381:The Owl and the Pussycat 4291:Cook (2000), pp. 222–23. 4273:Langford (2005), p. 175. 4207:Halperin (2006), p. 201. 4158:Schaefer (1999), p. 118. 3773:See Mank (2001), p. 274. 3764:Naremore (1998), p. 144. 3559:Naremore (1998), p. 141. 3091:worst pictures ever made 2776:B movies since the 1980s 2532: 2421:written and directed by 2311: 2307:B movies since the 1980s 2123:Night of the Living Dead 1845: 1736:Night of the Living Dead 1467: 1290:High School Confidential 1271:demographic exploitation 1254:I Was a Teenage Werewolf 1233:The Amazing Colossal Man 1218:The Amazing Colossal Man 1017:Where Are Your Children? 793: 394: 144:, produced and directed 37:Not to be confused with 32:B movie (disambiguation) 9611:Cinema of Transgression 8745:Cinema of Transgression 7471:Cinema of Transgression 7013:Willis, Sharon (1997). 6999:Williams, Tony (1996). 6966:The Evil Dead Companion 6865:Staiger, Janet (2000). 6840:Silver, Alain (1995). " 6812:Segrave, Kerry (1992). 6722:Schaefer, Eric (1999). 6571:Quarles, Mike (2001 ). 6557:Pym, John, ed. (2005). 6407:. New York: Macmillan. 6403:Mottram, James (2006). 6229:Loy, R. Philip (2004). 5867:, August 20 (available 5777:, January 1 (available 5710:. London: Netribution. 5664:Cook, David A. (2000). 5636:Chapman, James (2000). 5564:Biskind, Peter (1998). 4539:Merritt (2000), p. 229. 4491:Lawrence (2008), p. 27. 4063:Matthews (2007), p. 91. 3996:Di Franco (1979), p. 3. 3848:Hurd (2007), pp. 10–13. 3275:Encyclopædia Britannica 3086:Plan 9 from Outer Space 3058:Plan 9 from Outer Space 2928:, or channels, such as 2888:cameras recording onto 2594:Nightmare on Elm Street 2435:is a good genre film." 1393:Hammer Film Productions 1196:at Columbia (including 1067:Transition in the 1950s 1025:(1943). In 1947, PRC's 953:The Devil Thumbs a Ride 747:The Terror of Tiny Town 515:), and Lullaby Joslin ( 377:Golden Age of Hollywood 188:Golden Age of Hollywood 9696:Hollywood on the Tiber 7787:Independent TV station 7716:Independent soft drink 7682:Open-source video game 7196:Independent production 7159:June 24, 2018, at the 6662:Rubin, Martin (1999). 6641:Rockoff, Adam (2002). 6528:Petit, Chris (2005). " 6514:Paul, William (1994). 6417:Muller, Eddie (1998). 6371:Merritt, Greg (2000). 6308:, March 21 (available 6252:Lyons, Arthur (2000). 6201:Levine, Elena (2007). 6005:Hurd, Mary G. (2007). 5932:The Warner Bros. Story 5769:Ebert, Roger (1974). " 5692:Cousins, Mark (2004). 5629:, April 13 (available 5071:Mottram (2006), p. 75. 5008:Finler (2003), p. 379. 4916:Morrow (1996), p. 112. 4859:Petit (2005), p. 1481. 4045:Segrave (1992), p. 33. 3866:Jewell (1982), p. 272. 3839:Lev (2003), pp. 60–61. 3782:Strawn (1974), p. 257. 3755:Schatz (1999), p. 175. 3746:Jewell (1982), p. 147. 3689:Finler (2003), p. 216. 3062: 2490:Class of Nuke 'Em High 2326:The Poseidon Adventure 2266:The reverberations of 2002: 1938:Cotton Comes to Harlem 1697:Herschell Gordon Lewis 1557: 1518:censorship constraints 1293:(1958), both starring 1281:such as Warner Bros.' 1186:at Universal (such as 1178: 1060:Isle of Forgotten Sins 914:I Walked with a Zombie 898: 534: 313:major Hollywood studio 304: 194:, somewhat similar to 163: 140:The "King of the Bs", 10747:First film by country 9686:Grupo Cine Liberación 9626:Czechoslovak New Wave 9621:Commedia all'italiana 7968:Commedia all'italiana 7767:Visionary environment 7466:Independent animation 6964:Warren, Bill (2001). 6921:, July 14 (available 6710:The Velvet Light Trap 6493:3 (spring, available 6478:, July 11 (available 6465:, July 23 (available 6387:Electra Glide in Blue 6256:. New York: Da Capo. 6145:Lasky, Betty (1989). 6089:Kinnard, Roy (1988). 5962:. New York: Da Capo. 5784:June 5, 2011, at the 5536:Balio, Tino (1995 ). 3800:Lasky (1989), p. 229. 3631:Schatz (1999), p. 78. 3604:Schatz (1993), p. 11. 3595:Schatz (1999), p. 16. 3577:Schatz (1999), p. 73. 3568:Taves (1995), p. 328. 3532:Taves (1995), p. 316. 3505:Nachbar (1974), p. 2. 3496:Taves (1995), p. 313. 3442:Balio (1995), p. 102. 3415:Finler (2003), p. 42. 3399:Epstein (2005), p. 4. 3390:Taves (1995), p. 326. 3381:Taves (1995), p. 325. 3152:Heidemarie Schumacher 3051: 2899:. The development of 2615:Roger Corman Presents 2597:(1984), whose nearly 2446:Q: The Winged Serpent 2224:ABC Movie of the Week 2100:James William Guercio 2095:Electra Glide in Blue 1987: 1978:The Man from O.R.G.Y. 1961:Cinemation Industries 1542: 1344:, among many others. 1171: 1073:B movies in the 1950s 1007:exploitation pictures 870: 506: 291: 139: 10213:Guerrilla filmmaking 9876:Kitchen sink realism 9831:Praška filmska škola 9761:New French Extremity 9671:German Expressionist 9579:Kitchen sink realism 9444:Contemporary Western 9224:Environmental issues 8755:New French Extremity 8713:New French Extremity 8538:Softcore pornography 8533:Hardcore pornography 8400:New French Extremity 7779:Independent circuit 7609:Open-source software 7508:Guerrilla filmmaking 7027:Wood, Robin (2003). 6930:Focus on the Western 6903:Horror International 6780:Horror International 6534:Q—The Winged Serpent 6433:Focus on the Western 6398:Jack Kirby Collector 6385:Milne, Tom (2005). " 6333:. New York: Algora. 6317:The Cult Film Reader 6281:May 5, 2012, at the 6274:(June 30, available 6075:King, Geoff (2005). 5902:Harper, Jim (2004). 5550:Berra, John (2008). 4925:Berra (2008), p. 74. 4500:Cook (2000), p. 260. 4473:Kael (1973), p. 269. 4309:Cook (2000), p. 223. 4246:Cook (2000), p. 222. 4075:Cook (2000), p. 324. 3969:Lentz (2002), p. 17. 3514:Tuska (1974), p. 37. 3241:Erik Henriksen from 3214:Schumacher mentions 3112:The Psychotronic Man 3055:'s ultra-low-budget 2948:and the more common 2814:), a sci-fi remake ( 2721:(1994), directed by 2577:satellite television 2456:The Book of the Dead 2338:The Towering Inferno 2244:When Love Grows Cold 2203:(1974), directed by 2098:(1973), directed by 2061:(1974), directed by 2019:Venice Film Festival 1941:(1970), directed by 1787:Cannes Film Festival 1760:hardcore pornography 1584:had simply been the 1395:made the successful 1330:Francis Ford Coppola 1279:juvenile delinquency 1221:(1957), directed by 1011:juvenile delinquency 975:, Westerns starring 923:(1945), directed by 422:Fox Film Corporation 78:Hollywood Golden Age 9949:Children and family 9923:Yugoslav Black Wave 9796:Nuevo Cine Mexicano 9681:Nigerian Golden Age 9646:European art cinema 9549:Australian New Wave 7747:Amateur photography 7440:Amateur pornography 7388:Musical instruments 7368:Tracker (MOD) music 6996:, March, p. 9. 6935:Tuska, Jon (1999). 6559:Time Out Film Guide 6538:Time Out Film Guide 6391:Time Out Film Guide 6215:Lewis, Jon (2002). 6187:Lev, Peter (2003). 5934:. New York: Crown. 5807:The Hollywood Story 5531:Time Out Film Guide 5396:on October 12, 2007 5194:on February 3, 2007 5116:Blair Witch Project 4720:Paul (1994), p. 92. 4509:Van Peebles (2003). 4408:Day the World Ended 4255:Paul (1994), p. 33. 4189:on October 20, 2006 3818:The Seven Year Itch 3791:Lev (2003), p. 205. 2837:currently around $ 2502:Surf Nazis Must Die 2429:review concluded: " 2397:and the disastrous 1872:at the box office. 1774:Private Duty Nurses 1622:Beach Blanket Bingo 1450:Mexican kids' movie 1347:In the late 1950s, 1325:Day the World Ended 1028:The Devil on Wheels 414:Metro-Goldwyn-Mayer 321:Metro-Goldwyn-Mayer 49:Part of a series on 10247:Major film studios 9841:Pure Film Movement 9821:Polish Film School 9721:Italian neorealist 9701:Hong Kong New Wave 9303:Mexican sex comedy 8360:German underground 7211:Alternative comics 6918:The New York Times 6912:, pp. 313–50. 6897:, pp. 255–66. 6848:, pp. 209–35. 6806:The New York Times 6530:The Winged Serpent 6475:The New York Times 6462:The New York Times 6305:The New York Times 6272:Screening the Past 6246:The New York Times 5948:. London: Hamlyn. 5946:The Columbia Story 5864:The New York Times 5626:The New York Times 5609:The New York Times 5512:The New York Times 5388:Psychotronic Video 4451:. For purchase of 4449:The Student Nurses 4436:The Dunwich Horror 3708:The New York Times 3704:The New York Times 3700:The New York Times 3126:Psychotronic Video 3106:Psychotronic movie 3101:Psychotronic movie 3063: 2713:Fine Line Features 2642:The Driller Killer 2427:The New York Times 2250:The California Kid 2154:martial arts films 2145:generated its own 2104:The New York Times 2003: 1953:Melvin Van Peebles 1907:The Big Doll House 1853:New World Pictures 1770:The New York Times 1768:, was reviewed in 1576:" films featuring 1558: 1522:exploitation films 1493:Hercules Unchained 1429:The New York Times 1241:James H. Nicholson 1179: 985:Johnny Weissmuller 899: 803:, but a new firm, 535: 526:Pals of the Saddle 474:Edward Jay Epstein 434:RKO Radio Pictures 418:Paramount Pictures 305: 297:That Certain Thing 204:exploitation films 164: 11053: 11052: 11005:Exploitation film 10901: 10900: 10555:Postmodern horror 10438: 10437: 10377:Socialist realist 10089:Behind-the-scenes 9866:Socialist realist 9861:Spaghetti Western 9851:Romanian New Wave 9726:Japanese New Wave 9392:Sword and sorcery 9308:Nazi exploitation 8890:Mumbai underworld 8646:Planetary romance 7853: 7852: 7803:Independent media 7695: 7694: 7614:Software cracking 7576: 7575: 7503:Exploitation film 7409: 7408: 7378:Underground music 7326:Open-source label 7311:Independent music 7216:Alternative manga 6932:, pp. 25–43. 6905:, pp. 33–55. 6489:" (film review), 5996:978-0-9564641-0-1 5775:Chicago Sun-Times 5694:The Story of Film 5336:on March 10, 2007 5317:Oppermann (1996). 5114:"Roger Corman on 4608:Greenspun (1973). 4554:. Sense of Cinema 3250:Stargate Atlantis 3195:reverse marketing 2922:creature features 2817:War of the Worlds 2772: 2771: 2723:Quentin Tarantino 2707:. Financed, like 2585:straight to video 2508:The Toxic Avenger 2423:Penelope Spheeris 2394:Amityville Horror 2294:American Graffiti 2253:(1974), starring 2052:Hell Up in Harlem 1913:The Big Bird Cage 1705:David F. Friedman 1639:. Roger Corman's 1633:Annette Funicello 1631:(1966), starring 1488:sword-and-sandals 1287:(1957) and MGM's 920:The Body Snatcher 838:Hitler's Children 816:David O. Selznick 726:Three Mesquiteers 692: 691: 594:20th Century Fox 543:Republic Pictures 539:Monogram Pictures 531:Three Mesquiteers 521:Republic Pictures 511:), Tucson Smith ( 466:film distribution 461:Columbia Pictures 457:Universal Studios 361:, a short and/or 336:Columbia Pictures 270:Eddie Constantine 134: 133: 88:Exploitation boom 16:(Redirected from 11078: 11041: 11040: 11025:Vulgar auteurism 10770: 10769: 10742:Highest-grossing 10465: 10458: 10451: 10442: 10441: 10428: 10418: 10417: 10397:Vulgar auteurism 10225:Interstitial art 10203:Hyperlink cinema 9918:Vulgar auteurism 9913:Toronto New Wave 9903:Telefoni Bianchi 9898:Sword-and-sandal 9716:Italian futurist 9711:Iranian New Wave 9574:British New Wave 9387:Sword-and-sandal 9268:Rape and revenge 9209:Mouth of Garbage 9055:Tentacle erotica 9003:Goona-goona epic 8983:Extraterrestrial 8870:Heroic bloodshed 8504:Occult detective 8335:Christmas horror 8187:Sword-and-sandal 7919:Hong Kong action 7914:Heroic bloodshed 7880: 7873: 7866: 7857: 7856: 7835: 7782: 7619:Unofficial patch 7587: 7586: 7536: 7476:Independent film 7420: 7419: 7350:Cassette culture 7304: 7303: 7190: 7183: 7176: 7167: 7166: 6853:Film Noir Reader 6846:Film Noir Reader 6794:Film Noir Reader 5622: 5508: 5493: 5492: 5490: 5488: 5482:Portland Mercury 5473: 5467: 5466: 5464: 5455: 5442: 5439: 5433: 5432: 5430: 5428: 5412: 5406: 5405: 5403: 5401: 5381: 5375: 5372: 5366: 5361: 5355: 5352: 5346: 5345: 5343: 5341: 5324: 5318: 5315: 5309: 5306: 5300: 5299: 5297: 5295: 5280: 5274: 5273: 5271: 5269: 5254: 5248: 5245: 5239: 5238: 5236: 5234: 5219: 5213: 5210: 5204: 5203: 5201: 5199: 5193: 5186: 5177: 5168: 5165: 5159: 5158: 5156: 5154: 5140: 5133: 5131: 5129: 5108: 5102: 5101: 5099: 5097: 5078: 5072: 5069: 5063: 5060: 5054: 5051: 5045: 5042: 5036: 5033: 5027: 5026:O'Connor (1995). 5024: 5018: 5015: 5009: 5006: 5000: 4997: 4991: 4988: 4986: 4984: 4965: 4959: 4958: 4956: 4954: 4935: 4926: 4923: 4917: 4914: 4908: 4907: 4905: 4903: 4888: 4882: 4875: 4869: 4866: 4860: 4857: 4851: 4848: 4842: 4839: 4833: 4830: 4824: 4821: 4815: 4814: 4812: 4810: 4791: 4787: 4783: 4778: 4772: 4765: 4759: 4758: 4756: 4754: 4736: 4730: 4727: 4721: 4718: 4712: 4709: 4703: 4700: 4694: 4691: 4685: 4682: 4676: 4669: 4663: 4660: 4654: 4651: 4645: 4642: 4636: 4633: 4627: 4624: 4618: 4615: 4609: 4606: 4600: 4597: 4591: 4588: 4582: 4579: 4573: 4570: 4564: 4563: 4561: 4559: 4546: 4540: 4537: 4528: 4525: 4519: 4516: 4510: 4507: 4501: 4498: 4492: 4489: 4483: 4480: 4474: 4471: 4465: 4462: 4456: 4391: 4385: 4370: 4364: 4361: 4355: 4352: 4346: 4343: 4337: 4334: 4328: 4325: 4319: 4316: 4310: 4307: 4301: 4298: 4292: 4289: 4283: 4280: 4274: 4271: 4265: 4262: 4256: 4253: 4247: 4244: 4235: 4232: 4226: 4223: 4217: 4214: 4208: 4205: 4199: 4198: 4196: 4194: 4174: 4168: 4165: 4159: 4156: 4150: 4147: 4141: 4138: 4132: 4129: 4123: 4120: 4114: 4113:Thompson (1960). 4111: 4105: 4100: 4094: 4091: 4085: 4082: 4076: 4073: 4064: 4061: 4055: 4052: 4046: 4043: 4037: 4034: 4028: 4025: 4019: 4016: 4010: 4003: 3997: 3994: 3988: 3985: 3979: 3976: 3970: 3967: 3961: 3958: 3952: 3951: 3931: 3925: 3922: 3916: 3913: 3907: 3904: 3898: 3891: 3885: 3882: 3876: 3873: 3867: 3864: 3858: 3855: 3849: 3846: 3840: 3837: 3831: 3828: 3822: 3812:The Country Girl 3807: 3801: 3798: 3792: 3789: 3783: 3780: 3774: 3771: 3765: 3762: 3756: 3753: 3747: 3744: 3738: 3735: 3729: 3726: 3720: 3717: 3711: 3696: 3690: 3687: 3681: 3678: 3672: 3669: 3663: 3656: 3650: 3647: 3641: 3638: 3632: 3629: 3623: 3620: 3614: 3611: 3605: 3602: 3596: 3593: 3587: 3584: 3578: 3575: 3569: 3566: 3560: 3557: 3551: 3548: 3542: 3539: 3533: 3530: 3524: 3521: 3515: 3512: 3506: 3503: 3497: 3494: 3488: 3485: 3479: 3476: 3470: 3467: 3461: 3458: 3452: 3449: 3443: 3440: 3434: 3422: 3416: 3413: 3400: 3397: 3391: 3388: 3382: 3379: 3370: 3367: 3361: 3358: 3352: 3349: 3343: 3340: 3334: 3331: 3325: 3322: 3313: 3310: 3304: 3301: 3295: 3292: 3286: 3285: 3283: 3281: 3267: 3244:Portland Mercury 3178:soft pornography 3021: 2982:cable television 2940:Associated terms 2866: 2852: 2848: 2844: 2840: 2783: 2767: 2764: 2758: 2746: 2745: 2738: 2728: 2709:King of New York 2698: 2666: 2654:King of New York 2600: 2544: 2540: 2527:cable television 2376: 2351:creature feature 2347:Steven Spielberg 2209: 2192: 2067:David Cronenberg 1871: 1831: 1797: 1731:George A. Romero 1668:Alfred Hitchcock 1661: 1600:Immoral Mr. Teas 1570:venereal disease 1505: 1485: 1446:K. Gordon Murray 1439: 1424: 1409:Embassy Pictures 1379:Joseph E. Levine 1367:drive-in theater 1275:target marketing 1260: 1245:Samuel Z. Arkoff 1092:Ma and Pa Kettle 1085: 1051:Women in Bondage 1022:Women in Bondage 961:Mexican Spitfire 925:Jacques Tourneur 844: 773: 558: 557: 445:Tiffany Pictures 426:20th Century Fox 326: 319:to $ 275,000 at 235:independent film 172:American English 126: 119: 112: 83:1950s transition 73:Low-budget films 65: 46: 45: 21: 11086: 11085: 11081: 11080: 11079: 11077: 11076: 11075: 11056: 11055: 11054: 11049: 11029: 10988: 10897: 10849: 10768: 10728: 10606: 10585:Social thriller 10474: 10469: 10439: 10434: 10406: 10347:Semidocumentary 10272:Minimalist film 10262:Message picture 10257:Maximalist film 10151:Database cinema 10134:Computer screen 10094:Black-and-white 10019: 10017: 10015: 10009: 9927: 9883:Soviet parallel 9806:Parallel cinema 9801:Pan-Indian film 9731:Kammerspielfilm 9666:French New Wave 9586:Budapest school 9569:Brighton School 9544:New Objectivity 9526: 9520: 9489:Science fiction 9121:Bruceploitation 9030:Girls with guns 8976:Turksploitation 8850:Gentleman thief 8766: 8601:Science fiction 8447:Minimalist film 8442:Maximalist film 8420:Science fiction 8380:Japanese horror 8177:Social guidance 7892: 7884: 7854: 7849: 7833: 7791: 7780: 7730: 7709: 7691: 7628: 7572: 7553:Low-budget film 7534: 7528:'60s–'70s 7454: 7405: 7396:Circuit bending 7382: 7293: 7279:Self-publishing 7197: 7194: 7161:Wayback Machine 7150: 7142:Search My Trash 7123: 7097: 7078: 7073: 7068:Wayback Machine 6895:Kings of the Bs 6540:, p. 1481. 6283:Wayback Machine 5960:Midnight Movies 5786:Wayback Machine 5620: 5506: 5501: 5496: 5486: 5484: 5474: 5470: 5462: 5456: 5445: 5440: 5436: 5426: 5424: 5419:. Utter Trash. 5413: 5409: 5399: 5397: 5382: 5378: 5373: 5369: 5362: 5358: 5353: 5349: 5339: 5337: 5325: 5321: 5316: 5312: 5307: 5303: 5293: 5291: 5281: 5277: 5267: 5265: 5255: 5251: 5246: 5242: 5232: 5230: 5220: 5216: 5211: 5207: 5197: 5195: 5191: 5184: 5178: 5171: 5166: 5162: 5152: 5150: 5127: 5125: 5109: 5105: 5095: 5093: 5086:Box Office Mojo 5080: 5079: 5075: 5070: 5066: 5061: 5057: 5052: 5048: 5043: 5039: 5034: 5030: 5025: 5021: 5016: 5012: 5007: 5003: 4998: 4994: 4982: 4980: 4973:Box Office Mojo 4967: 4966: 4962: 4952: 4950: 4943:Box Office Mojo 4937: 4936: 4929: 4924: 4920: 4915: 4911: 4901: 4899: 4889: 4885: 4876: 4872: 4867: 4863: 4858: 4854: 4849: 4845: 4840: 4836: 4831: 4827: 4823:Lubasch (1979). 4822: 4818: 4808: 4806: 4799:Box Office Mojo 4793: 4789: 4785: 4781: 4779: 4775: 4766: 4762: 4752: 4750: 4748:Box Office Mojo 4738: 4737: 4733: 4728: 4724: 4719: 4715: 4710: 4706: 4701: 4697: 4692: 4688: 4683: 4679: 4673:Black Christmas 4670: 4666: 4661: 4657: 4652: 4648: 4643: 4639: 4634: 4630: 4625: 4621: 4616: 4612: 4607: 4603: 4598: 4594: 4589: 4585: 4580: 4576: 4571: 4567: 4557: 4555: 4547: 4543: 4538: 4531: 4526: 4522: 4517: 4513: 4508: 4504: 4499: 4495: 4490: 4486: 4481: 4477: 4472: 4468: 4463: 4459: 4425:Angels Die Hard 4392: 4388: 4371: 4367: 4362: 4358: 4353: 4349: 4344: 4340: 4335: 4331: 4326: 4322: 4317: 4313: 4308: 4304: 4299: 4295: 4290: 4286: 4281: 4277: 4272: 4268: 4263: 4259: 4254: 4250: 4245: 4238: 4233: 4229: 4224: 4220: 4215: 4211: 4206: 4202: 4192: 4190: 4175: 4171: 4166: 4162: 4157: 4153: 4148: 4144: 4139: 4135: 4130: 4126: 4121: 4117: 4112: 4108: 4101: 4097: 4092: 4088: 4083: 4079: 4074: 4067: 4062: 4058: 4053: 4049: 4044: 4040: 4035: 4031: 4026: 4022: 4017: 4013: 4004: 4000: 3995: 3991: 3986: 3982: 3977: 3973: 3968: 3964: 3959: 3955: 3948: 3932: 3928: 3923: 3919: 3914: 3910: 3905: 3901: 3892: 3888: 3883: 3879: 3874: 3870: 3865: 3861: 3856: 3852: 3847: 3843: 3838: 3834: 3829: 3825: 3808: 3804: 3799: 3795: 3790: 3786: 3781: 3777: 3772: 3768: 3763: 3759: 3754: 3750: 3745: 3741: 3736: 3732: 3727: 3723: 3718: 3714: 3697: 3693: 3688: 3684: 3679: 3675: 3670: 3666: 3657: 3653: 3648: 3644: 3639: 3635: 3630: 3626: 3621: 3617: 3612: 3608: 3603: 3599: 3594: 3590: 3585: 3581: 3576: 3572: 3567: 3563: 3558: 3554: 3549: 3545: 3540: 3536: 3531: 3527: 3522: 3518: 3513: 3509: 3504: 3500: 3495: 3491: 3486: 3482: 3477: 3473: 3468: 3464: 3459: 3455: 3450: 3446: 3441: 3437: 3423: 3419: 3414: 3403: 3398: 3394: 3389: 3385: 3380: 3373: 3368: 3364: 3359: 3355: 3350: 3346: 3341: 3337: 3332: 3328: 3323: 3316: 3311: 3307: 3302: 3298: 3293: 3289: 3279: 3277: 3269: 3268: 3264: 3260: 3229:David Letterman 3208:Richard Sennett 3145: 3139: 3103: 3095:subscription TV 3046: 3040: 3028:Sci Fi Pictures 3019: 2974: 2942: 2905:post-production 2901:digital cameras 2897:35 mm film 2882:16 mm film 2864: 2850: 2846: 2842: 2838: 2781: 2778: 2768: 2762: 2759: 2756: 2747: 2743: 2736: 2726: 2696: 2669:Larry Fessenden 2664: 2628:Death in Venice 2598: 2542: 2538: 2535: 2517:Empire Pictures 2496:Redneck Zombies 2374: 2314: 2309: 2303: 2273:Rosemary's Baby 2207: 2200:Black Christmas 2190: 2115:countercultural 1869: 1866:Angels Die Hard 1861:New Line Cinema 1848: 1829: 1812:, as in taking 1805:The Wild Angels 1795: 1755:Midnight Cowboy 1726:Rosemary's Baby 1664:Production Code 1659: 1590:This Nude World 1566:cautionary tale 1503: 1499:Terror Is a Man 1483: 1480: 1472:Main articles: 1470: 1465: 1437: 1422: 1307:Highway Dragnet 1295:Mamie Van Doren 1258: 1251:The success of 1155:Mickey Spillane 1127:The Hitch-Hiker 1083: 1075: 1069: 1046:Girls in Chains 842: 821:Duel in the Sun 796: 771: 660:Grand National 627:United Artists 441:Mascot Pictures 397: 392: 385: 379: 324: 286: 219:science-fiction 180:British English 130: 93:Since the 1980s 42: 35: 28: 23: 22: 15: 12: 11: 5: 11084: 11074: 11073: 11068: 11051: 11050: 11048: 11047: 11034: 11031: 11030: 11028: 11027: 11022: 11017: 11012: 11010:Extreme cinema 11007: 11002: 10996: 10994: 10990: 10989: 10987: 10986: 10985: 10984: 10979: 10969: 10968: 10967: 10957: 10952: 10947: 10942: 10941: 10940: 10938:archaic mother 10935: 10930: 10920: 10915: 10909: 10907: 10903: 10902: 10899: 10898: 10896: 10895: 10890: 10885: 10880: 10875: 10874: 10873: 10863: 10857: 10855: 10851: 10850: 10848: 10847: 10842: 10837: 10832: 10827: 10822: 10817: 10812: 10807: 10802: 10797: 10792: 10787: 10782: 10776: 10774: 10767: 10766: 10765: 10764: 10759: 10749: 10744: 10738: 10736: 10730: 10729: 10727: 10726: 10724:United Kingdom 10721: 10716: 10711: 10706: 10701: 10700: 10699: 10689: 10684: 10683: 10682: 10677: 10669: 10668: 10667: 10662: 10654: 10653: 10652: 10644: 10643: 10642: 10630: 10625: 10624: 10623: 10614: 10612: 10608: 10607: 10605: 10604: 10603: 10602: 10592: 10587: 10582: 10577: 10572: 10567: 10562: 10557: 10552: 10551: 10550: 10538: 10533: 10528: 10526:Gothic romance 10523: 10518: 10513: 10508: 10503: 10498: 10493: 10491:Blaxploitation 10488: 10482: 10480: 10476: 10475: 10468: 10467: 10460: 10453: 10445: 10436: 10435: 10433: 10432: 10422: 10411: 10408: 10407: 10405: 10404: 10399: 10394: 10389: 10384: 10379: 10374: 10369: 10364: 10359: 10354: 10349: 10344: 10339: 10334: 10332:Reverse motion 10329: 10324: 10319: 10314: 10309: 10304: 10299: 10294: 10289: 10284: 10282:Modernist film 10279: 10274: 10269: 10264: 10259: 10254: 10249: 10244: 10239: 10238: 10237: 10227: 10222: 10221: 10220: 10215: 10205: 10200: 10195: 10190: 10185: 10180: 10175: 10174: 10173: 10163: 10158: 10153: 10148: 10147: 10146: 10144:midnight movie 10136: 10131: 10126: 10121: 10116: 10111: 10106: 10101: 10096: 10091: 10086: 10081: 10076: 10071: 10070: 10069: 10064: 10059: 10054: 10049: 10044: 10034: 10029: 10023: 10021: 10011: 10010: 10008: 10007: 10006: 10005: 10000: 9990: 9989: 9988: 9983: 9973: 9972: 9971: 9966: 9958: 9957: 9956: 9946: 9941: 9935: 9933: 9932:By demographic 9929: 9928: 9926: 9925: 9920: 9915: 9910: 9905: 9900: 9895: 9890: 9885: 9880: 9879: 9878: 9871:Social realist 9868: 9863: 9858: 9853: 9848: 9843: 9838: 9833: 9828: 9826:Poliziotteschi 9823: 9818: 9816:Poetic realist 9813: 9808: 9803: 9798: 9793: 9788: 9783: 9778: 9773: 9771:New generation 9768: 9763: 9758: 9753: 9748: 9746:Modernist film 9743: 9738: 9736:L.A. Rebellion 9733: 9728: 9723: 9718: 9713: 9708: 9703: 9698: 9693: 9688: 9683: 9678: 9673: 9668: 9663: 9658: 9653: 9648: 9643: 9638: 9633: 9628: 9623: 9618: 9613: 9608: 9603: 9601:Cinéma du look 9598: 9593: 9588: 9583: 9582: 9581: 9571: 9566: 9561: 9556: 9551: 9546: 9541: 9536: 9530: 9528: 9522: 9521: 9519: 9518: 9517: 9516: 9514:Zapata Western 9511: 9506: 9501: 9496: 9494:Singing cowboy 9491: 9486: 9481: 9476: 9471: 9466: 9461: 9456: 9451: 9449:Dacoit Western 9446: 9441: 9431: 9430: 9429: 9424: 9419: 9409: 9404: 9399: 9394: 9389: 9384: 9379: 9374: 9369: 9368: 9367: 9357: 9352: 9347: 9342: 9337: 9332: 9330:Shoshimin-eiga 9327: 9326: 9325: 9320: 9318:Nunsploitation 9315: 9313:Pornochanchada 9310: 9305: 9300: 9295: 9285: 9280: 9275: 9270: 9265: 9260: 9259: 9258: 9248: 9243: 9238: 9233: 9228: 9227: 9226: 9216: 9211: 9206: 9201: 9200: 9199: 9198: 9197: 9187: 9182: 9177: 9172: 9162: 9161: 9160: 9150: 9149: 9148: 9143: 9138: 9133: 9128: 9123: 9113: 9108: 9103: 9102: 9101: 9096: 9086: 9081: 9080: 9079: 9069: 9064: 9059: 9058: 9057: 9052: 9047: 9037: 9032: 9027: 9026: 9025: 9020: 9015: 9005: 9000: 8995: 8990: 8988:Food and drink 8985: 8980: 8979: 8978: 8973: 8968: 8966:Blaxploitation 8958: 8953: 8948: 8943: 8938: 8937: 8936: 8931: 8921: 8920: 8919: 8909: 8904: 8903: 8902: 8897: 8895:Poliziotteschi 8892: 8887: 8882: 8877: 8872: 8867: 8862: 8857: 8852: 8847: 8842: 8832: 8827: 8822: 8817: 8812: 8807: 8806: 8805: 8800: 8790: 8785: 8780: 8774: 8772: 8768: 8767: 8765: 8764: 8759: 8758: 8757: 8752: 8750:Extreme cinema 8747: 8737: 8736: 8735: 8730: 8725: 8720: 8715: 8710: 8705: 8700: 8695: 8690: 8680: 8675: 8670: 8669: 8668: 8663: 8658: 8653: 8648: 8643: 8638: 8633: 8628: 8623: 8618: 8613: 8608: 8598: 8597: 8596: 8591: 8586: 8581: 8576: 8575: 8574: 8559: 8554: 8549: 8548: 8547: 8540: 8535: 8525: 8520: 8519: 8518: 8513: 8512: 8511: 8506: 8491: 8490: 8489: 8484: 8479: 8474: 8469: 8464: 8454: 8449: 8444: 8439: 8438: 8437: 8432: 8427: 8422: 8417: 8412: 8407: 8402: 8397: 8392: 8387: 8382: 8377: 8372: 8367: 8362: 8357: 8352: 8347: 8342: 8337: 8332: 8330:Chinese horror 8327: 8322: 8317: 8307: 8306: 8305: 8300: 8295: 8290: 8285: 8275: 8274: 8273: 8268: 8263: 8253: 8252: 8251: 8246: 8241: 8236: 8231: 8226: 8221: 8211: 8210: 8209: 8196: 8191: 8190: 8189: 8179: 8174: 8169: 8168: 8167: 8162: 8157: 8152: 8142: 8141: 8140: 8139: 8138: 8128: 8123: 8118: 8113: 8103: 8102: 8101: 8096: 8091: 8086: 8081: 8076: 8071: 8066: 8061: 8051: 8050: 8049: 8039: 8038: 8037: 8032: 8027: 8022: 8017: 8012: 8007: 8002: 7997: 7992: 7987: 7982: 7977: 7976: 7975: 7965: 7960: 7950: 7945: 7940: 7935: 7934: 7933: 7923: 7922: 7921: 7916: 7911: 7900: 7898: 7894: 7893: 7883: 7882: 7875: 7868: 7860: 7851: 7850: 7848: 7847: 7842: 7837: 7827: 7820: 7813:Do it yourself 7810: 7805: 7799: 7797: 7793: 7792: 7790: 7789: 7784: 7776: 7771: 7770: 7769: 7764: 7759: 7754: 7749: 7738: 7736: 7732: 7731: 7729: 7728: 7723: 7718: 7712: 7710: 7708: 7707: 7704: 7700: 7697: 7696: 7693: 7692: 7690: 7689: 7684: 7679: 7674: 7666: 7661: 7656: 7655: 7654: 7649: 7638: 7636: 7630: 7629: 7627: 7626: 7621: 7616: 7611: 7606: 7601: 7596: 7590: 7584: 7578: 7577: 7574: 7573: 7571: 7570: 7568:Double feature 7565: 7563:No wave cinema 7560: 7558:No-budget film 7555: 7550: 7548:Midnight movie 7545: 7540: 7539: 7538: 7530: 7525: 7520: 7510: 7505: 7500: 7499: 7498: 7493: 7488: 7483: 7473: 7468: 7462: 7460: 7456: 7455: 7453: 7452: 7447: 7442: 7437: 7432: 7426: 7424: 7417: 7411: 7410: 7407: 7406: 7404: 7403: 7398: 7392: 7390: 7384: 7383: 7381: 7380: 7375: 7370: 7365: 7360: 7352: 7347: 7346: 7345: 7340: 7330: 7329: 7328: 7323: 7313: 7307: 7301: 7295: 7294: 7292: 7291: 7286: 7281: 7276: 7275: 7274: 7269: 7264: 7252: 7251: 7250: 7240: 7235: 7234: 7233: 7223: 7218: 7213: 7207: 7205: 7199: 7198: 7193: 7192: 7185: 7178: 7170: 7164: 7163: 7149: 7146: 7145: 7144: 7139: 7134: 7129: 7122: 7119: 7118: 7117: 7111: 7105: 7077: 7076:External links 7074: 7072: 7071: 7053: 7039: 7025: 7011: 6997: 6990: 6976: 6962: 6947: 6933: 6926: 6913: 6906: 6898: 6891: 6877: 6863: 6849: 6842:Kiss Me Deadly 6838: 6824: 6810: 6801: 6790: 6776: 6762: 6748: 6734: 6720: 6702: 6688: 6674: 6660: 6653: 6639: 6625: 6611: 6597: 6583: 6569: 6555: 6541: 6526: 6512: 6498: 6483: 6470: 6457: 6443: 6429: 6415: 6401: 6394: 6393:, p. 389. 6383: 6369: 6355: 6341: 6327: 6313: 6300: 6286: 6268:Kiss Me Deadly 6264: 6250: 6241: 6227: 6213: 6199: 6185: 6171: 6157: 6143: 6129: 6115: 6101: 6087: 6073: 6059: 6045: 6031: 6017: 6003: 5984: 5970: 5956: 5942: 5928: 5914: 5900: 5886: 5872: 5859: 5845: 5831: 5817: 5803: 5789: 5767: 5753: 5739: 5725: 5718: 5704: 5690: 5676: 5662: 5648: 5634: 5617: 5604: 5590: 5576: 5562: 5548: 5534: 5520: 5502: 5500: 5497: 5495: 5494: 5468: 5443: 5434: 5407: 5376: 5367: 5356: 5347: 5319: 5310: 5301: 5275: 5249: 5240: 5214: 5205: 5169: 5160: 5103: 5073: 5064: 5055: 5053:Maslin (1997). 5046: 5037: 5028: 5019: 5010: 5001: 4992: 4960: 4927: 4918: 4909: 4883: 4870: 4861: 4852: 4843: 4834: 4825: 4816: 4773: 4760: 4731: 4722: 4713: 4704: 4695: 4686: 4677: 4664: 4655: 4646: 4637: 4628: 4619: 4610: 4601: 4592: 4583: 4574: 4565: 4541: 4529: 4520: 4511: 4502: 4493: 4484: 4475: 4466: 4457: 4420:Five Guns West 4386: 4365: 4356: 4347: 4338: 4329: 4320: 4311: 4302: 4293: 4284: 4275: 4266: 4257: 4248: 4236: 4227: 4218: 4209: 4200: 4169: 4160: 4151: 4142: 4133: 4124: 4115: 4106: 4095: 4086: 4077: 4065: 4056: 4047: 4038: 4029: 4020: 4011: 3998: 3989: 3980: 3971: 3962: 3953: 3946: 3926: 3917: 3908: 3899: 3886: 3877: 3875:Maltby (2000). 3868: 3859: 3850: 3841: 3832: 3823: 3802: 3793: 3784: 3775: 3766: 3757: 3748: 3739: 3730: 3721: 3712: 3691: 3682: 3673: 3664: 3651: 3642: 3633: 3624: 3615: 3606: 3597: 3588: 3579: 3570: 3561: 3552: 3543: 3534: 3525: 3516: 3507: 3498: 3489: 3480: 3471: 3462: 3453: 3444: 3435: 3417: 3401: 3392: 3383: 3371: 3362: 3353: 3344: 3335: 3326: 3314: 3305: 3296: 3287: 3261: 3259: 3256: 3141:Main article: 3138: 3135: 3102: 3099: 3080:Glen or Glenda 3042:Main article: 3039: 3036: 3004:Sci Fi Channel 3000:Comedy Central 2973: 2970: 2961:midnight movie 2955:drive-in movie 2941: 2938: 2841:, rising to $ 2827:New York Times 2774:Main article: 2770: 2769: 2750: 2748: 2741: 2735: 2732: 2660:Bad Lieutenant 2619:New York Times 2534: 2531: 2485:Troma Pictures 2464:Bruce Campbell 2415:Rita Mae Brown 2389:revival houses 2313: 2310: 2305:Main article: 2302: 2299: 2238:Human Wreckage 2230:The Ordeal of 2181:John Carpenter 2132:Pink Flamingos 1892:blaxploitation 1877:Brian De Palma 1847: 1844: 1830:$ 19.1 million 1779:Women in Cages 1721:Roman Polanski 1647:Jack Nicholson 1637:Frankie Avalon 1526:sexual hygiene 1509:House of Usher 1478:Midnight movie 1469: 1466: 1464: 1461: 1391:. The British 1372:midnight movie 1349:William Castle 1342:Robert De Niro 1334:Jonathan Demme 1223:Bert I. Gordon 1184:William Alland 1174:Rocketship X-M 1163:Robert Aldrich 1142:Kiss Me Deadly 1071:Main article: 1068: 1065: 1041:Edgar G. Ulmer 858:Allied Artists 801:Grand National 795: 792: 718:George O'Brien 694: 693: 690: 689: 686: 683: 679: 678: 675: 672: 668: 667: 664: 661: 657: 656: 653: 650: 646: 645: 642: 639: 635: 634: 631: 628: 624: 623: 620: 617: 613: 612: 609: 606: 602: 601: 598: 595: 591: 590: 587: 584: 580: 579: 576: 573: 569: 568: 567:Avg. duration 565: 562: 551:Grand National 547:United Artists 507:Stony Brooke ( 498:Sol M. Wurtzel 396: 393: 389:Quota quickies 381:Main article: 378: 375: 285: 282: 274:Bruce Campbell 254:Jack Nicholson 246:Jonathan Demme 192:double feature 184:motion picture 160:Jack Nicholson 132: 131: 129: 128: 121: 114: 106: 103: 102: 101: 100: 95: 90: 85: 80: 75: 67: 66: 58: 57: 51: 50: 26: 9: 6: 4: 3: 2: 11083: 11072: 11069: 11067: 11064: 11063: 11061: 11046: 11045: 11036: 11035: 11032: 11026: 11023: 11021: 11018: 11016: 11013: 11011: 11008: 11006: 11003: 11001: 10998: 10997: 10995: 10991: 10983: 10980: 10978: 10975: 10974: 10973: 10970: 10966: 10963: 10962: 10961: 10958: 10956: 10953: 10951: 10948: 10946: 10943: 10939: 10936: 10934: 10931: 10929: 10926: 10925: 10924: 10921: 10919: 10916: 10914: 10911: 10910: 10908: 10904: 10894: 10891: 10889: 10886: 10884: 10881: 10879: 10876: 10872: 10869: 10868: 10867: 10864: 10862: 10859: 10858: 10856: 10852: 10846: 10843: 10841: 10838: 10836: 10833: 10831: 10828: 10826: 10823: 10821: 10818: 10816: 10813: 10811: 10808: 10806: 10803: 10801: 10798: 10796: 10793: 10791: 10788: 10786: 10783: 10781: 10778: 10777: 10775: 10771: 10763: 10760: 10758: 10755: 10754: 10753: 10750: 10748: 10745: 10743: 10740: 10739: 10737: 10735: 10731: 10725: 10722: 10720: 10717: 10715: 10712: 10710: 10707: 10705: 10702: 10698: 10697: 10693: 10692: 10690: 10688: 10685: 10681: 10678: 10676: 10673: 10672: 10670: 10666: 10663: 10661: 10660:Expressionism 10658: 10657: 10655: 10651: 10648: 10647: 10645: 10641: 10640: 10636: 10635: 10634: 10631: 10629: 10626: 10622: 10619: 10618: 10616: 10615: 10613: 10609: 10601: 10598: 10597: 10596: 10593: 10591: 10588: 10586: 10583: 10581: 10578: 10576: 10573: 10571: 10568: 10566: 10563: 10561: 10560:Psychological 10558: 10556: 10553: 10549: 10548: 10544: 10543: 10542: 10539: 10537: 10534: 10532: 10529: 10527: 10524: 10522: 10521:Found footage 10519: 10517: 10514: 10512: 10509: 10507: 10504: 10502: 10499: 10497: 10494: 10492: 10489: 10487: 10484: 10483: 10481: 10477: 10473: 10466: 10461: 10459: 10454: 10452: 10447: 10446: 10443: 10431: 10427: 10423: 10421: 10413: 10412: 10409: 10403: 10400: 10398: 10395: 10393: 10390: 10388: 10385: 10383: 10380: 10378: 10375: 10373: 10370: 10368: 10365: 10363: 10360: 10358: 10355: 10353: 10350: 10348: 10345: 10343: 10340: 10338: 10335: 10333: 10330: 10328: 10327:Postmodernist 10325: 10323: 10320: 10318: 10317:Participatory 10315: 10313: 10310: 10308: 10305: 10303: 10300: 10298: 10295: 10293: 10290: 10288: 10287:Musical short 10285: 10283: 10280: 10278: 10275: 10273: 10270: 10268: 10265: 10263: 10260: 10258: 10255: 10253: 10250: 10248: 10245: 10243: 10240: 10236: 10233: 10232: 10231: 10228: 10226: 10223: 10219: 10216: 10214: 10211: 10210: 10209: 10206: 10204: 10201: 10199: 10198:Found footage 10196: 10194: 10191: 10189: 10186: 10184: 10181: 10179: 10176: 10172: 10169: 10168: 10167: 10164: 10162: 10159: 10157: 10154: 10152: 10149: 10145: 10142: 10141: 10140: 10137: 10135: 10132: 10130: 10127: 10125: 10122: 10120: 10117: 10115: 10112: 10110: 10107: 10105: 10104:Cinéma vérité 10102: 10100: 10097: 10095: 10092: 10090: 10087: 10085: 10082: 10080: 10077: 10075: 10072: 10068: 10065: 10063: 10060: 10058: 10055: 10053: 10050: 10048: 10045: 10043: 10040: 10039: 10038: 10035: 10033: 10030: 10028: 10025: 10024: 10022: 10020:or production 10012: 10004: 10001: 9999: 9996: 9995: 9994: 9991: 9987: 9984: 9982: 9979: 9978: 9977: 9974: 9970: 9967: 9965: 9962: 9961: 9959: 9955: 9952: 9951: 9950: 9947: 9945: 9942: 9940: 9937: 9936: 9934: 9930: 9924: 9921: 9919: 9916: 9914: 9911: 9909: 9906: 9904: 9901: 9899: 9896: 9894: 9891: 9889: 9886: 9884: 9881: 9877: 9874: 9873: 9872: 9869: 9867: 9864: 9862: 9859: 9857: 9854: 9852: 9849: 9847: 9844: 9842: 9839: 9837: 9836:Prussian film 9834: 9832: 9829: 9827: 9824: 9822: 9819: 9817: 9814: 9812: 9809: 9807: 9804: 9802: 9799: 9797: 9794: 9792: 9789: 9787: 9784: 9782: 9781:New Nollywood 9779: 9777: 9776:New Hollywood 9774: 9772: 9769: 9767: 9764: 9762: 9759: 9757: 9754: 9752: 9749: 9747: 9744: 9742: 9739: 9737: 9734: 9732: 9729: 9727: 9724: 9722: 9719: 9717: 9714: 9712: 9709: 9707: 9704: 9702: 9699: 9697: 9694: 9692: 9689: 9687: 9684: 9682: 9679: 9677: 9674: 9672: 9669: 9667: 9664: 9662: 9659: 9657: 9654: 9652: 9649: 9647: 9644: 9642: 9639: 9637: 9634: 9632: 9629: 9627: 9624: 9622: 9619: 9617: 9614: 9612: 9609: 9607: 9604: 9602: 9599: 9597: 9596:Cannibal boom 9594: 9592: 9591:Calligrafismo 9589: 9587: 9584: 9580: 9577: 9576: 9575: 9572: 9570: 9567: 9565: 9562: 9560: 9559:Berlin School 9557: 9555: 9552: 9550: 9547: 9545: 9542: 9540: 9537: 9535: 9532: 9531: 9529: 9523: 9515: 9512: 9510: 9509:Weird Western 9507: 9505: 9502: 9500: 9497: 9495: 9492: 9490: 9487: 9485: 9482: 9480: 9477: 9475: 9472: 9470: 9467: 9465: 9462: 9460: 9457: 9455: 9452: 9450: 9447: 9445: 9442: 9440: 9437: 9436: 9435: 9432: 9428: 9425: 9423: 9420: 9418: 9415: 9414: 9413: 9410: 9408: 9405: 9403: 9400: 9398: 9395: 9393: 9390: 9388: 9385: 9383: 9380: 9378: 9375: 9373: 9370: 9366: 9363: 9362: 9361: 9358: 9356: 9353: 9351: 9348: 9346: 9343: 9341: 9340:Slice of life 9338: 9336: 9333: 9331: 9328: 9324: 9321: 9319: 9316: 9314: 9311: 9309: 9306: 9304: 9301: 9299: 9296: 9294: 9293:Bavarian porn 9291: 9290: 9289: 9288:Sexploitation 9286: 9284: 9281: 9279: 9276: 9274: 9271: 9269: 9266: 9264: 9261: 9257: 9254: 9253: 9252: 9249: 9247: 9246:Partisan film 9244: 9242: 9239: 9237: 9234: 9232: 9229: 9225: 9222: 9221: 9220: 9217: 9215: 9214:Muslim social 9212: 9210: 9207: 9205: 9202: 9196: 9195:Zombie comedy 9193: 9192: 9191: 9188: 9186: 9183: 9181: 9178: 9176: 9173: 9171: 9170:Giant monster 9168: 9167: 9166: 9163: 9159: 9156: 9155: 9154: 9151: 9147: 9144: 9142: 9139: 9137: 9134: 9132: 9129: 9127: 9124: 9122: 9119: 9118: 9117: 9114: 9112: 9109: 9107: 9104: 9100: 9097: 9095: 9092: 9091: 9090: 9087: 9085: 9082: 9078: 9075: 9074: 9073: 9070: 9068: 9065: 9063: 9060: 9056: 9053: 9051: 9048: 9046: 9043: 9042: 9041: 9038: 9036: 9033: 9031: 9028: 9024: 9021: 9019: 9016: 9014: 9011: 9010: 9009: 9006: 9004: 9001: 8999: 8996: 8994: 8991: 8989: 8986: 8984: 8981: 8977: 8974: 8972: 8971:Mexploitation 8969: 8967: 8964: 8963: 8962: 8959: 8957: 8954: 8952: 8949: 8947: 8944: 8942: 8939: 8935: 8932: 8930: 8927: 8926: 8925: 8922: 8918: 8915: 8914: 8913: 8910: 8908: 8905: 8901: 8898: 8896: 8893: 8891: 8888: 8886: 8883: 8881: 8878: 8876: 8873: 8871: 8868: 8866: 8863: 8861: 8858: 8856: 8853: 8851: 8848: 8846: 8843: 8841: 8838: 8837: 8836: 8833: 8831: 8828: 8826: 8825:Coming-of-age 8823: 8821: 8818: 8816: 8813: 8811: 8808: 8804: 8801: 8799: 8796: 8795: 8794: 8791: 8789: 8786: 8784: 8781: 8779: 8776: 8775: 8773: 8769: 8763: 8760: 8756: 8753: 8751: 8748: 8746: 8743: 8742: 8741: 8740:Transgressive 8738: 8734: 8731: 8729: 8726: 8724: 8723:Psychological 8721: 8719: 8716: 8714: 8711: 8709: 8706: 8704: 8701: 8699: 8696: 8694: 8691: 8689: 8686: 8685: 8684: 8681: 8679: 8676: 8674: 8673:Slice of life 8671: 8667: 8664: 8662: 8659: 8657: 8654: 8652: 8649: 8647: 8644: 8642: 8639: 8637: 8634: 8632: 8629: 8627: 8624: 8622: 8619: 8617: 8614: 8612: 8609: 8607: 8604: 8603: 8602: 8599: 8595: 8592: 8590: 8587: 8585: 8582: 8580: 8577: 8573: 8570: 8569: 8568: 8565: 8564: 8563: 8560: 8558: 8555: 8553: 8550: 8545: 8541: 8539: 8536: 8534: 8531: 8530: 8529: 8526: 8524: 8521: 8517: 8514: 8510: 8507: 8505: 8502: 8501: 8500: 8497: 8496: 8495: 8492: 8488: 8485: 8483: 8480: 8478: 8475: 8473: 8470: 8468: 8465: 8463: 8460: 8459: 8458: 8455: 8453: 8450: 8448: 8445: 8443: 8440: 8436: 8433: 8431: 8428: 8426: 8423: 8421: 8418: 8416: 8413: 8411: 8410:Psychological 8408: 8406: 8403: 8401: 8398: 8396: 8393: 8391: 8388: 8386: 8385:Korean horror 8383: 8381: 8378: 8376: 8373: 8371: 8368: 8366: 8363: 8361: 8358: 8356: 8355:Found footage 8353: 8351: 8348: 8346: 8343: 8341: 8338: 8336: 8333: 8331: 8328: 8326: 8323: 8321: 8318: 8316: 8313: 8312: 8311: 8308: 8304: 8301: 8299: 8296: 8294: 8291: 8289: 8286: 8284: 8281: 8280: 8279: 8276: 8272: 8269: 8267: 8264: 8262: 8259: 8258: 8257: 8254: 8250: 8247: 8245: 8244:Magic realism 8242: 8240: 8237: 8235: 8232: 8230: 8227: 8225: 8222: 8220: 8217: 8216: 8215: 8212: 8208: 8207: 8202: 8201: 8200: 8197: 8195: 8192: 8188: 8185: 8184: 8183: 8180: 8178: 8175: 8173: 8170: 8166: 8163: 8161: 8160:Sexploitation 8158: 8156: 8153: 8151: 8148: 8147: 8146: 8143: 8137: 8134: 8133: 8132: 8129: 8127: 8124: 8122: 8119: 8117: 8114: 8112: 8111:Calligrafismo 8109: 8108: 8107: 8104: 8100: 8097: 8095: 8092: 8090: 8087: 8085: 8082: 8080: 8077: 8075: 8072: 8070: 8067: 8065: 8064:City symphony 8062: 8060: 8057: 8056: 8055: 8052: 8048: 8045: 8044: 8043: 8040: 8036: 8033: 8031: 8028: 8026: 8023: 8021: 8018: 8016: 8013: 8011: 8008: 8006: 8003: 8001: 7998: 7996: 7993: 7991: 7988: 7986: 7983: 7981: 7978: 7974: 7971: 7970: 7969: 7966: 7964: 7961: 7959: 7956: 7955: 7954: 7951: 7949: 7946: 7944: 7941: 7939: 7936: 7932: 7929: 7928: 7927: 7924: 7920: 7917: 7915: 7912: 7910: 7907: 7906: 7905: 7902: 7901: 7899: 7895: 7891: 7888: 7881: 7876: 7874: 7869: 7867: 7862: 7861: 7858: 7846: 7843: 7841: 7838: 7836: 7832: 7828: 7826: 7825: 7821: 7818: 7814: 7811: 7809: 7806: 7804: 7801: 7800: 7798: 7794: 7788: 7785: 7783: 7777: 7775: 7772: 7768: 7765: 7763: 7760: 7758: 7755: 7753: 7750: 7748: 7745: 7744: 7743: 7740: 7739: 7737: 7733: 7727: 7724: 7722: 7719: 7717: 7714: 7713: 7711: 7705: 7702: 7701: 7698: 7688: 7685: 7683: 7680: 7678: 7675: 7673: 7671: 7667: 7665: 7662: 7660: 7657: 7653: 7650: 7648: 7645: 7644: 7643: 7640: 7639: 7637: 7635: 7631: 7625: 7622: 7620: 7617: 7615: 7612: 7610: 7607: 7605: 7604:Free software 7602: 7600: 7597: 7595: 7594:Cowboy coding 7592: 7591: 7588: 7585: 7583: 7579: 7569: 7566: 7564: 7561: 7559: 7556: 7554: 7551: 7549: 7546: 7544: 7541: 7537: 7531: 7529: 7526: 7524: 7521: 7519: 7516: 7515: 7514: 7511: 7509: 7506: 7504: 7501: 7497: 7494: 7492: 7489: 7487: 7484: 7482: 7479: 7478: 7477: 7474: 7472: 7469: 7467: 7464: 7463: 7461: 7457: 7451: 7448: 7446: 7443: 7441: 7438: 7436: 7433: 7431: 7428: 7427: 7425: 7421: 7418: 7416: 7412: 7402: 7399: 7397: 7394: 7393: 7391: 7389: 7385: 7379: 7376: 7374: 7371: 7369: 7366: 7364: 7361: 7359: 7357: 7353: 7351: 7348: 7344: 7341: 7339: 7336: 7335: 7334: 7331: 7327: 7324: 7322: 7319: 7318: 7317: 7314: 7312: 7309: 7308: 7305: 7302: 7300: 7296: 7290: 7287: 7285: 7282: 7280: 7277: 7273: 7270: 7268: 7265: 7263: 7260: 7259: 7258: 7257: 7253: 7249: 7246: 7245: 7244: 7241: 7239: 7236: 7232: 7229: 7228: 7227: 7224: 7222: 7219: 7217: 7214: 7212: 7209: 7208: 7206: 7204: 7200: 7191: 7186: 7184: 7179: 7177: 7172: 7171: 7168: 7162: 7158: 7155: 7152: 7151: 7148:Miscellaneous 7143: 7140: 7138: 7135: 7133: 7130: 7128: 7125: 7124: 7115: 7112: 7109: 7106: 7104: 7100: 7095: 7091: 7090: 7085: 7080: 7079: 7069: 7065: 7062: 7058: 7054: 7052: 7051:0-415-17010-9 7048: 7044: 7040: 7038: 7037:0-231-12967-X 7034: 7030: 7026: 7024: 7023:0-8223-2041-X 7020: 7016: 7012: 7010: 7009:0-8386-3564-4 7006: 7002: 6998: 6995: 6994:Texas Monthly 6991: 6989: 6988:0-674-01945-8 6985: 6981: 6977: 6975: 6974:0-312-27501-3 6971: 6967: 6963: 6960: 6956: 6952: 6948: 6946: 6945:0-7864-0749-2 6942: 6938: 6934: 6931: 6927: 6924: 6920: 6919: 6914: 6911: 6907: 6904: 6899: 6896: 6892: 6890: 6889:1-900486-23-7 6886: 6882: 6878: 6876: 6875:0-8147-9757-1 6872: 6868: 6864: 6862: 6861:0-87910-197-0 6858: 6854: 6850: 6847: 6843: 6839: 6837: 6836:0-415-93659-4 6833: 6829: 6825: 6823: 6822:0-89950-752-2 6819: 6815: 6811: 6808: 6807: 6802: 6799: 6795: 6791: 6789: 6788:0-8143-3101-7 6785: 6781: 6777: 6775: 6774:0-520-22130-3 6771: 6767: 6763: 6761: 6760:0-571-19596-2 6757: 6753: 6749: 6747: 6746:0-415-90575-3 6743: 6739: 6735: 6733: 6732:0-8223-2374-5 6729: 6725: 6721: 6719: 6718:0-415-28131-8 6715: 6711: 6707: 6703: 6701: 6700:0-8058-1174-5 6697: 6693: 6689: 6687: 6686:0-7864-0973-8 6683: 6679: 6675: 6673: 6672:0-521-58183-4 6669: 6665: 6661: 6658: 6654: 6652: 6651:0-7864-1227-5 6648: 6644: 6640: 6638: 6637:1-4116-6610-0 6634: 6630: 6626: 6624: 6623:1-4116-5065-4 6620: 6616: 6612: 6610: 6609:0-7864-3149-0 6606: 6602: 6598: 6596: 6595:0-240-80882-7 6592: 6588: 6584: 6582: 6581:0-7864-1142-2 6578: 6574: 6570: 6568: 6567:1-904978-87-8 6564: 6560: 6556: 6554: 6553:0-520-23266-6 6550: 6546: 6542: 6539: 6535: 6531: 6527: 6525: 6524:0-231-08464-1 6521: 6517: 6513: 6511: 6510:0-8108-1363-7 6507: 6503: 6499: 6496: 6492: 6488: 6484: 6481: 6477: 6476: 6471: 6468: 6464: 6463: 6458: 6456: 6455:0-520-21294-0 6452: 6448: 6444: 6442: 6441:0-13-950626-8 6438: 6434: 6430: 6428: 6427:0-312-18076-4 6424: 6420: 6416: 6414: 6413:0-571-22267-6 6410: 6406: 6402: 6399: 6395: 6392: 6388: 6384: 6382: 6381:1-56025-232-4 6378: 6374: 6370: 6368: 6367:0-393-31378-6 6364: 6360: 6356: 6354: 6353:0-525-47378-5 6350: 6346: 6342: 6340: 6339:0-87586-497-X 6336: 6332: 6328: 6326: 6325:0-335-21924-1 6322: 6318: 6314: 6311: 6307: 6306: 6301: 6299: 6298:0-7864-1112-0 6295: 6291: 6287: 6284: 6280: 6277: 6273: 6269: 6265: 6263: 6262:0-306-80996-6 6259: 6255: 6251: 6248: 6247: 6242: 6240: 6239:0-7864-1871-0 6236: 6232: 6228: 6226: 6225:0-8147-5143-1 6222: 6218: 6214: 6212: 6211:0-8223-3919-6 6208: 6204: 6200: 6198: 6197:0-684-80495-6 6194: 6190: 6186: 6184: 6183:0-7864-1278-X 6180: 6176: 6172: 6170: 6169:0-415-96097-5 6166: 6162: 6158: 6156: 6155:0-915677-41-5 6152: 6148: 6144: 6142: 6141:0-7486-1903-8 6138: 6134: 6130: 6128: 6127:0-7432-1583-4 6124: 6120: 6116: 6114: 6113:0-8058-0499-4 6110: 6106: 6102: 6100: 6099:0-8108-2062-5 6096: 6092: 6088: 6086: 6085:1-85043-937-0 6082: 6078: 6074: 6072: 6071:0-520-21032-8 6068: 6064: 6060: 6058: 6057:0-446-83420-3 6054: 6050: 6046: 6044: 6043:0-517-54656-6 6040: 6036: 6035:The RKO Story 6032: 6030: 6029:0-520-24257-2 6026: 6022: 6018: 6016: 6015:0-275-98578-4 6012: 6008: 6004: 6001: 5997: 5993: 5989: 5985: 5983: 5982:0-7190-6631-X 5979: 5975: 5971: 5969: 5968:0-306-80433-6 5965: 5961: 5957: 5955: 5954:0-600-59836-5 5951: 5947: 5943: 5941: 5940:0-517-53834-2 5937: 5933: 5929: 5927: 5926:0-8223-3215-9 5923: 5919: 5915: 5913: 5912:1-900486-39-3 5909: 5905: 5901: 5899: 5898:1-59967-060-7 5895: 5891: 5887: 5885: 5884:0-7864-1361-1 5881: 5877: 5873: 5870: 5866: 5865: 5860: 5858: 5857:0-671-23108-1 5854: 5850: 5846: 5844: 5843:0-7864-0472-8 5840: 5836: 5832: 5830: 5829:0-7134-8272-9 5826: 5822: 5818: 5816: 5815:1-903364-66-3 5812: 5808: 5804: 5802: 5801:1-4000-6353-1 5798: 5794: 5790: 5787: 5783: 5780: 5776: 5772: 5768: 5766: 5765:0-87754-050-0 5762: 5758: 5754: 5752: 5751:0-521-77235-4 5748: 5744: 5740: 5738: 5737:0-88738-843-4 5734: 5730: 5726: 5723: 5719: 5717: 5716:0-9550143-2-8 5713: 5709: 5705: 5703: 5702:1-56025-612-5 5699: 5695: 5691: 5689: 5688:0-306-80874-9 5685: 5681: 5677: 5675: 5674:0-520-23265-8 5671: 5667: 5663: 5661: 5660:0-7864-1818-4 5657: 5653: 5649: 5647: 5646:0-231-12049-4 5643: 5639: 5635: 5632: 5628: 5627: 5618: 5615: 5611: 5610: 5605: 5603: 5602:0-06-091117-4 5599: 5595: 5591: 5589: 5588:0-13-795161-2 5585: 5581: 5577: 5575: 5574:0-684-80996-6 5571: 5567: 5563: 5561: 5560:1-84150-185-9 5557: 5553: 5549: 5547: 5546:0-520-20334-8 5543: 5539: 5535: 5533:, p. 34. 5532: 5528: 5524: 5521: 5518: 5514: 5513: 5504: 5503: 5483: 5479: 5472: 5461: 5454: 5452: 5450: 5448: 5438: 5422: 5418: 5411: 5395: 5391: 5389: 5380: 5371: 5365: 5360: 5351: 5335: 5331: 5323: 5314: 5305: 5290: 5286: 5279: 5264: 5260: 5253: 5244: 5229: 5225: 5218: 5209: 5190: 5183: 5176: 5174: 5167:Scott (2005). 5164: 5148: 5144: 5139: 5123: 5121: 5117: 5107: 5091: 5087: 5083: 5077: 5068: 5059: 5050: 5041: 5032: 5023: 5014: 5005: 4996: 4978: 4974: 4970: 4964: 4948: 4944: 4940: 4934: 4932: 4922: 4913: 4898: 4894: 4893:"Tromatized!" 4887: 4880: 4877:David Chute ( 4874: 4865: 4856: 4850:Canby (1984). 4847: 4838: 4829: 4820: 4804: 4800: 4796: 4790:$ 9.4 million 4777: 4770: 4764: 4749: 4745: 4743: 4735: 4726: 4717: 4708: 4699: 4690: 4681: 4674: 4668: 4659: 4653:Ebert (1974). 4650: 4641: 4632: 4623: 4614: 4605: 4596: 4587: 4578: 4569: 4553: 4545: 4536: 4534: 4524: 4515: 4506: 4497: 4488: 4479: 4470: 4461: 4454: 4450: 4446: 4442: 4438: 4437: 4432: 4431: 4426: 4423:. From 1970: 4422: 4421: 4416: 4415: 4410: 4409: 4404: 4403: 4398: 4397: 4390: 4383: 4382: 4377: 4376: 4375:Hello, Dolly! 4369: 4360: 4351: 4342: 4333: 4324: 4318:Canby (1969). 4315: 4306: 4297: 4288: 4279: 4270: 4261: 4252: 4243: 4241: 4231: 4222: 4213: 4204: 4188: 4184: 4182: 4173: 4164: 4155: 4146: 4137: 4128: 4119: 4110: 4104: 4099: 4090: 4084:Nason (1959). 4081: 4072: 4070: 4060: 4051: 4042: 4033: 4024: 4015: 4008: 4002: 3993: 3984: 3975: 3966: 3957: 3949: 3947:9780813553245 3943: 3939: 3938: 3930: 3921: 3912: 3903: 3896: 3890: 3881: 3872: 3863: 3854: 3845: 3836: 3827: 3820: 3819: 3814: 3813: 3806: 3797: 3788: 3779: 3770: 3761: 3752: 3743: 3734: 3725: 3716: 3709: 3705: 3701: 3695: 3686: 3677: 3668: 3661: 3660:Bright Lights 3655: 3646: 3637: 3628: 3619: 3610: 3601: 3592: 3583: 3574: 3565: 3556: 3547: 3538: 3529: 3520: 3511: 3502: 3493: 3484: 3475: 3466: 3457: 3448: 3439: 3431: 3427: 3421: 3412: 3410: 3408: 3406: 3396: 3387: 3378: 3376: 3366: 3357: 3348: 3339: 3330: 3321: 3319: 3309: 3300: 3291: 3276: 3272: 3266: 3262: 3255: 3252: 3251: 3246: 3245: 3239: 3236: 3234: 3230: 3225: 3223: 3219: 3218: 3217:Real Personal 3211: 3209: 3203: 3201: 3196: 3191: 3189: 3185: 3184: 3179: 3175: 3171: 3167: 3163: 3158: 3153: 3149: 3144: 3134: 3132: 3128: 3127: 3122: 3118: 3114: 3113: 3107: 3098: 3096: 3092: 3088: 3087: 3082: 3081: 3076: 3072: 3071:grade-Z movie 3068: 3060: 3059: 3054: 3050: 3045: 3035: 3033: 3029: 3025: 3017: 3013: 3009: 3005: 3001: 2997: 2996: 2991: 2987: 2983: 2979: 2969: 2967: 2963: 2962: 2957: 2956: 2951: 2947: 2937: 2935: 2931: 2927: 2923: 2919: 2913: 2911: 2906: 2902: 2898: 2894: 2891: 2887: 2884:, as well as 2883: 2879: 2874: 2869: 2862: 2861: 2856: 2834: 2832: 2828: 2823: 2819: 2818: 2813: 2812: 2807: 2806: 2805:Batman Begins 2801: 2800: 2795: 2794: 2789: 2788: 2777: 2766: 2763:December 2021 2754: 2749: 2740: 2739: 2731: 2727:$ 8.5 million 2724: 2720: 2719: 2714: 2710: 2706: 2702: 2694: 2693: 2688: 2684: 2680: 2679: 2674: 2670: 2665:$ 1.8 million 2662: 2661: 2656: 2655: 2650: 2649: 2644: 2643: 2638: 2632: 2630: 2629: 2624: 2620: 2616: 2612: 2608: 2604: 2596: 2595: 2590: 2586: 2581: 2578: 2574: 2573: 2568: 2567: 2562: 2561: 2556: 2555: 2550: 2549: 2543:$ 100 million 2530: 2528: 2524: 2523: 2518: 2514: 2510: 2509: 2504: 2503: 2498: 2497: 2492: 2491: 2486: 2481: 2479: 2478:tour de force 2475: 2474: 2473:The Evil Dead 2469: 2465: 2461: 2457: 2453: 2452: 2447: 2443: 2442: 2436: 2434: 2433: 2428: 2424: 2420: 2416: 2412: 2411: 2404: 2402: 2401: 2396: 2395: 2390: 2384: 2382: 2381: 2372: 2371: 2366: 2365: 2361: 2357: 2356: 2352: 2348: 2344: 2340: 2339: 2334: 2333: 2328: 2327: 2322: 2321: 2308: 2298: 2296: 2295: 2290: 2285: 2280: 2279: 2274: 2269: 2264: 2262: 2261: 2256: 2252: 2251: 2246: 2245: 2240: 2239: 2234: 2233: 2226: 2225: 2220: 2216: 2211: 2210:s Bob Clark. 2206: 2202: 2201: 2196: 2188: 2187: 2182: 2178: 2174: 2173: 2167: 2163: 2159: 2155: 2150: 2148: 2144: 2140: 2139: 2134: 2133: 2128: 2124: 2120: 2116: 2112: 2107: 2105: 2101: 2097: 2096: 2090: 2086: 2085: 2080: 2079: 2074: 2073: 2068: 2064: 2060: 2059: 2054: 2053: 2048: 2047: 2042: 2041: 2036: 2031: 2030:Vincent Canby 2026: 2025: 2020: 2016: 2012: 2011:Barbara Loden 2008: 2001:of $ 115,000. 2000: 1996: 1995: 1990: 1989:Barbara Loden 1986: 1982: 1980: 1979: 1974: 1973: 1968: 1967: 1962: 1958: 1954: 1950: 1949: 1944: 1940: 1939: 1933: 1931: 1930: 1925: 1924: 1919: 1915: 1914: 1909: 1908: 1903: 1902: 1897: 1893: 1888: 1884: 1883: 1878: 1873: 1867: 1862: 1858: 1854: 1843: 1841: 1839: 1835: 1827: 1823: 1822:László Kovács 1819: 1818:Dennis Hopper 1815: 1811: 1807: 1806: 1801: 1794: 1793: 1788: 1783: 1781: 1780: 1775: 1771: 1767: 1766: 1761: 1757: 1756: 1751: 1746: 1742: 1738: 1737: 1732: 1728: 1727: 1722: 1718: 1717:rating system 1713: 1711: 1706: 1702: 1701:splatter film 1698: 1694: 1693: 1688: 1684: 1683: 1678: 1674: 1669: 1665: 1660:$ 8.5 million 1657: 1656: 1650: 1648: 1644: 1643: 1638: 1634: 1630: 1629: 1624: 1623: 1618: 1617:sexploitation 1614: 1613: 1608: 1607: 1602: 1601: 1596: 1591: 1587: 1583: 1579: 1575: 1571: 1567: 1563: 1562:Damaged Goods 1555: 1551: 1547: 1546: 1541: 1537: 1535: 1531: 1527: 1523: 1519: 1514: 1511: 1510: 1501: 1500: 1495: 1494: 1489: 1479: 1475: 1460: 1458: 1456: 1455: 1451: 1447: 1442: 1438:$ 4.7 million 1435: 1430: 1426: 1423:$ 1.5 million 1420: 1416: 1415: 1410: 1406: 1405: 1400: 1399: 1394: 1390: 1389: 1384: 1380: 1375: 1373: 1368: 1363: 1360: 1359: 1354: 1350: 1345: 1343: 1339: 1335: 1331: 1327: 1326: 1321: 1320: 1315: 1314: 1309: 1308: 1303: 1298: 1296: 1292: 1291: 1286: 1285: 1284:Untamed Youth 1280: 1276: 1272: 1268: 1264: 1256: 1255: 1249: 1246: 1242: 1238: 1234: 1230: 1228: 1224: 1220: 1219: 1214: 1213: 1208: 1203: 1201: 1200: 1195: 1191: 1190: 1185: 1176: 1175: 1170: 1166: 1164: 1160: 1156: 1152: 1148: 1144: 1143: 1137: 1135: 1134: 1129: 1128: 1123: 1122: 1117: 1116: 1111: 1107: 1105: 1101: 1095: 1093: 1087: 1080: 1074: 1064: 1062: 1061: 1056: 1055:Jive Junction 1052: 1048: 1047: 1042: 1038: 1034: 1030: 1029: 1024: 1023: 1018: 1015: 1012: 1008: 1002: 1000: 999: 994: 993:Dr. Christian 990: 989:Jean Hersholt 986: 982: 978: 974: 970: 966: 965:Lum and Abner 962: 957: 955: 954: 949: 948: 942: 938: 936: 935: 930: 926: 922: 921: 916: 915: 910: 909: 904: 896: 892: 888: 884: 880: 879: 874: 869: 865: 863: 859: 854: 852: 848: 840: 839: 834: 829: 827: 823: 822: 817: 812: 808: 806: 802: 791: 788: 787:Dr. Gillespie 784: 780: 775: 769: 765: 761: 760:Ritz Brothers 757: 751: 749: 748: 743: 742:little people 739: 735: 731: 727: 723: 719: 715: 711: 707: 703: 698: 688:60.0 minutes 687: 684: 681: 680: 677:63.1 minutes 676: 673: 670: 669: 666:63.6 minutes 665: 662: 659: 658: 655:66.4 minutes 654: 652:Little Three 651: 648: 647: 644:66.4 minutes 643: 641:Little Three 640: 637: 636: 633:87.6 minutes 632: 630:Little Three 629: 626: 625: 622:74.1 minutes 621: 618: 615: 614: 611:75.0 minutes 610: 607: 605:Warner Bros. 604: 603: 600:75.3 minutes 599: 596: 593: 592: 589:76.4 minutes 588: 585: 582: 581: 578:87.9 minutes 577: 574: 571: 570: 566: 563: 560: 559: 556: 555: 554: 552: 548: 544: 540: 532: 528: 527: 522: 518: 514: 510: 505: 501: 499: 495: 489: 485: 483: 477: 475: 469: 467: 462: 458: 454: 453:states rights 450: 446: 442: 437: 435: 431: 428:as of 1935), 427: 423: 419: 415: 411: 410:blind bidding 406: 405:Block booking 402: 401:major studios 390: 384: 374: 370: 368: 364: 360: 356: 352: 347: 345: 341: 337: 332: 330: 322: 318: 314: 310: 302: 298: 294: 290: 281: 279: 275: 271: 267: 263: 259: 258:Vincent Price 255: 251: 247: 243: 238: 236: 232: 227: 224: 220: 216: 212: 207: 205: 200: 197: 193: 189: 185: 181: 177: 173: 169: 161: 157: 156:Vincent Price 153: 149: 148: 143: 138: 127: 122: 120: 115: 113: 108: 107: 105: 104: 99: 96: 94: 91: 89: 86: 84: 81: 79: 76: 74: 71: 70: 69: 68: 64: 60: 59: 56: 53: 52: 48: 47: 44: 40: 33: 19: 11042: 10999: 10933:scream queen 10694: 10675:ghost movies 10637: 10621:Ozploitation 10580:Supernatural 10545: 10536:Lovecraftian 10166:Experimental 10161:Ethnofiction 10083: 9908:Third Cinema 9811:Persian Film 9554:Auteur films 9525:By movement 9382:Swashbuckler 9241:Ozploitation 9236:Outlaw biker 9116:Martial arts 9111:Magical girl 8961:Exploitation 8956:Ethnographic 8885:Mafia comedy 8528:Pornographic 8405:Psycho-biddy 8390:Lovecraftian 8224:Contemporary 8205: 8199:Exploitation 8194:Experimental 8074:Mockumentary 7943:Biographical 7830: 7822: 7808:Indie design 7762:Outsider art 7726:Microbrewery 7669: 7512: 7459:Professional 7435:Amateur film 7355: 7343:Pirate radio 7316:Record label 7254: 7137:Rogue Cinema 7087: 7056: 7042: 7028: 7014: 7000: 6993: 6979: 6965: 6958: 6954: 6950: 6936: 6929: 6916: 6910:Grand Design 6909: 6902: 6894: 6880: 6866: 6852: 6845: 6841: 6827: 6813: 6804: 6798:Film Comment 6797: 6793: 6779: 6765: 6751: 6737: 6723: 6709: 6705: 6691: 6677: 6663: 6656: 6642: 6628: 6614: 6600: 6586: 6572: 6558: 6544: 6537: 6536:)," in Pym, 6533: 6529: 6515: 6501: 6490: 6486: 6473: 6460: 6446: 6432: 6418: 6404: 6397: 6390: 6386: 6372: 6358: 6344: 6330: 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Retrieved 5481: 5471: 5437: 5425:. Retrieved 5410: 5400:December 26, 5398:. Retrieved 5394:the original 5387: 5379: 5370: 5359: 5350: 5338:. Retrieved 5334:the original 5322: 5313: 5304: 5292:. Retrieved 5288: 5278: 5266:. Retrieved 5262: 5252: 5243: 5231:. Retrieved 5227: 5217: 5208: 5198:December 29, 5196:. Retrieved 5189:the original 5163: 5151:. Retrieved 5142: 5126:. Retrieved 5120:Mean Streets 5119: 5115: 5106: 5094:. Retrieved 5085: 5076: 5067: 5058: 5049: 5040: 5031: 5022: 5013: 5004: 4995: 4983:December 29, 4981:. Retrieved 4972: 4963: 4953:December 29, 4951:. Retrieved 4942: 4921: 4912: 4900:. Retrieved 4896: 4886: 4878: 4873: 4864: 4855: 4846: 4837: 4828: 4819: 4809:December 29, 4807:. Retrieved 4798: 4786:$ 13 million 4776: 4763: 4753:December 29, 4751:. Retrieved 4747: 4741: 4734: 4725: 4716: 4707: 4698: 4689: 4680: 4672: 4667: 4658: 4649: 4640: 4631: 4622: 4613: 4604: 4595: 4586: 4577: 4568: 4558:December 29, 4556:. Retrieved 4544: 4523: 4514: 4505: 4496: 4487: 4478: 4469: 4460: 4452: 4448: 4444: 4440: 4434: 4428: 4424: 4418: 4412: 4406: 4400: 4396:Apache Woman 4394: 4389: 4379: 4373: 4368: 4359: 4350: 4341: 4332: 4323: 4314: 4305: 4296: 4287: 4278: 4269: 4260: 4251: 4230: 4221: 4212: 4203: 4193:November 17, 4191:. Retrieved 4187:the original 4180: 4172: 4163: 4154: 4145: 4136: 4127: 4118: 4109: 4098: 4089: 4080: 4059: 4050: 4041: 4032: 4023: 4014: 4007:Apache Woman 4006: 4001: 3992: 3983: 3974: 3965: 3956: 3936: 3929: 3920: 3911: 3902: 3889: 3880: 3871: 3862: 3853: 3844: 3835: 3826: 3816: 3810: 3805: 3796: 3787: 3778: 3769: 3760: 3751: 3742: 3733: 3724: 3715: 3707: 3703: 3699: 3694: 3685: 3676: 3667: 3659: 3654: 3645: 3636: 3627: 3618: 3609: 3600: 3591: 3582: 3573: 3564: 3555: 3546: 3537: 3528: 3519: 3510: 3501: 3492: 3483: 3474: 3465: 3456: 3447: 3438: 3429: 3425: 3420: 3395: 3386: 3365: 3356: 3347: 3338: 3329: 3308: 3299: 3290: 3278:. Retrieved 3274: 3265: 3248: 3242: 3240: 3237: 3226: 3215: 3212: 3204: 3192: 3188:Neil Postman 3181: 3148:B-television 3147: 3146: 3143:B-television 3137:B-television 3124: 3120: 3116: 3110: 3105: 3104: 3084: 3078: 3070: 3066: 3064: 3056: 3023: 3011: 2993: 2989: 2985: 2977: 2975: 2965: 2959: 2953: 2949: 2945: 2943: 2934:Jim Wynorski 2914: 2872: 2870: 2865:$ 10 million 2858: 2835: 2826: 2821: 2815: 2809: 2803: 2797: 2791: 2785: 2782:$ 50 million 2779: 2760: 2752: 2718:Pulp Fiction 2716: 2708: 2705:Janet Maslin 2700: 2697:$ 10 million 2690: 2683:Frankenstein 2676: 2672: 2658: 2652: 2646: 2640: 2637:Abel Ferrara 2633: 2626: 2618: 2614: 2592: 2591:'s original 2582: 2570: 2564: 2560:Total Recall 2558: 2552: 2546: 2539:$ 25 million 2536: 2520: 2506: 2500: 2499:(1986), and 2494: 2488: 2482: 2477: 2471: 2455: 2449: 2445: 2439: 2437: 2430: 2426: 2408: 2405: 2398: 2392: 2385: 2378: 2375:$ 55 million 2368: 2362: 2353: 2343:The Exorcist 2342: 2336: 2335:(1973), and 2330: 2324: 2318: 2315: 2292: 2289:George Lucas 2284:The Exorcist 2283: 2278:The Exorcist 2276: 2272: 2267: 2265: 2258: 2255:Martin Sheen 2248: 2242: 2236: 2232:Patty Hearst 2229: 2222: 2212: 2204: 2198: 2194: 2191:$ 80 million 2184: 2170: 2151: 2143:Rocky Horror 2142: 2136: 2130: 2122: 2108: 2103: 2093: 2088: 2082: 2076: 2070: 2056: 2050: 2049:(1973), and 2046:Black Caesar 2044: 2038: 2033:directed by 2022: 2004: 1992: 1976: 1970: 1964: 1946: 1936: 1934: 1927: 1921: 1911: 1905: 1899: 1887:Pauline Kael 1880: 1879:. Reviewing 1874: 1865: 1857:Cannon Films 1849: 1842: 1837: 1809: 1803: 1790: 1784: 1777: 1773: 1769: 1763: 1753: 1740: 1734: 1724: 1714: 1690: 1680: 1676: 1672: 1653: 1651: 1640: 1626: 1620: 1610: 1604: 1598: 1589: 1561: 1559: 1553: 1543: 1521: 1515: 1507: 1497: 1491: 1481: 1459: 1452: 1443: 1433: 1428: 1427: 1419:Steve Reeves 1412: 1402: 1396: 1386: 1383:Raymond Burr 1376: 1365:The postwar 1364: 1356: 1352: 1346: 1338:Robert Towne 1323: 1319:Apache Woman 1317: 1311: 1305: 1302:Roger Corman 1299: 1288: 1282: 1266: 1263:Hot Rod Gang 1262: 1252: 1250: 1232: 1231: 1216: 1210: 1204: 1197: 1192:(1954)) and 1187: 1180: 1172: 1161:novels, but 1147:Ralph Meeker 1140: 1138: 1133:Split Second 1131: 1125: 1121:The Bigamist 1119: 1113: 1108: 1103: 1099: 1096: 1088: 1076: 1058: 1054: 1050: 1044: 1027: 1020: 1016: 1003: 996: 983:movies with 958: 951: 945: 943: 939: 932: 918: 917:(1943), and 912: 906: 900: 883:Anthony Mann 876: 855: 836: 833:sleeper hits 830: 825: 819: 813: 809: 797: 776: 764:Jane Withers 756:Charlie Chan 752: 745: 699: 695: 685:Poverty Row 674:Poverty Row 663:Poverty Row 536: 524: 490: 486: 478: 470: 438: 430:Warner Bros. 398: 371: 348: 333: 328: 306: 296: 242:Anthony Mann 239: 228: 208: 201: 175: 167: 165: 145: 142:Roger Corman 54: 43: 11071:Film genres 11020:Video nasty 10665:Underground 10611:Territories 10472:Horror film 10392:Video nasty 10387:Underground 10372:Slow cinema 10342:Sceneggiata 10230:Live action 10208:Independent 10188:Film à clef 10156:Docufiction 10124:Compilation 10099:Blockbuster 10067:Traditional 10062:Stop-motion 9998:Chick flick 9856:Slow cinema 9846:Remodernist 9661:Free Cinema 9641:Erra Cinema 9606:Cinema Novo 9484:Revisionist 8993:Gendai-geki 8929:Psychedelic 8917:Apocalyptic 8783:Beach party 8678:Slow cinema 8651:Space opera 8616:Fantastique 8487:Sceneggiata 8477:Musicarello 8350:Fantastique 8229:Fantastique 8172:Educational 8099:Video essay 8054:Documentary 7840:Maker Faire 7781:(wrestling) 7721:Homebrewing 7647:development 7642:Indie games 7634:Video games 7624:Warez scene 7533:'80s– 7430:Home movies 7363:Lo-fi music 7284:Small press 7262:conventions 7082:‹ The 6389:," in Pym, 5998:(available 5529:," in Pym, 5523:Auty, Chris 5427:October 20, 5386:"Sad News: 5340:October 20, 5326:See, e.g., 5110:See, e.g., 4782:$ 9 million 4552:"For Wanda" 4430:Bloody Mama 4393:From 1955: 3166:soap operas 3083:(1953) and 3075:Poverty Row 3002:, then the 2831:A. O. Scott 2675:(1991) and 2645:(1979) and 2623:Thomas Mann 2607:Time Warner 2599:$ 2 million 2513:2023 reboot 2470:, retitled 2360:space opera 2177:Tobe Hooper 2166:Roger Ebert 2147:subcultural 2127:John Waters 2087:(1979). An 2035:Larry Cohen 1943:Ossie Davis 1926:(1973) and 1910:(1971) and 1870:$ 2 million 1834:Philip Dray 1800:Peter Fonda 1776:(1971) and 1745:Vietnam War 1692:Blood Feast 1625:(1965) and 1582:Bettie Page 1578:nudist-camp 1545:Motorpsycho 1534:Kroger Babb 1530:grindhouses 1484:$ 2 million 1454:Santa Claus 1401:(1957) and 1358:The Tingler 1259:$ 2 million 1194:Sam Katzman 1159:Mike Hammer 1084:$ 1 million 1057:as well as 929:Robert Wise 843:$ 3 million 783:Dr. Kildare 768:cliffhanger 758:mysteries, 734:Harry Carey 468:exchanges. 459:and rising 344:Poverty Row 325:$ 1 million 301:Frank Capra 266:Bela Lugosi 262:Karen Black 150:(1963) for 11060:Categories 11015:Grindhouse 10972:Characters 10950:Disability 10945:Jump scare 10928:final girl 10734:Film lists 10617:Australia 10312:Paracinema 10297:Neorealist 10292:Mythopoeia 10277:Mockbuster 10242:Low-budget 10183:Featurette 10016:technique, 10014:By format, 9893:Surrealist 9888:Structural 9766:New German 9756:Neorealist 9751:Mumblecore 9691:Heimatfilm 9651:Film d'art 9616:Cinéma pur 9350:South Seas 9323:Sex report 8589:Paranormal 8552:Propaganda 8452:Mumblecore 8239:Historical 8121:Historical 8010:Remarriage 8000:Mo lei tau 7834:(magazine) 7652:developers 7518:Golden Age 7496:Mumblecore 6800:8, no. 1). 6400:12 (July). 6249:, April 5. 5294:January 7, 5268:January 7, 5153:August 13, 5128:August 13, 5096:January 2, 4902:January 8, 3430:programmer 3258:References 3174:game shows 3170:talk shows 3162:journalism 3157:commercial 3109:cult film 2944:The terms 2926:The Asylum 2855:Fox Atomic 2799:Madagascar 2673:No Telling 2589:Wes Craven 2572:Home Alone 2566:Die Hard 2 2554:Dick Tracy 2419:punk scene 2332:Earthquake 2268:Easy Rider 2215:prime-time 2205:Deathdream 2175:. Made by 2089:Easy Rider 2058:Deathdream 2007:16 mm 1999:low budget 1972:Fanny Hill 1966:Mondo Cane 1957:Bill Cosby 1929:Foxy Brown 1838:Easy Rider 1792:Easy Rider 1789:. Much of 1595:Russ Meyer 1550:Russ Meyer 1207:Don Siegel 1110:Ida Lupino 908:Cat People 903:Val Lewton 895:Eagle-Lion 891:John Alton 873:films noir 862:Eagle-Lion 847:box office 790:Features. 779:Andy Hardy 722:John Wayne 716:, the RKO 649:Universal 583:Paramount 533:adventure. 351:sound film 309:silent era 250:John Wayne 10861:Anthology 10773:By decade 10762:Malayalam 10687:Indonesia 10680:Bollywood 10650:Extremity 10506:Christmas 10479:Subgenres 10302:No-budget 10267:Meta-film 10235:animation 10193:Film-poem 10129:Composite 10074:Anthology 10037:Animation 10032:Actuality 10018:approach, 9786:New Queer 9706:Indiewood 9656:Film gris 9527:or period 9504:Spaghetti 9427:Submarine 9407:Vigilante 9372:Superhero 9126:Chopsocky 9072:Jidaigeki 8941:Dystopian 8840:Detective 8798:Buddy cop 8788:Body swap 8718:Political 8698:Financial 8661:Tokusatsu 8656:Steampunk 8572:Bromantic 8544:Malayalam 8523:Crossover 8499:Detective 8467:Backstage 8415:Religious 8271:Tech noir 8266:Pulp noir 8256:Film noir 8131:Melodrama 8069:Docudrama 8042:Cyberpunk 8035:Slapstick 8025:Screwball 7985:Gross out 7948:Christian 7926:Adventure 7817:DIY ethic 7774:Indie RPG 7757:Naïve art 7742:Indie art 7599:Demoscene 7486:Indiewood 7450:Machinima 7256:Doujinshi 7243:Minicomic 6664:Thrillers 5525:(2005). 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