417:
palaces; in 1934, 77 percent of them were under the control of one or the other of the leading studios, the "Big Five." As a whole, the first-run circuit comprised the palaces and another 900 or so houses covering North
America's 400 largest municipalities. Double features, though sometimes employed, were the rule at few if any of these prestigious venues. As described by historian Edward Jay Epstein, "During the first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising." After a film's opening run, it was off to the nabes and the hinterland, 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 small theaters that belonged to independent chains or were individually owned, programs often changed two or three time a week, sometimes even faster. To keep up with 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—a week's shooting was about average, just four days was not unheard of. As historian Brian Taves 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 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
783:(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, 50 percent of theaters were double-billing exclusively, with additional numbers screening under the policy part-time. In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures (MGM carried on with blocks of twelve for a while). 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 A-film production, making the smaller studios even more important as B-movie suppliers. In 1944, for instance, MGM, Paramount, Fox, and Warners released a total of ninety-five features: fourteen had B-level budgets of $ 200,000 or less; eleven were budgeted between $ 200,000 and $ 500,000, a range encompassing programmers as well as straight B movies on the lower end; and seventy were A budgeted at $ 0.5 million or more. In late 1946, executives at the newly merged
425:
films, but also movies classifiable as "programmers" (also "in-betweeners" or "intermediates"). These were films that "straddle the A-B boundary," in Taves's description. During the era of the double feature, "epending 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." On
Poverty Row, many B's 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 middle of the 1930s, the double feature was the dominant exhibition model across the country, and the majors responded. In 1935, B-movie production at Warner Bros. was raised from 12 to 50 percent of the studio's total output. The unit was headed by Bryan Foy, known as the "Keeper of the B's." At Fox, which also shifted half of its production line into B territory,
305:
months to complete its run." The "clearance" policy prevented independent exhibitors' timely access to top-quality films as a matter of course; the second feature allowed them to promote quantity instead. The bottom-billed movie also gave the program "balance"—the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. As the president of one
Poverty Row company would later put it, "Not everybody likes to eat cake. Some people like bread, and even a certain number of people like stale bread rather than fresh bread." The low-budget picture of the 1920s naturally transformed into the second feature, the B movie, of the 1930s and 1940s—the most reliable bread of Hollywood's Golden Age.
953:(1940), a 64-minute B—was produced at RKO, which would release many melodramatic thrillers in a similarly stylish vein during the decade. 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 well-financed productions—the majority of Warner Bros. noirs, for instance, were produced at the studio's A level—most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the 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 among aficionados.
183:
and an hour. The following year, the
Butterfly line, a grade between Red Feather and Bluebird, was introduced. During those two years, about half of Universal's output was in the Red Feather and Butterfly categories. According to historian Thomas Schatz, "These low-grade westerns, melodramas, and action pictures...underwent a disciplined production and marketing process," in contrast to the Jewels, which were not as strictly governed by studio policies. While the down-market branding was soon eliminated, Universal continued to focus on low and modestly budgeted productions. In 1919, wealthy
36:
564:
876:
614:, then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted "northwest action thrillers" that gave top billing to Dynamite, the Wonder Horse and Captain, the King of Dogs. One notable low-budget western of the era, produced totally outside of the studio system, made money off a curious concept: a western with an all-midget cast,
659:-structured serials that sometimes appeared on the same program. As with serials, however, many series were specifically intended to interest young people—some of the theaters 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 a contemporary
269:(FBO), focused on low-budget productions; most of their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs—particularly those in small towns and so-called neighborhood venues, or "nabes," in big cities. Even smaller outfits—the sort typical of Hollywood's so-called
131:. The popularity of the twin bill required the production of relatively short, inexpensive movies to occupy the bottom half of the program. The double feature was the predominant presentation model at American theaters throughout the Golden Age, and B movies constituted the majority of Hollywood production during the period.
473:. After little more than a year, the heads of Monogram pulled out and revived their company. Into the 1950s, Republic and Monogram released films that tended to be 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,
322:
essentially guaranteed the profitability of every B movie. Blind bidding, which grew in parallel with block booking, meant that the majors didn't have to worry much about the quality of their B's—even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios—
555:
classifiable as B's. Outside of the highly standardized realm of the series picture, studio executives saw developmental opportunities in their B lines of production. In 1937, RKO production chief Sam
Briskin described his company's B films as "a testing ground for new names, and experiments in story and treatment."
220:
films were made attractive to exhibitors with lower rental fees than movies from the studio's primary production line. Indicating the breadth of the budgetary range at a single studio, in 1921, when the average cost of a
Hollywood feature was around $ 60,000, Universal spent approximately $ 34,000 on
1107:(1940) was a standard entry in the franchise: "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."
858:
ran what was effectively a "B-plus" unit at MGM. Programmers, with their flexible exhibition role, were ambiguous by definition, leading in certain cases to historical confusion. As late as 1948, the double feature remained a popular exhibition mode—it was the standard screening policy at 25 percent
416:
In the model that would be standard during the Golden Age, the industry's top product, its A films, would premiere at a select number of deluxe first-run metropolitan cinemas, located in U.S. cities with populations in the range of 100,000 and above. There were fewer than 500 of these downtown movie
304:
Typically, a top feature would play in its second run in smaller downtown theaters and then move steadily outward from the urban centers to the suburbs, then to smaller cities and towns, and finally to rural communities, playing in ever smaller (and less profitable) venues and taking upwards of six
300:
system, inadvertently pushed independent theaters toward adopting the double-feature format. As described by historian Thomas Schatz, the system "sent a picture, after playing in the lucrative first-run arena, through the 16,000 'subsequent-run' movie houses; 'clearance' refers to the amount of time
429:
was similarly in charge of more than twenty movies a year during the late 1930s. Loew's, the parent company of MGM, announced in 1935 that it would run double features at all of its subsequent-run theaters. A low-cost production unit was established at the studio under Lucien
Hubbard, "although the
825:
defined these as "films with some timely or currently controversial subject which can be exploited, capitalized on in publicity or advertising." Many smaller
Poverty Row firms were folding because there simply was not enough money to go around: the eight majors, with their proprietary distribution
182:
became the first
Hollywood studio to establish different feature brands based on production cost: the small Jewel line of "prestige" productions, midrange Bluebird releases, and the low-budget Red Feather line of five-reelers—a measure of film length indicating a running time between fifty minutes
751:
585:
The western was by far the predominant B genre in both the 1930s and, to a somewhat lesser degree, the 1940s; for most of the Golden Age, westerns of every stripe accounted for 25 to 30 percent of all
Hollywood feature production. Film historian Jon Tuska has argued that "the 'B' product of the
424:
The introduction of sound had driven costs higher. In 1930, the beginning of the Golden Age's first full decade, the average U.S. feature film cost $ 375,000 to produce. A broad range of Hollywood motion pictures occupied the B-movie category: The leading studios made not only clear-cut A and B
321:
increasingly became standard practice: in order 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 that
814:
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. According to Naremore, between 1945 and 1950, "the average B western from Republic Pictures was made for about $ 50,000." Among the established
260:
and blind bidding practices, under which "independent ('unaffiliated') theater owners were forced to take large numbers of the studio's pictures sight unseen. Those studios could then parcel out second-rate product along with A-class features and star vehicles, which made both production and
554:
Brian 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 percent of Hollywood movies from the decade, more than four thousand pictures, are
810:
in 1949. Fox also phased out B production in 1946, releasing low-budget unit chief Bryan Foy, "The Keeper of the Bees" who had come over from Warners five years before when Warners stopped making their B pictures. For its B-picture needs, the studio turned to independent producers like the
400:
on down to shoestring operations, made exclusively B movies, serials, and other shorts. They also distributed totally independent productions and imported films. These studios were in no position to directly block book; instead, they mostly sold regional distribution exclusivity to
413:, moving up in rank—had production lines roughly similar to the top Poverty Row concerns, if somewhat better endowed in general, and with a few up-market productions each year as well. They had few or no theaters, but they did have major-league-level distribution exchanges.
956:
In one sample year, 1947, RKO under production chief Dore Schary shot fifteen A-level features at an average cost of $ 1 million and twenty Bs averaging $ 215,000. In addition to several noir programmers and full-flight A pictures, the studio put out two straight B noirs:
1110:
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 "exploitation pictures" like
421:, or screen previews, that had 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." Aside from at the theater itself, B films might not be advertised at all.
296:, 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. The majors' comprehensive booking policy, which would become known as the
778:
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 Grand National, but a new firm,
1589:
was something like the United Artists of Poverty Row. Most of the films it released were the work of independent producers; in its peak year, 1937, Grand National did produce approximately twenty pictures of its own. See also Taves (1995), p.
916:
In the 1940s, RKO—the weakest of the Big Five throughout its history—stood out among the industry's largest companies for its focus on B pictures. From a latter-day perspective, the most famous of the major studios' Golden Age B units is
829:
Referencing the work of historian Lea Jacobs, Naremore describes how the line between A and B movies was "ambiguous and never dependent on money alone." Films shot on B-level budgets were occasionally marketed as A pictures or emerged as
863:, as a development and distribution channel for 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
708:
For some series, of course, even a major studio's B budget was far out of reach: Poverty Row's Consolidated Pictures, backed by Weiss, featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog Features.
1071:). Adding programmers to that list of eighteen would bring it to around thirty. Still, most of the majors' low-budget production during the decade was of the sort now largely ignored. RKO's representative output included the
787:
announced that no U-I feature would run less than seventy minutes; supposedly, all B pictures were to be discontinued, even if they were in the midst of production. The studio did release three more sub-70-minute films: two
1509:
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
1145:
was known as "the Capra of PRC." Described by critic and historian David Thomson as "one of the most fascinating talents in the worldwide labyrinth of sub-B pictures," Ulmer made films of every generic stripe. His
477:
and Peerless—continued to churn out dirt-cheap quickies. As the majors increased their B-level production and Republic and Monogram began to dominate Poverty Row, many of these smaller outfits folded by 1937.
405:" distributors, who would in turn peddle blocks of films to exhibitors, typically six or more movies featuring the same star (a relative status on Poverty Row). Two studios in the middle—the "major-minors"
1208:
252:. These averages, again, reflected "specials" and "superspecials" that might cost as much as $ 1 million and films made quickly for around $ 50,000. Some studios, like large Paramount and growing
486:
Joel Finler has analyzed the average length of feature film releases from the various Hollywood studios in 1938, which indicates the degree, to which, each emphasized the production of B films:
726:, is now regarded as the archetypal zombie movie, though it was poorly received at the time. It was picked up by United Artists for distribution after it lost deals with Columbia and the small
663:
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.'"
354:
140:
233:
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.
826:
exchanges, were now "taking in around 95 percent of all domestic (U.S. and Canada) rental receipts." The wartime shortage of film stock was another contributing factor.
317:
was built had been resistant to the B-movie trend, but they soon adapted. All ultimately established "B units" to provide films for the expanding second-feature market.
273:—made films whose production 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.
610:
and the Three Mesquiteers...achieved a uniquely American perfection of the well-made story." At the far end of the industry, Poverty Row's Ajax put out films starring
840:, an 82-minute-long RKO thriller made for a fraction over $ 200,000. It earned more than $ 3 million in rentals, industry language for a distributor's share of gross
859:
of theaters and used part-time at an additional 36 percent. The leading Poverty Row firms began to broaden their scope: In 1947, Monogram established a subsidiary,
686:, Charlie Chan , and so on. Even a major studio like MGM was equipped with a so-called B unit that specialized in these serial productions. At MGM, however, the
643:, George O'Brien westerns , the Gambini sports films, the Roving Reporters, the Camera Daredevils, the Big Town Girls, the hotel for women, the Jones Family, the
627:, of various genres were particularly popular during the first decade of sound film. At just one major studio, Fox, B series produced by Sol Wurtzel included "
742:'s impact on the Class B picture is producing one of the strangest sound effects in recent cinema history. It is that of an unmistakable B buzzing like an A."
280:
in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of
35:
947:, and others who would become renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir—
867:, a British company seeking entry to the American market. Warners' (and Fox's) former Keeper of the B's, Brian Foy, was installed as production chief.
434:
was strictly taboo at Metro." Columbia, which primarily served the B-movie market, expanded annual production from thirty pictures to more than forty.
2289:
666:
Series films are often unquestioningly consigned to the B-movie category, but even here there is ambiguity, as scholar James Naremore describes:
1232:
784:
850:(1945), made for a reported $ 35,000, earned Monogram more than $ 1 million for the first time. A pictures, particularly in the realm of
178:) was in general use before the 1930s; in terms of studio production, however, a similar concept was already well established. In 1916,
350:)—had the additional advantage of being part of companies that also owned sizable theater chains, further securing the bottom line.
1501:
Taves (1995), p. 317. Taves (like this article) adopts the usage of "programmer" argued for by author Don Miller in his 1973 study
670:
The most profitable B pictures functioned much like the comic strips in the daily newspapers, showing the continuing adventures of
1671:
Naremore (1998), p. 141. For more on the finances and industrial position of the Andy Hardy movies, see Schatz (1998), pp. 256–61.
1220:
2282:
2147:
Nugent, Frank S. (1939). "John Brahm's Direction Distinguishes 'Rio' at the Globe—'Pack Up Your Troubles' at the Palace,"
1402:
912:"is resplendent with velvety blacks, mists, netting, and other expressive accessories of poetic noir decor and lighting."
860:
2592:
2982:
2977:
2972:
2967:
2261:
2240:
2219:
2205:
2191:
2177:
2163:
2142:
2128:
2114:
2100:
2086:
2072:
2058:
2044:
2030:
2016:
2002:
1988:
1974:
1960:
1576:
directly produced no features, focusing instead on the distribution of prestigious films made by independent outfits.
730:. On occasion, a low-end movie would get separated from the pack. Reviewing the 77-minute Universal crime melodrama
854:, sometimes echoed visual styles generally associated with cheaper films. Between November 1941 and November 1943,
835:
96:
2502:
2275:
1129:
1084:
780:
402:
347:
266:
284:
before a single featured film. A new programming scheme developed that would soon become standard practice: a
2946:
2753:
1055:
935:
2629:
438:
397:
60:
949:
1450:
See Waterman (2005), pp. 48–52, for a detailed examination of how the release system worked in practice.
2582:
2390:
1037:
603:
120:
2987:
2634:
2427:
2417:
1284:
1115:
704:
films were made with major stars and with what some organizations would have considered A budgets.
620:(1938) was such a success in its independent bookings that Columbia picked it up for distribution.
65:
2875:
2572:
1586:
969:
616:
363:
1103:
played Dr. Christian in six independently produced films released by RKO between 1939 and 1941.
367:(1935) still packed "Bursting Action, Deep Drama...And Up To Date Romance" into its 73 minutes.
261:
distribution operations more economical." Studios in the minor leagues of the industry, such as
158:. The film's director was contracted for $ 1,000; its success earned him a $ 1,500 bonus. Soon,
2848:
2817:
2783:
2760:
2748:
2107:
Kings of the Bs: Working Within the Hollywood System—An Anthology of Film History and Criticism
1162:
1043:
997:
929:
923:
393:
1388:
Balio (1995), p. 29. See also Schatz (1999), p. 324, for specific applications of "clearance."
770:
would go on to direct several exceptionally tough noirs in the next decade. Lead and producer
2868:
2624:
2567:
2332:
1003:
979:
846:
800:
466:
335:
55:
127:
in the late 1920s, many independent exhibitors began adopting a new programming format: the
2710:
2609:
2363:
1112:
1067:
1061:
1009:
991:
985:
880:
727:
719:
331:
89:
571:), Tucson Smith (Corrigan), and Lullaby Joslin (Terhune) didn't get much time in harness.
162:'s association with Columbia would help vault the studio toward Hollywood's major leagues.
8:
2888:
2880:
2541:
2439:
714:
701:
683:
611:
155:
1856:
2778:
2489:
2312:
1096:
1049:
821:
577:
343:
327:
184:
2904:
2715:
2604:
2479:
2434:
2412:
2368:
2317:
2257:
2236:
2215:
2201:
2187:
2173:
2159:
2138:
2124:
2110:
2096:
2082:
2068:
2054:
2040:
2026:
2012:
1998:
1984:
1970:
1956:
1819:, commentary track on Warner Home Video DVD of film. Earnings: Schatz (1999), p. 175.
1398:
816:
759:
755:
572:
470:
462:
450:
446:
410:
406:
262:
241:
204:
179:
143:
2720:
2577:
2451:
2349:
1889:, June 7, 2005; Robert Sklar, "Film Noir Lite: When Actions Have No Consequences,"
1258:
1123:
959:
940:
889:
864:
794:
505:
474:
458:
293:
245:
196:
581:(1938) lasts just 55 minutes, perfectly average for a Three Mesquiteers adventure.
150:(1928), made for less than $ 20,000, ran about 69 minutes. The shine on its star,
2931:
2654:
2497:
2380:
1981:
Hide in Plain Sight: The Hollywood Blacklistees in Film and Television, 1950-2002
1148:
1025:
636:
454:
442:
389:
371:
358:
82:
45:
2914:
2669:
2664:
2659:
2649:
1573:
1142:
974:
901:
893:
806:
675:
426:
418:
301:
between runs, and 'zone' refers to the specific areas in which a film played.
128:
977:. Ten straight B noirs that year came from Poverty Row's big three: Republic (
723:
191:(Realart Pictures Corp.), "a small studio with four companies and four stars"
2961:
2705:
2695:
1816:
1100:
1080:
1076:
815:
studios, Monogram was exploring fresh territory with what were being called "
679:
660:
652:
318:
314:
281:
257:
2245:
Tuska, Jon (1974). "The American Western Cinema: 1903–Present," in Nachbar,
2079:
An Evening's Entertainment: The Age of the Silent Feature Picture, 1915–1928
1725:
Schatz (1999), pp. 19–21, 45, 72, 160–63. See also Taves (1995), pp. 314–15.
1072:
655:." These feature-length series films are not to be confused with the short,
2909:
2863:
2827:
2536:
2456:
2444:
1015:
964:
897:
767:
644:
628:
368:
339:
289:
253:
200:
192:
2858:
1209:
File:Victoria Daily Times (1921-07-08) (IA victoriadailytimes19210708).pdf
229:, a top-of-the-line Super Jewel. The production of inexpensive films like
2941:
2822:
2788:
2770:
2735:
2725:
2531:
2469:
2464:
2385:
2373:
2267:
944:
855:
831:
771:
691:
656:
591:
270:
237:
159:
116:
123:
of the 1930s and 1940s. As the Hollywood studios made the transition to
2743:
2597:
1031:
921:'s horror unit at RKO. Lewton produced such moody, mysterious films as
918:
905:
841:
739:
687:
671:
607:
595:
568:
375:
277:
151:
124:
2224:
Taves, Brian (1995 ). "The B Film: Hollywood's Other Half," in Balio,
1156:; by the end of the year, Ulmer had also made the teen-themed musical
481:
2918:
2843:
2700:
2587:
2551:
2357:
2344:
2214:. Berkeley, Los Angeles, and London: University of California Press.
2137:. Berkeley, Los Angeles, and London: University of California Press.
2081:. Berkeley, Los Angeles, and London: University of California Press.
1955:. Berkeley, Los Angeles, and London: University of California Press.
896:, but many noirs were also works of great visual beauty. Directed by
885:
851:
789:
640:
599:
563:
380:
353:
2853:
2765:
2683:
2546:
2422:
2327:
1872:
Robert Smith, "Mann in the Dark," quoted in Ottoson (1981), p. 145.
1134:
1088:
750:
632:
285:
139:
1953:
Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939
1349:
Schatz (1998), p. 39. See also p. 74; Koszarski (1994), pp. 71–72.
2644:
2614:
2474:
2339:
2322:
2304:
875:
587:
111:
70:
27:
2198:
The Genius of the System: Hollywood Filmmaking in the Studio Era
1202:
2925:
1138:
1092:
712:
A few down-market independent productions were more ambitious:
648:
374:
would soon become a prolific director of B Westerns. His later
2009:
The Big Picture: The New Logic of Money and Power in Hollywood
2516:
2400:
240:, the production cost of an average feature from Hollywood's
1276:
774:
had been a major star in the 1930s. This was her last movie.
1885:, August 22, 2006; Dave Kehr, "Critic's Choice: New DVDs,"
1322:
Koszarski (1994), pp. 112, 113, 115; Schatz (1998), 22–25.
1035:, another work of Mann). One came from tiny Screen Guild (
437:
A number of the top Poverty Row firms were consolidating:
696:
323:
249:
1441:
Epstein (2005), p. 6. See also Schatz (1999), pp. 16–17.
1331:
See, e.g., Balio (1995), p. 29; Koszarski (1994), p. 72.
1141:: with his own crew and relatively free rein, director
1041:). Three majors beside RKO also contributed: Columbia (
2156:
A Reference Guide to the American Film Noir: 1940–1958
1458:
1456:
1375:
1373:
1859:
essay by Mike Haberfelner, August 2005; part of the
308:
134:
1967:
Blackout: World War II and the Origins of Film Noir
1881:See, e.g., Dave Kehr, "Critic's Choice: New DVDs,"
1734:
Analysis based on Schatz (1999), p. 173, table 6.3.
1251:
482:
Hollywood studio feature film, average length, 1938
1505:(New York: Ballantine). As Taves notes, "the term
1453:
1432:Schatz (1999), p. 16; Biesen (2005), p. 228, n. 6.
1370:
1225:
892:firm. Such movies were routinely marketed as pure
1137:, and death. The little studio had its own house
2959:
2105:McCarthy, Todd, and Charles Flynn, eds. (1975).
1855:Schatz (1999), p. 295; Naremore (1998), p. 142;
745:
2170:Caligari's Children: The Film as Tale of Terror
2158:. Metuchen, N.J., and London: Scarecrow Press.
2063:Jewell, Richard B., with Vernon Harbin (1982).
1166:, a South Seas adventure set around a brothel.
558:
2256:. Cambridge, Mass.: Harvard University Press.
388:Poverty Row studios, from modest outfits like
2283:
1969:. Baltimore: Johns Hopkins University Press.
1283:Kay, Karyn and Gerald Peary (July 16, 2011).
313:The major companies upon which the Hollywood
90:
1152:was released in May 1943, six months before
598:, the Columbia features with Buck Jones and
2212:Boom and Bust: American Cinema in the 1940s
187:created its own distinct low-budget brand,
2297:
2290:
2276:
2135:More Than Night: Film Noir in Its Contexts
2025:, 3d ed. London and New York: Wallflower.
97:
83:
2123:. Englewood Cliffs, N.J.: Prentice-Hall.
2093:RKO: The Biggest Little Major of Them All
1806:Jewell (1982), 181; Lasky (1989), 184–85.
469:, and Invincible Pictures merged to form
225:, a five-reeler, and over $ 1 million on
874:
749:
562:
352:
138:
1079:comedy series, thrillers featuring the
378:, including the independently produced
2960:
2184:White Zombie: Anatomy of a Horror Film
1979:Buhle, Paul, and David Wagner (2003).
1488:
1486:
1309:
1307:
1221:commons:Category:Realart Pictures Inc.
244:had soared, ranging from $ 190,000 at
119:era, was a significant contributor to
2271:
1857:PRC (Producers Releasing Corporation)
1752:Hirschhorn (1983), pp. 172, 173, 182.
1259:"Realart's relationship to Paramount"
870:
2095:. Santa Monica, Calif.: Roundtable.
489:
154:, had faded since her glory days at
2067:. New York: Arlington House/Crown.
1483:
1423:See, e.g., Balio (1995), pp. 103–4.
1304:
1282:
606:series, the Republic westerns with
13:
2593:List of American independent films
1564:Adapted from Finler (2003), p. 26.
834:: One of 1943's biggest films was
586:Thirties—the Universal films with
14:
2999:
2233:A Biographical Dictionary of Film
2168:Prawer, Siegbert Salomon (1989).
1893:, "Week in Review," June 2, 2002.
1405:, quoted in Schatz (1999), p. 75.
1190:Hirschhorn (1983), pp. 13, 20–27.
309:Rise of the double feature: 1930s
135:Roots of the B movie: 1910s–1920s
1983:. New York: Palgrave Macmillan.
1788:Buhle and Wagner (2003), p. 154.
1779:Quoted in Schatz (1999), p. 175.
1585:In operation from 1936 to 1940,
1367:See Koszarski (1994), pp. 34–56.
1358:See, e.g., Taves (1995), p. 320.
1181:Hirschhorn (1999), pp. 9–10, 17.
804:, in 1947; the self-explanatory
34:
2503:Experimental musical instrument
1932:
1923:
1914:
1905:
1896:
1875:
1866:
1849:
1840:
1831:
1822:
1809:
1800:
1791:
1782:
1773:
1764:
1755:
1746:
1737:
1728:
1719:
1710:
1701:
1692:
1683:
1674:
1665:
1662:Quoted in Schatz (1999), p. 75.
1656:
1647:
1638:
1629:
1620:
1611:
1608:Quoted in Lasky (1989), p. 142.
1602:
1593:
1579:
1567:
1558:
1549:
1540:
1531:
1522:
1513:
1495:
1474:
1465:
1444:
1435:
1426:
1417:
1408:
1391:
1382:
1361:
1352:
1343:
1334:
1325:
1316:
1285:"Interview with Dorothy Arzner"
888:, was put out by Poverty Row's
781:Producers Releasing Corporation
536:Poverty Row (top three of many)
348:Film Booking Offices of America
276:With the widespread arrival of
267:Film Booking Offices of America
2186:. Jefferson, N.C.: McFarland.
1295:
1214:
1193:
1184:
1175:
449:early in the decade. In 1935,
384:(1949), would become renowned.
236:By 1927–28, at the end of the
166:It is not clear that the term
1:
2947:Social peer-to-peer processes
1965:Biesen, Sheri Chinen (2005).
1546:See Taves (1995), pp. 321–29.
1233:"Production Company: Realart"
746:Bs from major to minor: 1940s
2077:Koszarski, Richard (1994 ).
2007:Epstein, Edward Jay (2005).
1993:Eames, John Douglas (1985).
1863:website. Retrieved 12/30/06.
1133:brought together teenagers,
1105:The Courageous Dr. Christian
559:Cowboys, dogs and detectives
546:Monogram—60.0 minutes
540:Grand National—63.6 minutes
524:United Artists—87.6 minutes
439:Sono Art-World Wide Pictures
398:Sono Art-World Wide Pictures
7:
2200:. London: Faber and Faber.
2119:Nachbar, Jack, ed. (1974).
1397:Steve Broidy, president of
1121:(1943) and the prison film
950:Stranger on the Third Floor
811:now-freelance Sol Wurtzel.
115:, whose roots trace to the
10:
3004:
2254:Hollywood's Road to Riches
2235:, 3d ed. New York: Knopf.
2049:Hirschhorn, Clive (1999).
2035:Hirschhorn, Clive (1983).
2011:. New York: Random House.
1944:
1902:Schatz (1998), pp. 442–43.
1846:Schatz (1999), pp. 340–41.
1828:Schatz (1998), pp. 367–70.
1743:Hirschhorn (1983), p. 156.
1698:Rhodes (2001), pp. 111–13.
1528:Schatz (1998), pp. 170–71.
511:Warner Bros.—75.0 minutes
2897:
2836:
2801:
2734:
2691:
2682:
2583:American eccentric cinema
2560:
2524:
2515:
2488:
2408:
2399:
2391:Amateur press association
2303:
2182:Rhodes, Gary Don (2001).
2109:. New York: E.P. Dutton.
1414:Taves (1995), pp. 326–27.
1313:Finler (2003), pp. 41–42.
1059:), and 20th Century-Fox (
2983:1940s in American cinema
2978:1930s in American cinema
2973:1920s in American cinema
2968:1910s in American cinema
2252:Waterman, David (2005).
2210:Schatz, Thomas (1999 ).
2196:Schatz, Thomas (1998 ).
2154:Ottoson, Robert (1981).
2133:Naremore, James (1998).
2021:Finler, Joel W. (2003).
1929:Naremore (1998), p. 144.
1797:Naremore (1998), p. 141.
1770:Naremore (1998), p. 140.
1635:Taves (1995), p. 327–28.
1169:
1119:Where Are Your Children?
738:declared that director "
2573:Cinema of Transgression
2231:Thomson, David (1994).
1938:Thomson (1994), p. 764.
1815:Cost: Per screenwriter
1587:Grand National Pictures
1127:(1943). In 1947, PRC's
1013:), and PRC/Eagle-Lion (
970:The Devil Thumbs a Ride
785:Universal-International
617:The Terror of Tiny Town
530:Universal—66.4 minutes
520:The Little Three majors
502:Paramount—76.4 minutes
364:Ladies Crave Excitement
2889:Independent TV station
2818:Independent soft drink
2784:Open-source video game
2298:Independent production
1920:Schatz (1999), p. 175.
1911:Jewell (1982), p. 147.
1761:Schatz (1999), p. 335.
1163:Isle of Forgotten Sins
930:I Walked with a Zombie
913:
844:receipts. The violent
775:
706:
639:, Michael Shayne, the
582:
543:Republic—63.1 minutes
527:Columbia—66.4 minutes
385:
163:
121:Hollywood's Golden Age
2869:Visionary environment
2568:Independent animation
2172:. New York: Da Capo.
2091:Lasky, Betty (1989).
1951:Balio, Tino (1995 ).
1837:Schatz (1999), p. 78.
1716:Schatz (1999), p. 73.
1707:Nugent (1939), p. 31.
1689:Prawer (1989), p. 68.
1680:Taves (1995), p. 328.
1653:Taves (1995), p. 318.
1644:Taves (1995), p. 316.
1617:Nachbar (1974), p. 2.
1599:Taves (1995), p. 313.
1555:Taves (1995), p. 321.
1537:Balio (1995), p. 103.
1519:Balio (1995), p. 102.
1492:Finler (2003), p. 42.
1480:Epstein (2005), p. 4.
1471:Taves (1995), p. 326.
1462:Taves (1995), p. 325.
1379:Schatz (1999), p. 16.
1199:Schatz (1998), p. 22.
878:
817:exploitation pictures
801:The Vigilantes Return
753:
668:
566:
467:Chesterfield Pictures
356:
336:Twentieth Century Fox
142:
2881:Independent circuit
2711:Open-source software
2610:Guerrilla filmmaking
2247:Focus on the Western
2121:Focus on the Western
1626:Tuska (1974), p. 37.
1340:Balio (1995), p. 29.
1301:Eames (1985), p. 13.
1113:juvenile delinquency
1087:, westerns starring
1068:The Brasher Doubloon
939:(1945), directed by
728:Educational Pictures
718:(1932), directed by
332:Fox Film Corporation
51:Hollywood Golden Age
2849:Amateur photography
2542:Amateur pornography
2490:Musical instruments
2470:Tracker (MOD) music
2228:, pp. 313–350.
2037:The Universal Story
2023:The Hollywood Story
1997:. New York: Crown.
1995:The Paramount Story
1861:(re)Search my Trash
1130:The Devil on Wheels
684:Blondie and Dagwood
495:The Big Five majors
288:, a short and/or a
22:Part of a series on
2313:Alternative comics
2053:. London: Hamlyn.
2051:The Columbia Story
1097:Johnny Weissmuller
914:
871:Sinners and saints
776:
758:-style pitch from
736:The New York Times
647:children's films,
583:
578:Pals of the Saddle
386:
369:Supervising editor
357:It was from small
344:RKO Radio Pictures
298:run-zone-clearance
242:major film studios
209:Paramount Pictures
185:Paramount Pictures
164:
148:That Certain Thing
2955:
2954:
2905:Independent media
2797:
2796:
2716:Software cracking
2678:
2677:
2605:Exploitation film
2511:
2510:
2480:Underground music
2428:Open-source label
2413:Independent music
2318:Alternative manga
2249:, pp. 25–43.
2039:. London: Crown.
1399:Monogram Pictures
1056:Fear in the Night
936:The Body Snatcher
837:Hitler's Children
766:(1946). Director
573:Republic Pictures
551:
550:
514:RKO—74.1 minutes
499:MGM—87.9 minutes
471:Republic Pictures
463:Majestic Pictures
451:Monogram Pictures
447:Monogram Pictures
263:Columbia Pictures
205:Mary Miles Minter
107:
106:
61:Exploitation boom
2995:
2937:
2884:
2721:Unofficial patch
2689:
2688:
2638:
2578:Independent film
2522:
2521:
2452:Cassette culture
2406:
2405:
2292:
2285:
2278:
2269:
2268:
1939:
1936:
1930:
1927:
1921:
1918:
1912:
1909:
1903:
1900:
1894:
1879:
1873:
1870:
1864:
1853:
1847:
1844:
1838:
1835:
1829:
1826:
1820:
1813:
1807:
1804:
1798:
1795:
1789:
1786:
1780:
1777:
1771:
1768:
1762:
1759:
1753:
1750:
1744:
1741:
1735:
1732:
1726:
1723:
1717:
1714:
1708:
1705:
1699:
1696:
1690:
1687:
1681:
1678:
1672:
1669:
1663:
1660:
1654:
1651:
1645:
1642:
1636:
1633:
1627:
1624:
1618:
1615:
1609:
1606:
1600:
1597:
1591:
1583:
1577:
1571:
1565:
1562:
1556:
1553:
1547:
1544:
1538:
1535:
1529:
1526:
1520:
1517:
1511:
1499:
1493:
1490:
1481:
1478:
1472:
1469:
1463:
1460:
1451:
1448:
1442:
1439:
1433:
1430:
1424:
1421:
1415:
1412:
1406:
1395:
1389:
1386:
1380:
1377:
1368:
1365:
1359:
1356:
1350:
1347:
1341:
1338:
1332:
1329:
1323:
1320:
1314:
1311:
1302:
1299:
1293:
1292:
1280:
1274:
1273:
1271:
1269:
1263:NitrateVille.com
1255:
1249:
1248:
1246:
1244:
1229:
1223:
1218:
1212:
1206:
1200:
1197:
1191:
1188:
1182:
1179:
1154:Women in Bondage
1124:Women in Bondage
1073:Mexican Spitfire
941:Jacques Tourneur
795:The Michigan Kid
506:20th Century-Fox
490:
475:Supreme Pictures
459:Liberty Pictures
248:to $ 275,000 at
219:
213:
197:Marguerite Clark
99:
92:
85:
56:1950s transition
46:Low-budget films
38:
19:
18:
3003:
3002:
2998:
2997:
2996:
2994:
2993:
2992:
2988:History of film
2958:
2957:
2956:
2951:
2935:
2893:
2882:
2832:
2811:
2793:
2730:
2674:
2655:Low-budget film
2636:
2630:'60s–'70s
2556:
2507:
2498:Circuit bending
2484:
2395:
2381:Self-publishing
2299:
2296:
2266:
1947:
1942:
1937:
1933:
1928:
1924:
1919:
1915:
1910:
1906:
1901:
1897:
1880:
1876:
1871:
1867:
1854:
1850:
1845:
1841:
1836:
1832:
1827:
1823:
1814:
1810:
1805:
1801:
1796:
1792:
1787:
1783:
1778:
1774:
1769:
1765:
1760:
1756:
1751:
1747:
1742:
1738:
1733:
1729:
1724:
1720:
1715:
1711:
1706:
1702:
1697:
1693:
1688:
1684:
1679:
1675:
1670:
1666:
1661:
1657:
1652:
1648:
1643:
1639:
1634:
1630:
1625:
1621:
1616:
1612:
1607:
1603:
1598:
1594:
1584:
1580:
1572:
1568:
1563:
1559:
1554:
1550:
1545:
1541:
1536:
1532:
1527:
1523:
1518:
1514:
1500:
1496:
1491:
1484:
1479:
1475:
1470:
1466:
1461:
1454:
1449:
1445:
1440:
1436:
1431:
1427:
1422:
1418:
1413:
1409:
1396:
1392:
1387:
1383:
1378:
1371:
1366:
1362:
1357:
1353:
1348:
1344:
1339:
1335:
1330:
1326:
1321:
1317:
1312:
1305:
1300:
1296:
1281:
1277:
1267:
1265:
1257:
1256:
1252:
1242:
1240:
1231:
1230:
1226:
1219:
1215:
1207:
1203:
1198:
1194:
1189:
1185:
1180:
1176:
1172:
1149:Girls in Chains
1026:Whispering City
873:
748:
720:Victor Halperin
637:Sherlock Holmes
561:
552:
484:
455:Mascot Pictures
443:Rayart Pictures
394:Tiffany Studios
390:Mascot Pictures
372:Joseph H. Lewis
359:Mascot Pictures
346:(descendant of
311:
217:
211:
137:
103:
66:Since the 1980s
17:
12:
11:
5:
3001:
2991:
2990:
2985:
2980:
2975:
2970:
2953:
2952:
2950:
2949:
2944:
2939:
2929:
2922:
2915:Do it yourself
2912:
2907:
2901:
2899:
2895:
2894:
2892:
2891:
2886:
2878:
2873:
2872:
2871:
2866:
2861:
2856:
2851:
2840:
2838:
2834:
2833:
2831:
2830:
2825:
2820:
2814:
2812:
2810:
2809:
2806:
2802:
2799:
2798:
2795:
2794:
2792:
2791:
2786:
2781:
2776:
2768:
2763:
2758:
2757:
2756:
2751:
2740:
2738:
2732:
2731:
2729:
2728:
2723:
2718:
2713:
2708:
2703:
2698:
2692:
2686:
2680:
2679:
2676:
2675:
2673:
2672:
2670:Double feature
2667:
2665:No wave cinema
2662:
2660:No-budget film
2657:
2652:
2650:Midnight movie
2647:
2642:
2641:
2640:
2632:
2627:
2622:
2612:
2607:
2602:
2601:
2600:
2595:
2590:
2585:
2575:
2570:
2564:
2562:
2558:
2557:
2555:
2554:
2549:
2544:
2539:
2534:
2528:
2526:
2519:
2513:
2512:
2509:
2508:
2506:
2505:
2500:
2494:
2492:
2486:
2485:
2483:
2482:
2477:
2472:
2467:
2462:
2454:
2449:
2448:
2447:
2442:
2432:
2431:
2430:
2425:
2415:
2409:
2403:
2397:
2396:
2394:
2393:
2388:
2383:
2378:
2377:
2376:
2371:
2366:
2354:
2353:
2352:
2342:
2337:
2336:
2335:
2325:
2320:
2315:
2309:
2307:
2301:
2300:
2295:
2294:
2287:
2280:
2272:
2265:
2264:
2250:
2243:
2229:
2222:
2208:
2194:
2180:
2166:
2152:
2149:New York Times
2145:
2131:
2117:
2103:
2089:
2075:
2061:
2047:
2033:
2019:
2005:
1991:
1977:
1963:
1948:
1946:
1943:
1941:
1940:
1931:
1922:
1913:
1904:
1895:
1891:New York Times
1887:New York Times
1883:New York Times
1874:
1865:
1848:
1839:
1830:
1821:
1808:
1799:
1790:
1781:
1772:
1763:
1754:
1745:
1736:
1727:
1718:
1709:
1700:
1691:
1682:
1673:
1664:
1655:
1646:
1637:
1628:
1619:
1610:
1601:
1592:
1578:
1574:United Artists
1566:
1557:
1548:
1539:
1530:
1521:
1512:
1494:
1482:
1473:
1464:
1452:
1443:
1434:
1425:
1416:
1407:
1403:Allied Artists
1390:
1381:
1369:
1360:
1351:
1342:
1333:
1324:
1315:
1303:
1294:
1275:
1250:
1224:
1213:
1201:
1192:
1183:
1173:
1171:
1168:
1143:Edgar G. Ulmer
1053:), Paramount (
975:Felix E. Feist
973:, directed by
963:, directed by
894:sensationalism
872:
869:
861:Allied Artists
807:Arctic Manhunt
747:
744:
676:Boston Blackie
604:George O'Brien
567:Stony Brooke (
560:
557:
549:
548:
532:
516:
508:—75.3 minutes
488:
483:
480:
427:Sol M. Wurtzel
310:
307:
256:, depended on
215:Realart Studio
189:Realart Studio
136:
133:
129:double feature
105:
104:
102:
101:
94:
87:
79:
76:
75:
74:
73:
68:
63:
58:
53:
48:
40:
39:
31:
30:
24:
23:
15:
9:
6:
4:
3:
2:
3000:
2989:
2986:
2984:
2981:
2979:
2976:
2974:
2971:
2969:
2966:
2965:
2963:
2948:
2945:
2943:
2940:
2938:
2934:
2930:
2928:
2927:
2923:
2920:
2916:
2913:
2911:
2908:
2906:
2903:
2902:
2900:
2896:
2890:
2887:
2885:
2879:
2877:
2874:
2870:
2867:
2865:
2862:
2860:
2857:
2855:
2852:
2850:
2847:
2846:
2845:
2842:
2841:
2839:
2835:
2829:
2826:
2824:
2821:
2819:
2816:
2815:
2813:
2807:
2804:
2803:
2800:
2790:
2787:
2785:
2782:
2780:
2777:
2775:
2773:
2769:
2767:
2764:
2762:
2759:
2755:
2752:
2750:
2747:
2746:
2745:
2742:
2741:
2739:
2737:
2733:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2707:
2706:Free software
2704:
2702:
2699:
2697:
2696:Cowboy coding
2694:
2693:
2690:
2687:
2685:
2681:
2671:
2668:
2666:
2663:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2643:
2639:
2633:
2631:
2628:
2626:
2623:
2621:
2618:
2617:
2616:
2613:
2611:
2608:
2606:
2603:
2599:
2596:
2594:
2591:
2589:
2586:
2584:
2581:
2580:
2579:
2576:
2574:
2571:
2569:
2566:
2565:
2563:
2559:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2529:
2527:
2523:
2520:
2518:
2514:
2504:
2501:
2499:
2496:
2495:
2493:
2491:
2487:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2459:
2455:
2453:
2450:
2446:
2443:
2441:
2438:
2437:
2436:
2433:
2429:
2426:
2424:
2421:
2420:
2419:
2416:
2414:
2411:
2410:
2407:
2404:
2402:
2398:
2392:
2389:
2387:
2384:
2382:
2379:
2375:
2372:
2370:
2367:
2365:
2362:
2361:
2360:
2359:
2355:
2351:
2348:
2347:
2346:
2343:
2341:
2338:
2334:
2331:
2330:
2329:
2326:
2324:
2321:
2319:
2316:
2314:
2311:
2310:
2308:
2306:
2302:
2293:
2288:
2286:
2281:
2279:
2274:
2273:
2270:
2263:
2262:0-674-01945-8
2259:
2255:
2251:
2248:
2244:
2242:
2241:0-679-75564-0
2238:
2234:
2230:
2227:
2223:
2221:
2220:0-520-22130-3
2217:
2213:
2209:
2207:
2206:0-571-19596-2
2203:
2199:
2195:
2193:
2192:0-7864-0988-6
2189:
2185:
2181:
2179:
2178:0-306-80347-X
2175:
2171:
2167:
2165:
2164:0-8108-1363-7
2161:
2157:
2153:
2151:, October 27.
2150:
2146:
2144:
2143:0-520-21294-0
2140:
2136:
2132:
2130:
2129:0-13-950626-8
2126:
2122:
2118:
2116:
2115:0-525-47378-5
2112:
2108:
2104:
2102:
2101:0-915677-41-5
2098:
2094:
2090:
2088:
2087:0-520-08535-3
2084:
2080:
2076:
2074:
2073:0-517-54656-6
2070:
2066:
2065:The RKO Story
2062:
2060:
2059:0-600-59836-5
2056:
2052:
2048:
2046:
2045:0-517-55001-6
2042:
2038:
2034:
2032:
2031:1-903364-66-3
2028:
2024:
2020:
2018:
2017:1-4000-6353-1
2014:
2010:
2006:
2004:
2003:0-517-55348-1
2000:
1996:
1992:
1990:
1989:1-4039-6144-1
1986:
1982:
1978:
1976:
1975:0-8018-8217-6
1972:
1968:
1964:
1962:
1961:0-520-20334-8
1958:
1954:
1950:
1949:
1935:
1926:
1917:
1908:
1899:
1892:
1888:
1884:
1878:
1869:
1862:
1858:
1852:
1843:
1834:
1825:
1818:
1817:Philip Yordan
1812:
1803:
1794:
1785:
1776:
1767:
1758:
1749:
1740:
1731:
1722:
1713:
1704:
1695:
1686:
1677:
1668:
1659:
1650:
1641:
1632:
1623:
1614:
1605:
1596:
1588:
1582:
1575:
1570:
1561:
1552:
1543:
1534:
1525:
1516:
1508:
1504:
1498:
1489:
1487:
1477:
1468:
1459:
1457:
1447:
1438:
1429:
1420:
1411:
1404:
1400:
1394:
1385:
1376:
1374:
1364:
1355:
1346:
1337:
1328:
1319:
1310:
1308:
1298:
1290:
1286:
1279:
1264:
1260:
1254:
1238:
1234:
1228:
1222:
1217:
1210:
1205:
1196:
1187:
1178:
1174:
1167:
1165:
1164:
1159:
1158:Jive Junction
1155:
1151:
1150:
1144:
1140:
1136:
1132:
1131:
1126:
1125:
1120:
1117:
1114:
1108:
1106:
1102:
1101:Jean Hersholt
1098:
1094:
1090:
1086:
1082:
1078:
1077:Lum and Abner
1074:
1070:
1069:
1064:
1063:
1058:
1057:
1052:
1051:
1046:
1045:
1040:
1039:
1038:Shoot to Kill
1034:
1033:
1028:
1027:
1022:
1018:
1017:
1012:
1011:
1006:
1005:
1000:
999:
994:
993:
989:), Monogram (
988:
987:
986:The Pretender
982:
981:
976:
972:
971:
966:
962:
961:
954:
952:
951:
946:
942:
938:
937:
932:
931:
926:
925:
920:
911:
907:
903:
899:
895:
891:
887:
883:
882:
877:
868:
866:
862:
857:
853:
849:
848:
843:
839:
838:
833:
827:
824:
823:
818:
812:
809:
808:
803:
802:
797:
796:
791:
786:
782:
773:
769:
765:
761:
757:
752:
743:
741:
737:
733:
729:
725:
722:and starring
721:
717:
716:
710:
705:
703:
699:
698:
693:
689:
685:
681:
677:
673:
667:
664:
662:
658:
654:
653:Ritz Brothers
650:
646:
642:
638:
634:
630:
626:
621:
619:
618:
613:
609:
605:
601:
597:
593:
589:
580:
579:
574:
570:
565:
556:
547:
544:
541:
538:
537:
533:
531:
528:
525:
522:
521:
517:
515:
512:
509:
507:
503:
500:
497:
496:
492:
491:
487:
479:
476:
472:
468:
464:
460:
456:
452:
448:
444:
440:
435:
433:
428:
422:
420:
414:
412:
408:
404:
403:states rights
399:
395:
391:
383:
382:
377:
373:
370:
366:
365:
360:
355:
351:
349:
345:
341:
338:as of 1935),
337:
333:
329:
325:
320:
319:Block booking
316:
315:studio system
306:
302:
299:
295:
291:
287:
283:
279:
274:
272:
268:
264:
259:
258:block booking
255:
251:
247:
243:
239:
234:
232:
228:
227:Foolish Wives
224:
216:
210:
206:
202:
198:
194:
190:
186:
181:
177:
173:
169:
161:
157:
156:Metro-Goldwyn
153:
149:
145:
141:
132:
130:
126:
122:
118:
114:
113:
100:
95:
93:
88:
86:
81:
80:
78:
77:
72:
69:
67:
64:
62:
59:
57:
54:
52:
49:
47:
44:
43:
42:
41:
37:
33:
32:
29:
26:
25:
21:
20:
2932:
2924:
2910:Indie design
2864:Outsider art
2828:Microbrewery
2771:
2619:
2561:Professional
2537:Amateur film
2457:
2445:Pirate radio
2418:Record label
2356:
2253:
2246:
2232:
2226:Grand Design
2225:
2211:
2197:
2183:
2169:
2155:
2148:
2134:
2120:
2106:
2092:
2078:
2064:
2050:
2036:
2022:
2008:
1994:
1980:
1966:
1952:
1934:
1925:
1916:
1907:
1898:
1890:
1886:
1882:
1877:
1868:
1860:
1851:
1842:
1833:
1824:
1811:
1802:
1793:
1784:
1775:
1766:
1757:
1748:
1739:
1730:
1721:
1712:
1703:
1694:
1685:
1676:
1667:
1658:
1649:
1640:
1631:
1622:
1613:
1604:
1595:
1581:
1569:
1560:
1551:
1542:
1533:
1524:
1515:
1506:
1502:
1497:
1476:
1467:
1446:
1437:
1428:
1419:
1410:
1393:
1384:
1363:
1354:
1345:
1336:
1327:
1318:
1297:
1288:
1278:
1266:. Retrieved
1262:
1253:
1241:. Retrieved
1236:
1227:
1216:
1204:
1195:
1186:
1177:
1161:
1157:
1153:
1147:
1128:
1122:
1118:
1109:
1104:
1095:movies with
1066:
1060:
1054:
1048:
1042:
1036:
1030:
1024:
1020:
1016:Bury Me Dead
1014:
1008:
1002:
996:
990:
984:
978:
968:
965:Anthony Mann
958:
955:
948:
934:
933:(1943), and
928:
922:
915:
909:
898:Anthony Mann
879:
845:
836:
832:sleeper hits
828:
820:
813:
805:
799:
793:
777:
768:Phil Karlson
763:
756:exploitation
735:
731:
715:White Zombie
713:
711:
707:
695:
692:Dr. Kildaire
669:
665:
645:Jane Withers
629:Charlie Chan
624:
622:
615:
584:
576:
553:
545:
542:
539:
535:
534:
529:
526:
523:
519:
518:
513:
510:
504:
501:
498:
494:
493:
485:
441:joined with
436:
431:
423:
415:
387:
379:
362:
340:Warner Bros.
312:
303:
297:
275:
254:Warner Bros.
235:
231:The Way Back
230:
226:
223:The Way Back
222:
214:
208:
201:Wanda Hawley
193:Bebe Daniels
188:
175:
171:
167:
165:
147:
110:
108:
50:
2942:Maker Faire
2883:(wrestling)
2823:Homebrewing
2749:development
2744:Indie games
2736:Video games
2726:Warez scene
2635:'80s–
2532:Home movies
2465:Lo-fi music
2386:Small press
2364:conventions
1289:Agnès Films
1160:as well as
945:Robert Wise
856:Dore Schary
772:Kay Francis
764:Wife Wanted
724:BĂ©la Lugosi
700:], and
680:Bowery Boys
657:cliffhanger
623:Series, or
612:Harry Carey
271:Poverty Row
160:Frank Capra
117:silent film
2962:Categories
2936:(magazine)
2754:developers
2620:Golden Age
2598:Mumblecore
1507:programmer
1044:Blind Spot
1032:Railroaded
1021:Lighthouse
998:The Guilty
924:Cat People
919:Val Lewton
906:John Alton
890:Eagle-Lion
865:Eagle-Lion
842:box office
792:westerns,
740:John Brahm
694: [
688:Andy Hardy
672:Roy Rogers
608:John Wayne
602:, the RKO
445:to create
376:film noirs
278:sound film
238:silent era
152:Viola Dana
146:'s silent
125:sound film
16:Film genre
2919:DIY ethic
2876:Indie RPG
2859:NaĂŻve art
2844:Indie art
2701:Demoscene
2588:Indiewood
2552:Machinima
2358:Doujinshi
2345:Minicomic
1510:picture."
1004:High Tide
980:Blackmail
960:Desperate
886:film noir
884:, a 1948
852:film noir
847:Dillinger
790:Cinecolor
641:Cisco Kid
600:Tim McCoy
407:Universal
381:Gun Crazy
328:Paramount
180:Universal
176:B picture
2854:Mail art
2789:ROM hack
2766:Fan game
2761:Homebrew
2684:Software
2547:Fan film
2423:Netlabel
2369:printers
2333:business
2328:Webcomic
1503:B Movies
1135:hot rods
1089:Tim Holt
1083:and the
1062:Backlash
1010:Violence
992:Fall Guy
927:(1942),
910:Raw Deal
881:Raw Deal
760:Monogram
734:(1939),
702:Thin Man
633:Mr. Moto
419:trailers
411:Columbia
292:, and a
286:newsreel
144:Columbia
28:B movies
2898:General
2645:Z movie
2637:present
2615:B movie
2525:Amateur
2475:Podsafe
2440:Station
2340:Webtoon
2323:Fanzine
2305:Reading
1945:Sources
1237:Catalog
822:Variety
651:, the
625:serials
592:Maynard
432:B movie
294:cartoon
168:B movie
112:B movie
71:Z movie
2926:Doujin
2808:Drinks
2772:Doujin
2458:Doujin
2350:Co-ops
2260:
2239:
2218:
2204:
2190:
2176:
2162:
2141:
2127:
2113:
2099:
2085:
2071:
2057:
2043:
2029:
2015:
2001:
1987:
1973:
1959:
1268:13 May
1243:13 May
1139:auteur
1116:exposé
1093:Tarzan
1091:, and
1085:Falcon
1050:Framed
1029:, and
1007:, and
967:, and
678:, the
661:Gallup
649:Jeeves
594:, and
396:, and
361:, but
342:, and
290:serial
282:shorts
203:, and
172:B film
2837:Other
2517:Video
2460:music
2435:Radio
2401:Audio
2374:shops
1239:. AFI
1170:Notes
1081:Saint
596:Jones
569:Wayne
430:term
218:'
212:'
2933:Make
2805:Food
2774:soft
2625:'50s
2258:ISBN
2237:ISBN
2216:ISBN
2202:ISBN
2188:ISBN
2174:ISBN
2160:ISBN
2139:ISBN
2125:ISBN
2111:ISBN
2097:ISBN
2083:ISBN
2069:ISBN
2055:ISBN
2041:ISBN
2027:ISBN
2013:ISBN
1999:ISBN
1985:ISBN
1971:ISBN
1957:ISBN
1590:323.
1270:2022
1245:2022
1211:p.11
1075:and
1065:and
1047:and
983:and
902:shot
900:and
798:and
762:for
409:and
265:and
170:(or
109:The
2779:Mod
904:by
819:."
754:An
732:Rio
697:sic
588:Mix
324:MGM
250:MGM
246:Fox
174:or
2964::
1485:^
1455:^
1372:^
1306:^
1287:.
1261:.
1235:.
1099:.
1023:,
1019:,
1001:,
995:,
943:,
908:,
690:,
682:,
674:,
635:,
631:,
590:,
575:'
465:,
461:,
457:,
453:,
392:,
330:,
326:,
207:.
199:,
195:,
2921:)
2917:(
2291:e
2284:t
2277:v
1401:/
1291:.
1272:.
1247:.
401:"
334:(
98:e
91:t
84:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
