B-film

'n B-film of B-fliek is 'n tipe lae-begroting kommersiële rolprent. Hierdie term het tydens die "Goue Era van Hollywood" oorspronklik spesifiek verwys na films wat bedoel was om vertoon te word as die minder bekende tweede helfte van 'n dubbele rolprent, ietwat soortgelyk aan B-kante in die wêreld van opgeneemde musiek. Die vervaardiging van sulke rolprente as "tweede rolprente" in die Verenigde State het egter teen die einde van die 1950's grootliks afgeneem. Hierdie verskuiwing was te wyte aan die opkoms van kommersiële televisie, wat die rolprentateljee B-filmproduksiedepartemente aangespoor het om na televisiefilmproduksieafdelings oor te skakel. Hierdie afdelings het voortgegaan om inhoud soortgelyk aan B-flieks te skep, al was dit in die vorm van lae-begroting films en reekse.

Vandag word die term "B-film" in 'n breër sin gebruik. In die gebruik na die "Goue Era" kan B-films 'n wye spektrum van rolprente insluit, wat wissel van sensasionele films tot onafhanklike kunshuisproduksies. Hierdie evolusie beklemtoon hoe die konsep van B-films aangepas en volgehou is in die voortdurend veranderende landskap van die rolprentbedryf.

In beide gebruike verteenwoordig die meeste B-films 'n bepaalde genre—die Western was die "Goue Era" se belangrikste B-film, terwyl lae-begroting wetenskapsfiksiefilms en rillers in die 1950's gewilder geword het. Vroeë B-films was dikwels deel van reekse waarin die ster herhaaldelik dieselfde karakter gespeel het. Dit was byna altyd korter as die hoofrolprent, baie het speeltye van 70 minute of minder gehad. Die term B-film veronderstel 'n algemene persepsie dat B-films meer minderwaardig was as die hoofrolprent; individuele B-films is dikwels deur kritici geïgnoreer. 

Hedendaagse B-fims inspireer steeds soms veelvuldige vervolgverhale, maar reekse is minder algemeen. Soos die gemiddelde looptyd van topfilms toegeneem het, het dié van B-films ook toegeneem. In sy huidige gebruik het die term ietwat teenstrydige konnotasies: dit kan 'n mening aandui dat 'n sekere fliek (a) 'n "genre-film" is met minimale artistieke ambisies of (b) 'n lewendige, energieke film wat nie geïnhibeer word deur die beperkings wat op duurder projekte geplaas word nie. Dit is dan nie belas deur die konvensies van meer ernstige onafhanklike films nie. Die term word ook nou losweg gebruik om te verwys na sommige hoër-begroting, hoofstroomfilms, gewoonlik in genres wat tradisioneel met die B-film geassosieer word.

Van die ontstaan van B-films tot vandag, het B-films geleenthede gebied vir beide diegene wat in die beroep tree en andere wie se loopbane aan't kwyn is. Gevierde rolprentmakers soos Anthony Mann en Jonathan Demme het hul kuns in B-films vervolmaak. Akteurs soos John Wayne en Jack Nicholson het aanvanklik in B-films gevestig geraak, en B-films het werk verskaf aan voormalige A-fliekakteurs en -aktrises, soos byvoorbeeld Vincent Price en Karen Black. Sommige akteurs en aktrises, soos Bela Lugosi, Eddie Constantine, Bruce Campbell, en Pam Grier, het vir die grootste deel van hul loopbane in B-films gewerk. Die terme "B-akteur en aktrise" word soms gebruik om te verwys na kunstenaars wat hoofsaaklik of uitsluitlik in B-films werk vind.

 Geskiedenis 
duimnael|regs|Columbia se That Certain Thing (1928) is vervaardig vir minder as $20,000. Die regisseur Frank Capra se verbintenis met Columbia het die studio 'n hupstoot gegee na Hollywoord se kalklig.Hirschhorn (1999), pp. 9–10, 17.

In 1927–28, aan die einde van die era van stilrolprente, het die produksiekoste van 'n gemiddelde rolprent van 'n groot Hollywood-ateljee gewissel van $190 000 by 20th Century Fox tot $275 000 by Metro-Goldwyn-Mayer. Die gemiddelde bedrag het beide "specials" weerspieël wat soveel as $1 miljoen kon kos, en films wat vinnig gemaak is vir ongeveer $50 000. Hierdie goedkoper rolprente (nog nie B-films genoem nie) het die ateljees toegelaat om maksimum waarde te put uit fasiliteite en gekontrakteerde personeel tussen 'n ateljee se belangriker produksies, terwyl hulle ook nuwe personeel ingebreek het.Finler (2003), pp. 41–42; Balio (2003), p. 29.

Ateljees in die laer-koste deel van die bedryf, soos Columbia Pictures en Film Booking Offices of America (FBO), het op die soort goedkoop produksies gefokus. Hul flieks, met relatief kort draaitye, het teaters geteiken wat huur- en bedryfskoste moes besnoei, veral kleindorpse en stedelike woonbuurte. Selfs kleiner vervaardigers, bekend as Poverty Row-ateljees, het rolprente gemaak waarvan die koste so laag as $3 000 kon beloop, op soek na wins deur enige besprekings wat hulle ook al kon optel in die gapings wat deur die groter vervaardigers gelaat word.Sien, bv. Taves (1995), p. 320.

Met die wydverspreide aankoms van klankfilm in Amerikaanse teaters in 1929, het baie onafhanklike rolprentvertoners die destyds dominante aanbiedingsmodel laat vaar, wat regstreekse optredes en 'n wye verskeidenheid kortfilms behels het voor die aanvang van die hooffilm. 'n Nuwe programmeringskema het ontwikkel wat gou standaardpraktyk geword het: 'n nuusfilm, 'n kortfilm en/of rolprentreeks, en 'n animasiefilm, gevolg deur twee films. Die tweede film, wat eintlik voor die hooffilm vertoon is, het die vertoner minder per minuut gekos as die ekwivalente looptyd van die nuusfilms, korter films, reekse en animasieprente.Balio (1995), p. 29. Sien ook Schatz (1999), pp. 16, 324.

Die groot rolprenthuise se reëls, wat hul geaffilieerde teaters bevoordeel het, het tydige toegang tot topgehalte-rolprente vir onafhanklike teaters onmoontlik gemaak; die tweede kenmerk het hulle toegelaat om eerder hoeveelheid te bevorder. Die bykomende fliek het ook die program "balans" gegee—die praktyk om verskillende soorte kenmerke te koppel het die idee by potensiële klante geskep dat hulle iets van werklike belang kon kyk, ongeag wat werklik vertoon word. Die lae-begroting films van die 1920's het dus ontwikkel tot die tweede rolprent, die B-film, van Hollywood se "Goue Era".Sien Finler (2003), pp. 26, 41–43, 47–49.

 Verwysings 

 Bronnelys 

 Auty, Chris (2005). "The Amazing Colossal Man," in Pym, Time Out Film Guide, p. 34.
 Balio, Tino (1995 [1993]). Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. Berkeley, Los Angeles, and London: University of California Press. 
 Berra, John (2008). Declarations of Independence: American Cinema and the Partiality of Independent production. Bristol, UK, and Chicago: Intellect. 
 Biskind, Peter (1998). Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock'n'Roll Generation Saved Hollywood. New York: Simon & Schuster. 
 Braucort, Guy (1970). "Interview with Don Siegel", in Focus on the Science Fiction Film (1972), ed. William Johnson, pp. 74–76. Englewood Cliffs, N.J.: Prentice-Hall. 
 Cagin, Seth, and Philip Dray (1984). Hollywood Films of the Seventies. New York: Harper & Row. 
 Chapman, James (2000). Licence to Thrill: A Cultural History of the James Bond Films. New York and Chichester, West Sussex: Columbia University Press. 
 Collum, Jason Paul (2004). Assault of the Killer B's: Interviews with 20 Cult Film Actresses. Jefferson, N.C., and London: McFarland. 
 Cook, David A. (2000). Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979. Berkeley, Los Angeles, and London: University of California Press. 
 Corman, Roger, with Jim Jerome (1998). How I Made a Hundred Movies in Hollywood and Never Lost a Dime, new ed. New York: Da Capo. 
 Cousins, Mark (2004). The Story of Film. New York: Thunder's Mouth. 
 Denby, David (1985). "Where the Coyotes Howl", New York, 21 Januarie, pp. 51–53.
 Denisoff, R. Serge, and William D. Romanowski (1991). Risky Business: Rock in Film. New Brunswick, N.J.: Transaction. 
 Desser, David (2000). "The Kung Fu Craze: Hong Kong Cinema's First American Reception", in The Cinema of Hong Kong: History, Arts, Identity, ed. Poshek Fu and David Desser, pp. 19–43. Cambridge, UK, and New York: Cambridge University Press. 
 Di Franco, J. Philip, ed. (1979). The Movie World of Roger Corman. New York and London: Chelsea House. 
 Epstein, Edward Jay (2005). The Big Picture: The New Logic of Money and Power in Hollywood. New York: Random House. 
 Finler, Joel W. (2003). The Hollywood Story, 3d ed. London and New York: Wallflower. 
 Frank, Allan G. (1998). The Films of Roger Corman: "Shooting My Way out of Trouble". London: B.T. Batsford. 
 Frasier, David K. (1997 [1990]). Russ Meyer—The Life and Films. Jefferson, N.C.: McFarland. 
 Goodwin, Doris Kearns (1987). The Fitzgeralds and the Kennedys: An American Saga. New York: Simon & Schuster. 
 Haines, Richard W. (2003). The Moviegoing Experience, 1968–2001. Jefferson, N.C., and London: McFarland. 
 Halperin, James L., ed. (2006). Heritage Signature Vintage Movie Poster Auction #636. Dallas: Heritage Capital. 
 Harper, Jim (2004). Legacy of Blood: A Comprehensive Guide to Slasher Movies. Manchester, UK: Headpress. 
 Heffernan, Kevin (2004). Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968. Durham, N.C., and London: Duke University Press. 
 Hirschhorn, Clive (1979). The Warner Bros. Story. New York: Crown. 
 Hirschhorn, Clive (1999). The Columbia Story. London: Hamlyn. 
 Hoberman, J., and Jonathan Rosenbaum (1983). Midnight Movies. New York: Da Capo. 
 Hollows, Joanne (2003). "The Masculinity of Cult," in Defining Cult Movies: The Cultural Politics of Oppositional Taste, ed. Mark Jancovich, pp. 35–53. Manchester, UK, and New York: Manchester University Press. 
 Hurd, Mary G. (2007). Women Directors and Their Films. Westport, Conn.: Greenwood. 
 James, David E. (2005). The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. Berkeley, Los Angeles, and London: University of California Press. 
 Jewell, Richard B., with Vernon Harbin (1982). The RKO Story. New York: Arlington House/Crown. 
 Kael, Pauline (1973). "Un-People," in her Reeling (1976), pp. 263–79. New York: Warner. 
 Kauffman, Linda S. (1998). Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture. Berkeley, Los Angeles, and London: University of California Press. 
 King, Geoff (2005). American Independent Cinema. London and New York: I.B. Tauris. 
 Kinnard, Roy (1988). Beasts and Behemoths: Prehistoric Creatures in the Movies. Lanham, Md.: Rowman & Littlefield. 
 Komiya, Megumi, and Barry Litman, "The Economics of the Prerecorded Videocassette Industry," in Social and Cultural Aspects of VCR Use, ed. Julia R. Dobrow, pp. 25–44. Hillsdale, N.J.: Lawrence Erlbaum. 
 Landis, Bill, and Michelle Clifford (2002). Sleazoid Express: A Mind-Twisting Tour through the Grindhouse Cinema of Times Square. New York: Fireside/Simon & Schuster. 
 Langford, Barry (2005). Film Genre: Hollywood and Beyond, 2d ed. Edinburgh: Edinburgh University Press. 
 Lasky, Betty (1989). RKO: The Biggest Little Major of Them All. Santa Monica, Calif.: Roundtable. 
 Lawrence, Novotny (2008). Blaxploitation Films of the 1970s: Blackness and Genre. New York and London: Routledge. 
 Lentz, Harris M. (2002). Obituaries in the Performing Arts, 2001. Jefferson, N.C.: McFarland. 
 Lev, Peter (2003). Transforming the Screen: 1950–1959. New York et al.: Thomson-Gale. 
 Levine, Elena (2007). Wallowing in Sex: The New Sexual Culture of 1970s American Television. Durham, N.C.: Duke University Press. 
 Lewis, Jon (2002). Hollywood v. Hard Core: How the Struggle over Censorship Created the Modern Film Industry. New York: New York University Press. 
 Loy, R. Philip (2004). Westerns in a Changing America, 1955–2000. Jefferson, N.C., and London: McFarland. 
 Lyons, Arthur (2000). Death on the Cheap: The Lost B Movies of Film Noir. New York: Da Capo. 
 Maltby, Richard (2000). "'The Problem of Interpretation...': Authorial and Institutional Intentions In and Around Kiss Me Deadly," Screening the Past (June 30, available online ).
 Mank, Gregory William (2001). Hollywood Cauldron: 13 Horror Films from the Genre's Golden Age. Jefferson, N.C., and London: McFarland. 
 Mathijs, Ernest, and Xavier Mendik,eds. (2008). The Cult Film Reader. Maidenhead and New York: Open University Press. 
 Matthews, Melvin E. (2007). Hostile Aliens, Hollywood, and Today's News: 1950s Science Fiction Films and 9/11. New York: Algora. 
 McCarthy, Todd, and Charles Flynn, eds. (1975). Kings of the Bs: Working Within the Hollywood System—An Anthology of Film History and Criticism. New York: E.P. Dutton. 
 McGilligan, Patrick (1996). Jack's Life: A Biography of Jack Nicholson. New York: W. W. Norton. 
 Merritt, Greg (2000). Celluloid Mavericks: The History of American Independent Film. New York: Thunder's Mouth. 
 Milne, Tom (2005). "Electra Glide in Blue," in Pym, Time Out Film Guide, p. 389.
 Morrow, John (1996). "Cinekirbyesque: Examining Jack's Deal with Empire Pictures," Jack Kirby Collector 12 (July).
 Mottram, James (2006). The Sundance Kids: How the Mavericks Took Back Hollywood. New York: Macmillan. 
 Muller, Eddie (1998). Dark City: The Lost World of Film Noir. New York: St. Martin's. 
 Nachbar, Jack, ed. (1974). Focus on the Western. Englewood Cliffs, N.J.: Prentice-Hall. 
 Naremore, James (1998). More Than Night: Film Noir in Its Contexts. Berkeley, Los Angeles, and London: University of California Press. 
 Ottoson, Robert (1981). A Reference Guide to the American Film Noir: 1940–1958. Metuchen, N.J., and London: Scarecrow Press. 
 Paul, William (1994). Laughing, Screaming: Modern Hollywood Horror and Comedy. New York: Columbia University Press. 
 Petit, Chris (2005). "The Winged Serpent (aka Q—The Winged Serpent)," in Pym, Time Out Film Guide, p. 1481.
 Prince, Stephen (2002). A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980–1989. Berkeley: University of California Press. 
 Pym, John, ed. (2005). Time Out Film Guide, 14th ed. London et al.: Time Out. 
 Quarles, Mike (2001 [1993]). Down and Dirty: Hollywood's Exploitation Filmmakers and Their Movies. Jefferson, N.C.: McFarland. 
 Rabiger, Michael (2008). Directing: Film Techniques and Aesthetics, 4th ed. Burlington, Mass.: Focal Press. 
 Rausch, Andrew J., with Michael Dequina (2008). Fifty Filmmakers: Conversations with Directors from Roger Avary to Steven Zaillian. Jefferson, N.C.: McFarland. 
 Reid, John Howard (2005a). Hollywood 'B' Movies: A Treasury of Spills, Chills & Thrills. Morrisville, N.C.: Lulu. 
 Reid, John Howard (2005b). Movie Westerns: Hollywood Films the Wild, Wild West. Morrisville, N.C.: Lulu. 
 Rockoff, Adam (2002). Going to Pieces: The Rise and Fall of the Slasher Film, 1978–1986. Jefferson, N.C., and London: McFarland. 
 Reynaud, Bérénice (2006). "Wanda's Shattered Lives" (booklet accompanying Parlour Pictures DVD release of Wanda).
 Rubin, Martin (1999). Thrillers. Cambridge, UK, and New York: Cambridge University Press. 
 Russell, Carolyn R. (2001). The Films of Joel and Ethan Coen. Jefferson, N.C., and London: McFarland. 
 Sapolsky, Barry S., and Fred Molitor (1996). "Content Trends in Contemporary Horror Films," in Horror Films: Current Research on Audience Preferences and Reactions, ed. James B. Weaver, pp. 33–48. Mahwah, N.J.: Lawrence Erlbaum. 
 Schaefer, Eric (1992). "Of Hygiene and Hollywood: Origins of the Exploitation Film", in Hollywood: Critical Concepts in Media and Cultural Studies—Vol. 1: Historical Dimensions: The Development of the American Film Industry (2004), ed. Thomas Schatz, pp. 161–80 (originally published in The Velvet Light Trap 30). New York and London: Routledge. 
 Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Durham, N.C., and London: Duke University Press. 
 Schatz, Thomas (1993). "The New Hollywood", in Film Theory Goes to the Movies: Cultural Analysis of Contemporary Film, ed. Jim Collins, Hilary Radner, and Ava Preacher Collins, pp. 8–36. New York and London: Routledge. 
 Schatz, Thomas (1998 [1989]). The Genius of the System: Hollywood Filmmaking in the Studio Era. London: Faber and Faber. 
 Schatz, Thomas (1999 [1997]). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. 
 Schneider, Steven Jay, and Tony Williams (2005). Horror International. Detroit: Wayne State University Press. 
 Schrader, Paul (1972). "Notes on Film Noir", in Silver and Ursini, Film Noir Reader, pp. 53–63 (oorspronklik gepubliseer in Film Comment 8, no. 1).
 Segrave, Kerry (1992). Drive-In Theaters: A History from Their Inception in 1933. Jefferson, N.C., and London: McFarland. 
 Shapiro, Jerome F. (2002). Atomic Bomb Cinema: The Apocalyptic Imagination on Film. New York and London: Routledge. 
 Silver, Alain (1995). "Kiss Me Deadly: Evidence of a Style", rev. ver., in Silver and Ursini, Film Noir Reader, pp. 209–35.
 Silver, Alain, and James Ursini, eds. (1996). Film Noir Reader. Pompton Plains, N.J.: Limelight. 
 Staiger, Janet (2000). Blockbuster TV: Must-see Sitcoms in the Network Era. New York and London: New York University Press. 
 Stevenson, Jack (2003). Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist. Manchester, UK: Headpress/Critical Vision. 
 Strawn, Linda May (1975 [1974]). "Samuel Z. Arkoff [interview]", in McCarthy and Flynn, Kings of the Bs, pp. 255–66.
 Syder, Andrew, and Dolores Tierney (2005). "Importation/Mexploitation, or, How a Crime-Fighting, Vampire-Slaying Mexican Wrestler Almost Found Himself in an Italian Sword-and-Sandals Epic", in Schneider and Williams, Horror International, pp. 33–55.
 Taves, Brian (1995 [1993]). "The B Film: Hollywood's Other Half", in Balio, Grand Design, pp. 313–50.
 Tuska, Jon (1974). "The American Western Cinema: 1903–Present", in Nachbar, Focus on the Western, pp. 25–43.
 Tuska, Jon (1999). The Vanishing Legion: A History of Mascot Pictures, 1927–1935. Jefferson, N.C.: McFarland. 
 Van Peebles, Melvin (2003). "The Real Deal: What It Was... Is! Sweet Sweetback's Baadasssss Song" (commentary accompanying Xenon Entertainment DVD release of Sweet Sweetback's Baadasssss Song).
 Warren, Bill (2001). The Evil Dead Companion. New York: St. Martin's. 
 Waterman, David (2005). Hollywood's Road to Riches. Cambridge, Mass.: Harvard University Press. 
 West, Richard (1974). "Scariest Movie Ever?", Texas Monthly, March, p. 9.
 Williams, Tony (1996). Hearths of Darkness: The Family in the American Horror Film. Cranbury, N.J., London, and Mississauga, Ontario: Associated University Presses. 
 Willis, Sharon (1997). High Contrast: Race and Gender in Contemporary Hollywood Film. Durham, N.C.: Duke University Press. 
 Wood, Robin (2003). Hollywood from Vietnam to Reagan—and Beyond, exp. and rev. ed. New York and Chichester, West Sussex: Columbia University Press. 
 Wyatt, Justin (1998). "The Formation of the 'Major Independent': Miramax, New Line, and the New Hollywood", in Contemporary Hollywood Cinema, ed. Stephen Neale and Murray Smith, pp. 74–90. New York and London: Routledge. 
 Zeitchik, Steven, and Nicole Laporte (2006). "Atomic Label Proves a Blast for Fox", Variety, 19 November (aanlyn beskikbaar ).

 Eksterne skakels 

 The Biology of B-Movie Monsters analysis by Michael C. LaBarbera, University of Chicago
Dwight Cleveland collection of posters, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

 Onderhoude van B-filmspelers 
 The Astounding B-Monster Archive
 Badmovies.org Interviews
 Rogue Cinema
 Search My Trash

 Diverse aangeleenthede 
Paste Magazine's 100 Best "B Movies" of All Time 

Kategorie:Rolprentgenres