B-MOVIE erzählt die letzte Dekade der geteilten Stadt, von Punk bis zur Love Parade, mit authentischem Filmmaterial und Originalinterviews. Blickpunkt: Film. Der Verein B-Movie Kulturinitiative auf St. Pauli ist ein unabhängiges, ehrenamtlich organisiertes Dabei stehen Kinoerlebnis und Filmgenuss im Vordergrund. West-Berlin in den 80er Jahren: Die Stadt ist von einer Mauer umgeben, doch in ihrer Mitte wirken Künstler und Kreative. Die Dokumentation führt in eine Zeit vor dem Fall des Eisernen Vorhangs und begleitet unter anderem Nick Cave, Experte für.
B-Movie – Lust & Sound in West-BerlinAls B-Movie oder B-Picture (selten auch eingedeutscht B-Film) wurde früher der in der Produktion billigere Film. Die nächsten Veranstaltungen: nix. Programm Mail Abo. Podcast über alternative Kinos und Filmclubs in Europa. Episode 5 mit dem Offkino Bielefeld (Germany). Die Hauptfigur ihres 80er Jahre Berlin-Films „B-Movie: Lust & Sound in West-Berlin“ ist der aus Manchester stammende Engländer Mark Reeder, der Ende der.
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Elisabeth Endriss Film B Movie 1944 in Eger im heutigen Tschechien geboren, Film B Movie. - NavigationsmenüEbenfalls zu nennen sind die nach ihrer britischen Produktionsfirma benannten Hammer-Filme. West-Berlin in den 80er Jahren: Die Stadt ist von einer Mauer umgeben, doch in ihrer Mitte wirken Künstler und Kreative. Die Dokumentation führt in eine Zeit vor dem Fall des Eisernen Vorhangs und begleitet unter anderem Nick Cave, Experte für. Als B-Movie oder B-Picture (selten auch eingedeutscht B-Film) wurde früher der in der Produktion billigere Film. Eine wesentliche Eigenschaft des Films ist die Komposition einer großen Fülle unterschiedlichsten Filmmaterials mit ebenso unterschiedlichen Materialqualitäten. B-MOVIE - Lust & Sound in West-Berlin a Film by Jörg arkada-interior.com, Klaus Maeck & Heiko Lange. If you can remember the 80's, you weren't there!
Wie bereits Leonard Diepenbrock Film B Movie, die die Themen Hexerei und Inquisition behandeln, allerdings schalten die meisten Produzenten zur Finanzierung der Inhalte Werbung vor die Clips oder blenden sie Film B Movie den Videos ein. - Unser Programm im Februar 2021: Geschlossen!Das für November geplante Programm "Cineastas Chilenas - Chilenische Filmemacherinnen" werden wir im März oder April nachholen. Unser Programm im Februar Geschlossen! Mai Hoppe, Klaus Maeck, Heiko Lange Produktion Jörg A. Fifty Shades Of Grey Stream Movie2k mit unseren langjährigen Kooperationspartnern schaffen wir ein selbstbestimmtes und werbefreies Kulturprogramm.
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Girlfriend Chris Wilkinson Edit Storyline Marc and Fred went to war when they were refused a double bed at a remote Christian guest house.
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Edit Details Official Sites: Official Facebook Official site. Country: UK. Language: English Russian. Filming Locations: Bristol, England, UK.
Budget: GBP1,, estimated. Runtime: 87 min. Color: Color. Edit page. In the words of one industry report, afternoon moviegoers, "composed largely of housewives and children, want quantity for their money while the evening crowds want 'something good and not too much of it.
Series films are often unquestioningly consigned to the B movie category, but even here there is ambiguity: at MGM, for example, popular series like the Andy Hardy and the Dr.
Kildare — Dr. Gillespie chronicles had leading stars and budgets that would have been A-level at most of the lesser studios. The double feature, never universal, was still the prevailing exhibition model: in , fifty percent of theaters were double-billing exclusively, and others employed the policy part-time.
In the early s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding.
In , independent producer David O. Selznick brought his bloated-budget spectacle Duel in the Sun to market with heavy nationwide promotion and wide release.
The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality.
Considerations beside cost made the line between A and B movies ambiguous. Programmers, with their flexible exhibition role, were ambiguous by definition.
The leading Poverty Row firms began to broaden their scope; in , 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. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief.
In the s, RKO stood out among the industry's Big Five for its focus on B pictures. Lewton produced such moody, mysterious films as Cat People , I Walked with a Zombie , and The Body Snatcher , directed by Jacques Tourneur , Robert Wise , and others who became renowned only later in their careers or entirely in retrospect.
The other major studios also turned out a considerable number of movies now identified as noir during the s. Though many of the best-known film noirs were A-level productions, most s 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 one sample year, , RKO produced along with several noir programmers and A pictures, two straight B noirs: Desperate and The Devil Thumbs a Ride.
Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood.
Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon , Westerns starring Tim Holt , and Tarzan movies with Johnny Weissmuller.
Jean Hersholt played Dr. Christian in six films between and Christian was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid.
Down in Poverty Row, low budgets led to less palliative fare. The little studio had its own house auteur : with his own crew and relatively free rein, director Edgar G.
Ulmer was known as "the Capra of PRC". In , 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 s.
The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films.
After barely inching forward in the s, the average U. The first prominent victim of the changing market was Eagle-Lion, which released its last films in By , the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists.
The following year, Allied released Hollywood's last B series Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end.
In other genres, Universal kept its Ma and Pa Kettle series going through , while Allied Artists stuck with the Bowery Boys until Hollywood's A product was getting longer—the top ten box-office releases of had averaged The age of the hour-long feature film was past; 70 minutes was now roughly the minimum.
While the Golden Age-style second feature was dying, B movie was still used to refer to any low-budget genre film featuring relatively unheralded performers sometimes referred to as B actors.
The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy.
Ida Lupino , a leading actress, established herself as Hollywood's sole female director of the era. Its source is pure pulp , one of Mickey Spillane 's Mike Hammer novels, but Robert Aldrich 's direction is self-consciously aestheticized.
The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb.
The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films.
Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal such as Creature from the Black Lagoon and Sam Katzman at Columbia including It Came from Beneath the Sea —provided little more than thrills, though their special effects could be impressive.
But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies.
Director Don Siegel 's Invasion of the Body Snatchers , released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion.
Gordon , is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea , the army's obsessive secrecy, and America's post-war growth into one fantastic whole".
The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures AIP , founded in by James H.
Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation ARC , soon became the leading U.
When Hot Rod Gang turned a profit, hot rod horror was given a try: Ghost of Dragstrip Hollow David Cook credits AIP with leading the way "in demographic exploitation , target marketing , and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late s.
In , a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet.
Corman directed over fifty feature films through As of , he remained active as a producer, with more than movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures.
He prefers to describe his metier as "low-budget exploitation films". In the late s, William Castle became known as the great innovator of the B movie publicity gimmick.
The creature feature The Tingler featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter.
The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January , there were 96 drive-ins in the United States; a decade later, there were more than 3, The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the s.
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.
In , 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.
In , Levine's Embassy Pictures bought the worldwide rights to Hercules , a cheaply made Italian movie starring American-born bodybuilder Steve Reeves.
The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market Just as valuable to the bottom line, it was even more successful overseas.
The AIP-style dual genre package was the new model. In July , the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained , opened at neighborhood theaters in New York.
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.
With the loosening of industry censorship constraints , the s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films.
The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades—the term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system.
Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly " sexual hygiene ". Audiences might see explicit footage of anything from a live birth to a ritual circumcision.
With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films.
Exploitation movies in the original sense continued to appear: 's Damaged Goods , a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease , comes complete with enormous, grotesque closeups of VD's physical effects.
As far back as , This Nude World was "Guaranteed the Most Educational Film Ever Produced! Best known was Russ Meyer , who released his first successful narrative nudie, the comic Immoral Mr.
Teas , in Five years later, Meyer came out with his breakthrough film, Lorna , which combined sex, violence, and a dramatic storyline.
Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo and How to Stuff a Wild Bikini , starring Annette Funicello and Frankie Avalon.
One of the most influential films of the era, on Bs and beyond, was Paramount's Psycho. 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.
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.
Imports of Hammer Film's increasingly explicit horror movies and Italian gialli , highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.
The Production Code was officially scrapped in , to be replaced by the first version of the modern rating system. One was a high-budget Paramount production, directed by the celebrated Roman Polanski.
Produced by B horror veteran William Castle, Rosemary's Baby was the first upscale Hollywood picture in the genre in three decades. 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.
In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In , for the first time a Meyer film, Finders Keepers, Lovers Weepers!
In May , the most important exploitation movie of the era premiered at the Cannes Film Festival. 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 , a biker movie, and The Trip , as in taking LSD.
The idea Fonda pitched combined those two proven themes. AIP was intrigued but balked at giving his collaborator, Dennis Hopper , also a studio alumnus, free directorial rein.
In the late s and early s, 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 s.
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 , the ten biggest earners averaged In , Corman had a producorial hand in five movies averaging He played a similar part in five films originally released in , two for AIP and three for his own New World: the average length was The biggest studio in the low-budget field remained a leader in exploitation's growth.
In , 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.
One of blaxploitation's biggest stars was Pam Grier , who began her film career with a bit part in Russ Meyer's Beyond the Valley of the Dolls Several New World pictures followed, including The Big Doll House and The Big Bird Cage , both directed by Jack Hill.
Hill also directed her best-known performances, in two AIP blaxploitation films: Coffy and Foxy Brown Blaxploitation was the first exploitation genre in which the major studios were central.
Indeed, the United Artists release Cotton Comes to Harlem , directed by Ossie Davis , is seen as the first significant film of the type.
The days of six quickies for a nickel were gone, but a continuity of spirit was evident. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir.
The first three features directed by Larry Cohen , Bone , Black Caesar , and Hell Up in Harlem , 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.
In the early s, 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.
The midnight movie success of low-budget pictures made entirely outside the studio system, like John Waters ' Pink Flamingos , with its campy spin on exploitation, spurred the development of the independent film movement.
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 s. 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.
As Roger Ebert explained in one 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. 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.
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.
Several small studios, including Republic and Monogram, stepped in to fulfill the need for low-budget movies. These studios were collectively known as Poverty Row, Gower Gulch, or the B-Hive.
The B-film further declined after when the U. Supreme Court issued the Paramount decrees, which prohibited restrictive booking practices and forced the major studios to sell their theatres.
This restructuring, along with competition from television and changes in tastes, resulted in the demise of double bills. Low-budget film production and exhibition did not cease, however.
Studios such as American International Pictures emerged during the s to offer cheaply produced exploitation movies, which were targeted to specific audiences or low-rent exhibitors.
These films, which were not necessarily exhibited with an A-picture, were also dubbed B-films. It was at this juncture that the term B-movie became equated with shoddy production values and poor-quality filmmaking.
B-film Article Additional Info.Un film di serie B, oggi chiamato anche B-movie (ma termine quest'ultimo che in passato negli Stati Uniti aveva un altro significato), tende ad indicare ogni tipo di lungometraggio di mediocre o dubbia qualità e di altrettanto scarso successo di pubblico oppure di critica. B-Movies offers a wide selection of FREE & LEGAL movie content on Youtube: full movies, clips, documentaries, short movies, trailers from all around the world in different languages and subtitles.