Here is an overview of a course I taught at a local college

The Rise of The B Movie
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 Anthony Mann and Jonathan Demme learned their craft in B movies. B movies are where actors such as John Wayne and Jack Nicholson became established, and the Bs have also
provided work for former A movie actors, such as Vincent Price and Karen Black. Some actors, such as Béla Lugosi and Pam Grier, worked in B movies for most of their careers.
In the standard Golden Age model, the industry’s top product, its A films, premiered at a select number of first-run houses in major cities, virtually all of them owned by one of the “Big Five.”
Double features were not the rule at these prestigious venues.

Across North America, there were approximately 450 first-run houses; a 100-screen debut was a grand opening. As described by historian Edward Jay Epstein, “During these first runs,
films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising.When 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.
Considerations beside cost made the line between A and B movies ambiguous. Films shot on Blevel budgets were occasionally marketed as A pictures or emerged as sleeper hits: One of
1943’s biggest films was Hitler’s Children, an 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 box
office receipts.Particularly in the realm of film noir, A pictures sometimes echoed visual styles generally associated with cheaper films. Programmers, with their flexible exhibition role, were
ambiguous by definition, leading in certain cases to historical confusion. Ronald Reagan, frequently identified as a “B movie star,” in fact often had leading parts not only in programmers
but also run-of-the-mill A movies that were Bs only in the sense of perceived quality. As late as 1948, the double feature remained a popular exhibition mode—it was standard policy at 25
percent 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, Allied Artists, 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 Eagle-Lion, a British company seeking entry to the American market. Warners’ former Keeper of the Bs, Brian Foy, was installed as production chief.
Raw Deal, a 1948 film noir directed by Anthony Mann and shot by John Alton, was put out by Poverty Row’s Eagle-Lion firm. Such movies were routinely marketed as pure sensationalism, but
many also possessed great visual beauty, “resplendent with velvety blacks, mists, netting, and other expressive accessories of poetic noir decor and lighting.”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 Val Lewton’s horror unit at RKO. Lewton
produced such moody, mysterious films as Cat People (1942), I Walked with a Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur, Robert Wise, 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—Stranger on the Third Floor (1940), a 64-minute B—was
produced at RKO, which would release many additional melodramatic thrillers in a similarly stylish vein. 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 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.

In 1948, a Supreme Court ruling in a federal antitrust suit against the majors 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
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 $1 million by the turn of the decade—a 93 percent rise after adjusting for inflation The postwar drive-in theater 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 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 midnight movie.

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 Joseph E. Levine financed the
shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla. The British Hammer Film Productions made the successful The Curse
of Frankenstein (1957) and Dracula (1958), major influences on future horror film style. In 1959, Levine’s Embassy Pictures bought the worldwide rights to Hercules, a cheaply made Italian
movie starring American-born bodybuilder Steve Reeves. On top of a $125,000 purchase price, Levine then spent $1.5 million on advertising and publicity, a virtually unprecedented amount.[58]
The New York Times was nonplussed, noting that it would have drawn “little more than yawns in the film market…had it not been [launched] 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 could for a week’s run, then withdrawing it before poor word-of-mouth withdrew it
for him.” Hercules opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned $4.7 million in domestic rentals. Just as valuable to the bottom line, it
was even more successful overseas.[Within a few decades, Hollywood would be dominated by both movies and an exploitation philosophy very like Levine’s. Despite all the transformations in the industry,
by 1961 the average production cost of an American feature film was still only $2 million—after adjusting for inflation, less than 10 percent 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 sword-and-sandals import,
Hercules Unchained, opened at neighborhood theaters in New York. A suspense film, Terror Is a Man, 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.'”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.”House of Usher 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 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.”

One of the most influential films of the era, on Bs and beyond, was Paramount’s Psycho. Its $8.5 million in earnings against a production cost of $800,000 made it the most profitable movie of
1960. Its mainstream distribution without the Production Code seal of approval helped weaken U.S. film censorship. And, as William Paul notes, this move into the horror genre by respected
director Alfred Hitchcock was made, “significantly, with the lowest-budgeted film of his American career and the least glamorous stars. [Its] 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 Psycho.”Castle’s first film in the Psycho vein was Homicidal (1961), an early step in the
development of the slasher subgenre that would take off in the late 1970s. Blood Feast (1963), a movie about human dismemberment and culinary preparation made for approximately $24,000 by
experienced nudie-maker Herschell Gordon Lewis, established a new, more immediately successful subgenre, the gore or splatter film. Lewis’s business partner David F. Friedman
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 movie typifies 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’s increasingly explicit horror movies and
Italian gialli, highly stylized films mixing sexploitation and ultraviolence, would fuel this trend. The Production Code was officially scrapped in 1968, to be replaced by the first version of the
modern rating system. 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 Roman Polanski. Produced by B horror veteran William Castle, Rosemary’s Baby “took the genre up-market for the first time since
the 1930s.”It was a critical success and the year’s seventh-biggest hit. The other was George Romero’s now classic Night of the Living Dead, produced on weekends in and around Pittsburgh
for $114,000. Building on the achievement of B genre predecessors like Invasion of the Body Snatchers in its subtextual exploration of social and political issues, it doubled as a highly
effective thriller and an incisive allegory for both the Vietnam War 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.

In May 1969, the most important of all exploitation movies premiered at the Cannes Film Festival.
Much of its 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, Peter
Fonda, to American International. Fonda had become AIP’s top star in the Corman–directed The
Wild Angels (1966), a biker movie, and The Trip, as in LSD. The idea Fonda pitched would
combine those two proven themes. AIP was intrigued but balked at giving his collaborator, Dennis
Hopper, 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 Laszlo Kovacs. The film (which incorporated
another favorite exploitation theme, the redneck menace, as well as a fair amount of nudity) was
brought in at a cost of $501,000. Easy Rider earned $19.1 million in rentals and 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.”
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 New World Pictures, Cannon
Films, and New Line Cinema 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 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
Angels Die Hard, cost $117,000 to produce and took in more than $2 million at the box office
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 Brian De Palma. Reviewing Sisters, Pauline
Kael observed that its “limp technique doesn’t seem to matter to the people who want their
gratuitous gore…. [H]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 so-called
blaxploitation genre, featuring stereotype-filled stories revolving around drugs, violent crime, and
prostitution, were the product of AIP. One of blaxploitation’s biggest stars was Pam Grier, who
began her career with a bit part in Russ Meyer’s Beyond the Valley of the Dolls (1970). Several
New World pictures followed, including The Big Doll House (1971) and The Big Bird Cage (1972),
both directed by Jack Hill. Hill also directed her best-known performances, in two AIP
blaxploitation films: Coffy (1973) and Foxy Brown (1974). Grier has the distinction of starring in
the first widely distributed movie to climax with a castration scene.
Blaxploitation was the first exploitation genre in which the major studios were central. Indeed, the
United Artists release Cotton Comes to Harlem (1970), directed by Ossie Davis, is seen as the
first significant film of the type. But the movie that truly ignited the blaxploitation phenomenon was
completely independent: Sweet Sweetback’s Baadasssss Song (1971) is also perhaps the most
outrageous example of the form—wildly experimental, borderline pornographic, and essentially a
manifesto for a black American revolution. Melvin Van Peebles wrote, co-produced, directed,
starred in, edited, and composed the music for the film, which was completed with a loan from Bill
Cosby.[83] Its distributor was small Cinemation Industries, then best known for releasing dubbed
versions of the Italian Mondo Cane “shockumentaries” and the Swedish skin flick Fanny Hill, as
well as for its one in-house production, The Man from O.R.G.Y. (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.
Piranha (1978), directed by Joe Dante and written by John Sayles for Corman’s New World
Pictures, is a triple threat: an action-filled creature feature; a humorous parody of Jaws; and an
environmentalist cautionary tale.In 1970, a low-budget crime drama shot in 16 mm by first-time
American director Barbara Loden won the international critics’ prize at the Venice Film Festival.
Wanda 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 sub-$200,000 production, for which Loden spent six years raising
money, was praised by Vincent Canby 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 directed by Larry Cohen, Bone (1972), Black Caesar (1973),
and Hell Up in Harlem (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 Deathdream (1974), directed by Bob Clark, is also an agonized protest of the war
in Vietnam. Canadian filmmaker David Cronenberg made serious-minded low-budget horror films
whose implications are not so much ideological as psychological and existential: Shivers (1975),
Rabid (1977), The Brood (1979). An Easy Rider 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 Electra Glide in Blue
(1973), directed by James William Guercio.The New York Times 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.”
In the early 1970s, the growing practice of screening nonmainstream motion pictures as late
shows, with the goal of building a cult film audience, brought the midnight movie concept home to
the cinema, now in a countercultural setting—something like a drive-in movie for the hip.One of
the first films adopted by the new circuit in 1971 was the three-year-old Night of the Living Dead.
The midnight movie success of low-budget pictures made entirely outside of the studio system,
like John Waters’s Pink Flamingos (1972), with its campy spin on exploitation, spurred the
development of the independent film movement. The Rocky Horror Picture Show (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 Rocky Horror generated its own subcultural phenomenon, it
contributed to the mainstreaming of the theatrical midnight movie.
Asian martial arts films began appearing as imports regularly during the 1970s. These “kung fu”
films as they were often called, whatever martial art they featured, were popularized in the United
States by the Hong Kong–produced movies of Bruce Lee and marketed to the same audience
targeted by AIP and New World. Horror continued to attract young, independent American
directors. As Roger Ebert 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.”[88] The
movie under consideration was The Texas Chain Saw Massacre. Made by Tobe Hooper for no
more than $250,000, it became one of the most influential horror films of the decade.[89] John
Carpenter’s Halloween (1978), produced on a $320,000 budget, grossed over $80 million
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, Halloween, in turn, largely followed the
model of Black Christmas, directed by Deathdream’s Bob Clark.[90]
On television, the parallels between the weekly series that became the mainstay of prime-time
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 TV movies expanded with the introduction of the ABC Movie of the Week 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 The Ordeal of Patty Hearst, which premiered a month after her release
from prison in 1979—harkened all the way back to the 1920s and such movies as Human
Wreckage and When Love Grows Cold, FBO pictures made swiftly in the wake of celebrity
misfortunes. Many 1970s TV films—such as The California Kid (1974), starring Martin Sheen—
were action-oriented genre pictures of a type familiar from contemporary cinematic B production.
Nightmare in Badham County (1976), headed straight into the realm of road-tripping-girls-inredneck-
bondage exploitation.

The reverberations of Easy Rider could be felt in such pictures, as well as in a host of big-screen
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. Rosemary’s Baby had been a big hit, but it had little in common with the
exploitation style. Warner Bros.’ The Exorcist demonstrated that a heavily promoted horror film
could be an absolute blockbuster: it was the biggest movie of the year and by far the highestearning
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 cinema…. [P]ast exploitation films
managed to exploit their cruelties by virtue of their marginality. The Exorcist 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.”[91]
Universal and writer-director George Lucas’s American Graffiti 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.[92] Even more historically significant movies with B themes and A-level financial backing
would follow in their wake.
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 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 Airport (1969) and
especially in the mega-schlock of The Poseidon Adventure (1972), Earthquake (1973), and The
Towering Inferno (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. The Exorcist 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:
Steven Spielberg’s creature feature Jaws (1975) and George Lucas’s space opera Star Wars
(1977) had each, in turn, become the highest-grossing film in motion picture history. Superman,
released in December 1978, had proved that a studio could spend $55 million on a movie about a
children’s comic book character and turn a big profit—it was the top box-office hit of
1979.Blockbuster fantasy spectacles like the original, 1933 King Kong had once been
exceptional; in the new Hollywood, increasingly under the sway of multi-industrial conglomerates,
they would rule.
“Too gory to be an art film, too arty to be an exploitation film, funny but not quite a comedy”: 168
private investors kicked in for Blood Simple’s $1.5 million budget.In the tradition of Mann and
Alton, brothers Joel and Ethan Coen brought a striking visual style to the B noir in 1984.It had
taken a decade and half, from 1961 to 1976, for the production cost of the average Hollywood
feature to double from $2 million to $4 million—actually 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
about 25 percent). Even as the U.S. inflation rate eased, the average expense of moviemaking
would continue to soar.[96] 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. Revival houses were now the almost-exclusive preserve of
the double feature. One of the first leading casualties of the new economic regime was venerable
B studio Allied Artists, which declared bankruptcy in April 1979.[97] In the late 1970s, AIP had
moved into the production of relatively expensive films like the very successful Amityville Horror
and the disastrous Meteor in 1979. The studio was soon sold off and dissolved as a moviemaking
concern by the end of 1980.[98]
Despite the mounting financial pressures, distribution obstacles, and overall risk, a substantial
number of 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 The Slumber Party Massacre (1982), written by feminist author Rita Mae Brown. 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 punk scene written and
directed by Penelope Spheeris. The New York Times review concluded: “Suburbia is a good
genre film.”
Byy the turn of the millennium, the average production cost of an American feature had already
spent three years above the $50 million markIn 2005, the top ten movies at the U.S. box office
included three adaptations of children’s fantasy novels (including one extending and another
initiating a series), a child-targeted cartoon, a comic book adaptation, a sci-fi series installment, a
sci-fi remake, and a King Kong 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 recently. As big-budget Hollywood movies further usurped traditional low-rent genres,
the ongoing viability of the familiar brand of B movie was in grave doubt. New York Times critic A.
O. Scott warned of the impending “extinction” of “the cheesy, campy, guilty pleasures” of the B
picture, as “the schlock of the past has evolved into star-driven, heavily publicized, expensive
mediocrities….”
B movies aren’t necessarily “schlock.” Writer-director-star-producer-composer-etc. Shane Carruth
made Primer (2004) for $7,000. The sophisticated sci-fi film is 77 minutes long.On the other hand,
recent industry trends suggest the reemergence of something that looks very 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 currently around $60m, rising to $100m 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 ($120-150m) and niche features ($5-
20m)…. Fewer $30-70m releases are expected.” at least by major studio standards. According to
a Variety report, “Fox Atomic is staying at or below the $10 million 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 bigname.”
In sum, this is an updated version of a Golden Age big studio B unit targeting a market
very similar to the one AIP helped define in the 1950s.
In a development hinted at in this Variety piece, recent technological advances are greatly
facilitating the production of truly low-budget motion pictures. Although there have always been
economical means with which to shoot movies, including Super 8 and 16 mm film and video
cameras recording onto analog videotape, these mediums could hardly rival the image quality of
35 mm film. The development and widespread usage of digital cameras and postproduction
methods 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 1/10th that for film, significantly lowering the
production budget for independent features. At the same time, over the past 2-3 years, 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
so-called digital end-to-end methods of distribution offer new opportunities. In a similar way,
Internet sites such as YouTube have opened up entirely new avenues for the presentation of lowbudget
motion pictures.

COURSE FILMS
The Cat People (1942)
Irena Dubrovna, a beautiful and mysterious Serbian-born fashion artist living in New York City, falls in
love with and marries average-Joe American Oliver Reed. Their marriage suffers though, as Irena believes
that she suffers from an ancient curse- whenever emotionally aroused, she will turn into a panther and kill.
Oliver thinks that is absurd and childish, so he sends her to psychiatrist Dr. Judd to cure her. Easier said
than done…
Directed by
Jacques Tourneur
Writers
DeWitt Bodeen Written by
Producers
Val Lewton … producer
Cast – in credits order (verified as complete)
Simone Simon … Irena Dubrovna Reed
Kent Smith … Oliver Reed
Tom Conway … Dr. Louis Judd
Jane Randolph … Alice Moore
Jack Holt … The Commodore
Roy Webb
Cinematographers
Nicholas Musuraca (director of photography)
Editors
Mark Robson
Art Directors
Albert S. D’Agostino
Walter E. Keller
Set Decorators
Al Fields¹
Darrell Silvera
Costume Designers
Renié (gowns)
Second Unit Directors or Assistant Directors
Doran Cox … assistant director
Sound Department
John L. Cass … sound recordist

The Blob (1958)
A mysterious creature from another planet, resembling a giant blob of jelly, lands on earth. The people of a
nearby small town refuse to listen to some teenagers who have witnessed the blob’s destructive power. In
the meantime, the blob just keeps on getting bigger.
Directed by
Irvin S. Yeaworth Jr.
Writers
Kate Phillips¹ Writer
Irvine Millgate Story
Theodore Simonson Writer
Producers
Russell Doughten¹ … associate producer
Jack H. Harris … producer
Cast – in credits order
Steven McQueen¹ … Steve Andrews
Aneta Corsaut … Jane Martin
Earl Rowe … Lt. Dave
Olin Howlin¹ … Old man
Steven Chase¹ … Dr. T. Hallen
John Benson … Sgt. Jim Bert
George Karas … Officer Ritchie
Lee Payton¹ … Kate, the nurse
Elbert Smith … Henry Martin
Hugh Graham … Mr. Andrews
Vince Barbi¹ … George (cafe owner)
Audrey Metcalf … Elizabeth Martin
Jasper Deeter … Civil Defense volunteer
Tom Ogden
Elinor Hammer … Mrs. Porter
Julie Cousins … Sally (waitress)
Kieth Almoney … Danny Martin
Eugene Sabel
Robert Fields … Tony Gressette
James Bonnet … ‘Mooch’ Miller
Anthony Franke … Al
Molly Ann Bourne … Teenager
Diane Tabben … Teenager
Original Music
Ralph Carmichael
Cinematographers
Thomas Spalding¹
Editors
Alfred Hillmann
Art Directors
William Jersey
Karl Karlson
Make Up Department
Vin Kehoe … makeup artist
Second Unit Directors or Assistant Directors
Bert Smith¹ … assistant director
Sound Department
Gottfried Buss … sound
Robert Clement … sound
Special Effects Department
Bart Sloane … special effects
Camera and Electrical Department
Vincent Spangler … chief set electrician
Wayne Trace … camera operator
Editorial Department
Floyd Ver Voorn … assistant editor
Music Department
Ralph Carmichael … conductor
Jean Yeaworth … music supervisor

Man From Planet X (1951)
To study a rogue planet heading for a near-miss with Earth, Prof. Elliot sets up an observatory on the foggy
moors of a remote Scottish island, with his pretty daughter and Dr. Mears, a former student with a shady
past. Soon after arrival of reporter John Lawrence, a ship from Planet X just happens to land near the
observatory. Is the visitor (who actually looks alien) benevolent? What are Mears’ real motives for trying to
communicate with it?
Directed by
Edgar G. Ulmer
Writers
Writer
Aubrey Wisberg and
Jack Pollexfen
Producers
Ilse Lahn … associate producer
Jack Pollexfen … producer
Aubrey Wisberg … producer
Cast – in credits order (verified as complete)
Robert Clarke … John Lawrence
Margaret Field … Enid Elliot
Raymond Bond … Professor Elliot
William Schallert … Dr. Mears
Roy Engel … Tommy the Constable
Charles Davis … Georgie, man at dock
Gilbert Fallman … Dr. Robert Blane
David Ormont … Inspector Porter
June Jeffery … Wife of missing man
Other credited cast listed alphabetically
Tom Daly … (uncredited)
Franklyn Farnum … Sgt. Ferris, Porter’s Assistant (uncredited)
Pat Goldin … The Man from Planet X (uncredited)
Original Music
Charles Koff
Cinematographers
John L. Russell
Editors
Fred R. Feitshans Jr.
Art Directors
Angelo Scibetta
Byron Vreeland
Second Unit Directors or Assistant Directors
Les Guthrie¹ … assistant director
Sound Department
Joel Moss … sound
William Randall … sound
Special Effects Department
Andy Anderson … special effects
Howard Weeks … special effects
Visual Effects Department
Jack Glass¹ … photographic effects
Jack Rabin … optical effects (uncredited)
Miscellaneous Crew
Shirley Ulmer … script supervisor

Rabid (1977)
-Rose is involved in a motorcycle accident, and has experimental surgery performed in order to save her
life. However, she develops a taste for blood. Her victims grow in number as well as madness, turning the
city into chaos.
Directed by
David Cronenberg
Writers
David Cronenberg Writer
Producers
Don Carmody … co-producer
John Dunning … producer
Danny Goldberg … associate producer
André Link … executive producer
Ivan Reitman … executive producer
Cast – in credits order (verified as complete)
Marilyn Chambers … Rose
Frank Moore … Hart Read
Joe Silver … Murray Cypher
Howard Ryshpan … Dr. Dan Keloid
Patricia Gage … Dr. Roxanne Keloid
Susan Roman … Mindy Kent
Roger Periard … Lloyd Walsh
Lynne Deragon … Nurse Louise
Terry Schonblum … Judy Glasberg
Victor Désy … Claude LaPointe
Julie Anna … Nurse Rita
Gary McKeehan … Smooth Eddy
Terence G. Ross … Farmer
Miguel Fernandes … Man In Cinema
Robert O’Ree … Police Sergeant
Greg Van Riel … Young Man In Plaza
Jérôme Tiberghien … Dr. Karl
Allan Moyle … Young Man In Lobby
Richard W. Farrell … Camper Man
Jeannette Casenave … Camper Lady
Karl Wasserman … Camper Child
John Boylan … Young Cop In Plaza
Malcolm Nelthorpe … Older Cop In Plaza
Vlasta Vrana … Cop At Clinic
Kirk McColl … Desk Sergeant
Jack Messinger … Policeman On Highway
Yvon Lecompte … Policeman
Grant Lowe … Trucker
John Gilbert … Dr. Royce Gentry
Tony Angelo … Dispatcher
Peter McNeill … Loader
Una Kay … Jackie
Madeleine Pageau … Beatrice Owen
Mark Walker … Steve
Bob Silverman¹ … Man In Hospital
Monique Bélisle … Sheila
Ronald Mlodzik … Male Patient
Isabelle Lajeunesse … Waitress
Terry Donald … Cook
Louis Negin … Maxim
Robert V. Girolami … Newscaster
Harry Hill … Stasiuk
Kathy Keefler … Interviewer
Marcel Fournier … Cab Driver
Valda Dalton … Lady in Car
Murray Smith … Interviewer
Riva Spier … Cecile
Denis Lacroix … Drunken Indian
Sherman Maness … Indian
Basil Fitzgibbon … Crazy In Plaza
Cinematographers
René Verzier
Editors
Jean LaFleur
Casting Directors
Sharron Wall
Art Directors
Claude Marchand
Make Up Department
Heather Allan … assistant makeup artist
Joe Blasco … special makeup design
Kathy Flynn … special makeup effects assistant
Byrd Holland … special makeup artist
Mireille Recton … makeup supervisor
Sharron Wall … makeup artist: second unit
Mike Bacarella … sculptor lab work (uncredited)
Production Managers
Don Carmody … production manager
Sarah Dundas … assistant production manager

A Boy and His Dog (1977)
A post-apocalyptic tale based on a novella by Harlan Ellison. A boy communicates telepathically with his
dog as they scavenge for food and sex, and they stumble into an underground society where the old society
is preserved. The daughter of one of the leaders of the community seduces and lures him below, where the
citizens have become unable to reproduce because of being underground so long. They use him for
impregnation purposes, and then plan to be rid of him.
Directed by
L.Q. Jones
Writers
Story
Harlan Ellison
Writer
L.Q. Jones
Producers
Tom Connors … associate producer
L.Q. Jones … producer
Alvy Moore … producer
Cast – in credits order (verified as complete)
Don Johnson … Vic
Susanne Benton … Quilla June Holmes
Jason Robards … Lou Craddock
Tim McIntire … Blood (voice)
Alvy Moore … Doctor Moore
Helene Winston … Mez Smith
Charles McGraw … Preacher
Hal Baylor … Michael
Ron Feinberg … Fellini
Mike Rupert¹ … Gery
Don Carter … Ken
Michael Hershman … Richard
Other credited cast listed alphabetically
L.Q. Jones … Actor in Porno Film
Original Music
Tim McIntire
Cinematographers
John Arthur Morrill
Editors
Scott Conrad
Production Designers
Ray Boyle
Make Up Department
Wes Dawn … makeup artist
Art Department
Terry Ballard … property master
Sound Department
James Contreras¹ … boom operator
Rod Sutton … sound mixer
Special Effects Department
Frank Rowe … special effects
Stunts
Denny Arnold … stunts
Bill Burton¹ … stunt coordinator
Gary Combs … stunts
Camera and Electrical Department
Richmond L. Aguilar … electrician
Guy Badger … generator operator
Dennis Bishop … best boy
Phillip Dunn … grip
John Arthur Morrill … camera operator
John Murray¹ … electrician
Tom Ramsey … key grip
Tim Wawrzeniak … assistant camera
Kurt Young … grip
Costume and Wardrobe Department
Leo Kraak … costumes: Miss Winston
Steve McQueen … assistant wardrobe
Carolyn Moore … wardrobe
Editorial Department
Richard Ruskin … musician
Miscellaneous Crew
Richard Butz … production assistant
Nat Cohen … presenter
Joe Hornok … animal trainer: tiger
Don Karr … production assistant

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