By Gary A. Smith
American overseas photos (AIP) used to be a movie creation corporation shaped in April 1954 from American freeing company (ARC) through James H. Nicholson, former revenues supervisor of Realart photos, and Samuel Z. Arkoff, an leisure attorney. It used to be devoted to liberating independently produced, reasonable movies packaged as double positive factors, basically of curiosity to the teens of the Nineteen Fifties, Sixties, and Seventies. Nicholson and Arkoff shaped ARC in 1954, and their first unlock used to be the short and the livid. within the mid-Fifties, American overseas photographs was once the self-proclaimed "Infant of the Industry" and, as such, used to be now not perceived as a major possibility to the key studios of the time. AIP quickly proved themselves very valuable competitors as their youth-oriented double good points started raking in enormous dollars that rivaled and occasionally exceeded the earnings in their rivals. The company's founders have been James H. Nicholson and Samuel Z. Arkoff and through the years they labored jointly as a group AIP became out their such a lot inventive videos, together with i used to be a Teenage Werewolf, seashore get together, and the Roger Corman/Vincent expense Poe motion pictures. this can be the tale of these years informed as a rule utilizing the cloth amassed by means of AIPs big apple publicist.
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Extra info for American International Pictures: The Golden Years
The term in Italian means “comparison” (with connotations of strife). This form of debate was of particular importance during the Renaissance, though it had existed even in ancient times and also figured in Dante’s Commedia. 3 Ricciotto Canudo, “The Birth of a Sixth Art” (1911), in French Film Theory and Criticism: A History/Anthology, vol. 1: 1907–1939, ed. Richard Abel (Princeton: Princeton University Press, 1988), 64–65. Emphases in original. 4 One reviewer criticized the section concerning Dada collage because it did not include a discussion of the earlier history of collage, including the Cubists’ use of it.
And God set them in the firmament of the heaven to give light upon the earth. And to rule over the day and over the night, and to divide the light from the darkness: and God saw that it was good. And God created great whales, and every living creature that moveth, which the waters brought forth abundantly, after their kind, and every winged fowl after his kind: and God saw that it was good. And God blessed them, saying, Be fruitful, and multiply, and fill the waters in the seas, and let fowl multiply in the earth .
Conversely, even though I dealt with Russian and Soviet art in the early twentieth century in the previous volume in this series (Harmony and Dissent), I have treated the a-rationalist Russian movement заум (zaum, trans-sense) in this volume. Dealing with zaum here amplifies the argument that an interest in a-rationality—and even a celebration of a magical irrationality—were phenomena that gave evidence of a belief in the beneficial effects of a higher unreason (or anti-reason). This decision means that details about the artistic ferment in Russia that gave rise to zaum are missing from this volume.
American International Pictures: The Golden Years by Gary A. Smith