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American International released a tide of low-budget, sensationalistic films aimed at a young male audience, finding its greatest success in the horror genre. This is a comprehensive guide to AIP movies that are or have been available in home viewing formats such as DVD and VHS. A brief history of the company, which produced movies from the 1950s until the 1980s, is provided. Films are catalogued alphabetically and by decade, and representative films are analyzed in depth. AIP television and unfilmed projects are also covered, and numerous photographs complement the text.
American International Pictures was in many ways the "missing link" between big-budget Hollywood studios, "poverty-row" B-movie factories and low-rent exploitation movie distributors. AIP first targeted teen audiences with science fiction, horror and fantasy, but soon grew to encompass many genres and demographics--at times, it was indistinguishable from many of the "major" studios. From Abby to Zontar, this filmography lists more than 800 feature films, television series and TV specials by AIP and its partners and subsidiaries. Special attention is given to American International Television (the TV arm of AIP) and an appendix lists the complete AITV catalog. The author also discusses films produced by founders James H. Nicholson and Samuel Z. Arkoff after they left the company.
The bible of B-movies is back--and better than ever! From Abby to Zontar, this book covers more than 9,000 amazing movies--from the turn of the century right up to today's Golden Age of Video--all described with Michael Weldon's dry wit. More than 450 rare and wonderful illustrations round out thie treasure trove of cinematic lore--an essential reference for every bad film fan.
The 1970s were turbulent times and the films made then reflected the fact. Vampire movies--always a cinema staple--were no exception. Spurred by the worldwide success of Hammer Film's Dracula Has Risen from the Grave (1969), vampire movies filled theaters for the next ten years--from the truly awful to bonafide classics. Audiences took the good with the bad and came back for more. Providing a critical review of the genre's overlooked Golden Age, this book explores a mixed bag from around the world, including The Vampire Lovers (1970), Dracula Versus Frankenstein (1971), Scream, Blacula, Scream (1973), 'Salem's Lot (1975), Dracula Sucks (1978) and Love at First Bite (1979) and many others.
This guide gives the lowdown on maverick filmmaking, from sleazy exploitation flicks and satirical documentaries to chilling horror movies and quirky suburban dramas.
This book is the assembly of various texts that are freely available on the web, especially from Wikipedia. The next obvious question is: why buy this book? The answer: because it means you avoid having to carry out long and tedious internet searches. (Eleven different topics grouped in one book) The topics are all linked to each other organically, and as a function of the subject and, in most cases, contain additional unpublished topics, not found on the web. Moreover, the inclusion of images completes the work so as to make it unique and unrepeatable. (Over 100 poster and film scenes) In addition, each film is linked to Youtube and in most cases the films are viewed in full Movie. Contents of the book: La maschera del demonio (1960), La ragazza che sapeva troppo (1963), I tre volti della paura (1963), La frusta e il corpo (1963), Operazione Paura (1963), Sei donne per l’assassino (1964), Il Rosso Segno della Follia (1970), 5 bambole per la luna di agosto (1970), Ecologia del delitto (1971), Lisa e il Diavolo (1972). Of each film: Poster, Plot, Cast, Production, Development, Filming, Release, Home media, Critical reception, Influence and analysis, Scenes from the film, Footnotes, References, Further reading.
Born into a family of vaudevillians, Buster Keaton made his first film appearance in 1917 at the age of 21. By the early 1920s, he had established himself as one of the geniuses of silent cinema with such films as Sherlock, Jr. and The Navigator and his 1925 work, The General, placed at number 18 in the American Film Institute's poll of the 100 greatest features, the highest ranked silent film on the survey. But with the advent of sound in the late 1920s, silent stars like Keaton began to fall out of favor and the great comedian's career began to decline. In The Fall of Buster Keaton, James Neibaur assesses Keaton's work during the talking picture era, especially those made at MGM, Educational, and Columbia studios. While giving some attention to the early part of Keaton's career, Neibaur focuses on Keaton's contract work with the three studios, as well as his subsequent work as a gagman, supporting player, and television pitchman. The book also recounts the resurgence of interest in Keaton's silent work, which resulted in a lifetime achievement Oscar and worldwide recognition before his death in 1966. This fascinating account of an artist's struggle and triumph during the more challenging period of his career will be of interest to anyone wanting to learn about one of film's most influential performers.
This book is the assembly of various texts that are freely available on the web, especially from Wikipedia. The next obvious question is: why buy this book? The answer: because it means you avoid having to carry out long and tedious internet searches. (12 different topics grouped in one book) The topics are all linked to each other organically, and as a function of the subject and, in most cases, contain additional unpublished topics, not found on the web. Moreover, the inclusion of images completes the work so as to make it unique and unrepeatable. (Over 100 poster and film scenes) In addition, each film is linked to Youtube and in most cases the films are viewed in full Movie.. Contents of the book: 25 films that made Horror Cinema: The Mummy (1932), Il mulino delle donne di pietra (1960), La maschera del demonio (1960), The Innocents (1961), La frusta e il corpo (1963), I lunghi capelli della morte (1965), Night of the Living Dead (1968), The Abominable Dr. Phibes (1971), La corta notte delle bambole di vetro (1971), The Legend of Hell House (1973), Burnt Offerings (1976) and Suspiria (1977). Of each film: Plot, Cast, Production, Development, casting, Filming, Post-Production, Musical Score, Release, Critical Response, Home Media, Legacy, References, Bibliography, Posters and Fim Scenes.
Wondering what video to rent tonight? This bestselling, fact-packed guide is the only sourcebook you and your family will ever need. Mick Martin and Marsha Porter steer you toward the winners and warn you about the losers. DVD & Video Guide 2004 covers it all-more films than any other guide, plus your favorite serials, B-Westerns, made-for-TV movies, and old television programs! Each entry, conveniently alphabetized for easy access, includes a summary, fresh commentary, the director, major cast members, the year of release, and the MPAA rating, plus a reliable Martin and Porter rating-from Five Stars to Turkey-so you'll never get caught with a clunker again!
The Masque of the Red Death (1964), the seventh collaboration between producer-director Roger Corman and horror icon Vincent Price, became the crowning achievement for both men, their masterpiece. After the critical and commercial success of House of Usher in 1960, Corman fervently desired to adapt Edgar Allan Poe’s story, ‘The Masque of the Red Death’ as his next project, but the tale took three years to finally become, not Corman’s second Poe film, but his second to last. Its long development benefitted the end result, and the story of its making reveals the persistence and vision of Corman, the artist and entrepreneur of classic horror. In this Devil’s Advocate, Steve Haberman takes an auteurist approach to the film with Corman as the ultimate author of the work. He explores the emergence of Corman’s themes and techniques through directorial control and compares them with the intentions and concerns of the story’s original creator, Poe. In his research, Haberman secured both drafts of the script, the first by Charles Beaumont and the last by R. Wright Campbell, consulted published interviews and met with Corman. The result illuminates not only the film but the profound and profoundly dark world views of both Roger Corman and Edgar Allan Poe.