An independent film , independent movie , indie film , or indie movie is a feature film or short film that is produced outside the major film studio system in addition to being produced and distributed by independent entertainment companies (or, in some cases, distributed by major companies). Independent films are sometimes distinguishable by their content and style and how the filmmakers' artistic vision is realized. Sometimes, independent films are made with considerably lower budgets than major studio films.
147-476: The Fog is a 1980 American independent supernatural horror film directed by John Carpenter , who also co-wrote the screenplay and created the music for the film. It stars Adrienne Barbeau , Jamie Lee Curtis , Tom Atkins , Janet Leigh and Hal Holbrook . It tells the story of a strange, glowing fog that sweeps over a small coastal town in Northern California . Filmed in the spring of 1979, The Fog
294-603: A cult following , and later came to be considered, as Carpenter opined regarding his creation, "a minor horror classic" though he also stated it was not his favorite film due to re-shoots and low production values. This is one of the reasons he agreed to the 2005 remake . On the review aggregator website Rotten Tomatoes , 75% of 69 critics' reviews are positive, with an average rating of 6.6/10. The website's consensus reads: "A well-crafted return to horror for genre giant John Carpenter, The Fog rolls in and wraps viewers in suitably slow-building chills." Metacritic , which uses
441-485: A heritage that passes from generation to generation. Whenever it is compromised, the affected family or community members might feel compelled to retaliate against an offender to restore the initial "balance of honor" that preceded the perceived injury. This cycle of honor might expand by bringing the family members and then the entire community of the new victim into the brand-new, endless cycle of revenge that may pervade generations. Francis Bacon described revenge as
588-475: A leper colony nearby. The conspirators used the gold plundered from the ship to establish the town. Meanwhile, out at sea, a strange, glowing fog envelops a fishermen's trawler. The fog brings with it the Elizabeth Dane , carrying the vengeful ghosts of Blake and his crew, who kill the fishermen. The following morning, local radio DJ Stevie Wayne is given a piece of driftwood by her son Andy, who found it on
735-458: A weighted average , assigned the film a score of 55 out of 100, based on 11 critics, indicating "mixed or average" reviews. In a 2002 review (for the DVD release of the film), Slant reviewer Ed Gonzalez gave the film 3.5 stars out of four, and stated that "Carpenter's use of 2.35:1 anamorphic widescreen is beyond legendary and his compositions evoke a town that may as well be the last remaining one on
882-424: A big budget adaptation of Frank Herbert 's science fiction novel Dune for Italian producer Dino De Laurentiis 's De Laurentiis Entertainment Group , on the condition that the company release a second Lynch project, over which the director would have complete creative control. Although De Laurentiis hoped it would be the next Star Wars , Lynch's Dune (1984) was a critical and commercial flop, grossing
1029-410: A billion-dollar deal, acquired New Line Cinema, Fine Line Features , and Castle Rock Entertainment in 1994. The acquisitions proved to be a good move for Turner Broadcasting as New Line released The Mask and Dumb & Dumber , Castle Rock released The Shawshank Redemption , and Miramax released Pulp Fiction , all in 1994. The acquisitions of the smaller studios by conglomerate Hollywood
1176-468: A built-in national rating, in order to avoid presenting movies to inappropriately young audiences. Following the advent of television and the Paramount Case , the major studios attempted to lure audiences with spectacle. Widescreen processes and technical improvements, such as Cinemascope , stereo sound, 3-D and others, were developed in an attempt to retain the dwindling audience by giving them
1323-489: A campfire for a lighthouse while sailing through an unearthly fog. Machen finishes the story as midnight strikes and paranormal activity begins occurring around the town. Town priest, Father Malone, discovers his grandfather's diary. The journal reveals that a century earlier, in 1880, the 6 founders of Antonio Bay (including Malone's grandfather) deliberately wrecked a clipper ship named the Elizabeth Dane , so that its wealthy, leprosy -afflicted owner Blake would not establish
1470-453: A centralized archive. Founded in 1962 by Jonas Mekas , Stan Brakhage , Shirley Clarke , Gregory Markopoulos , and others, the Cooperative provided an important outlet for many of cinema's creative luminaries in the 1960s, including Jack Smith and Andy Warhol . When he returned to America, Ken Anger would debut many of his most important works there. Mekas and Brakhage would go on to found
1617-481: A costly distribution system or concede defeat. The veteran producer Joseph Schenck was hired as president. Not only had he been producing pictures for a decade, but he brought along commitments for films starring his wife, Norma Talmadge , his sister-in-law, Constance Talmadge , and his brother-in-law, Buster Keaton . Contracts were signed with a number of independent producers, especially Samuel Goldwyn , Howard Hughes and later Alexander Korda . Schenck also formed
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#17329048182651764-490: A crowd of like-minded avant-garde filmmakers who were interested in creating films as works of art rather than entertainment. Based upon a common belief that the "official cinema" was "running out of breath" and had become "morally corrupt, aesthetically obsolete, thematically superficial, [and] temperamentally boring", this new crop of independents formed The Film-Makers' Cooperative , an artist-run, non-profit organization which they would use to distribute their films through
1911-482: A decade. Unlike the former, John Waters released most of his films during his early life through his own production company, Dreamland Productions . In the early 1980s, New Line Cinema agreed to work with him on Polyester (1981). During the 1980s, Waters would become a pillar of the New York–based independent film movement known as the " Cinema of Transgression ", a term coined by Nick Zedd in 1985 to describe
2058-439: A decent climax." In his 1980 review, Roger Ebert gave the film two out of four stars, commenting: "The movie's made with style and energy, but it needs a better villain. This isn't a great movie but it does show great promise from Carpenter." Similarly, Leonard Maltin rated the film 2 1 ⁄ 2 -stars-out-of-4 and called it a "well-directed but obvious ghost story." In the years following its release, The Fog has amassed
2205-501: A fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi (1983). However, Lynch had seen what had happened to Lucas and his comrades in arms after their failed attempt to do away with the studio system. He refused the opportunity, stating that he would rather work on his own projects. Lynch instead chose to direct
2352-535: A few dozen or possibly a few hundred screens in select urban markets. Films like these usually cost less than $ 10 million, but frequently less than $ 5 million, with small marketing budgets that escalate if and when a particular film performs. The independent film industry exists globally. Many of the most prestigious film festivals are hosted in various cities around the world. The Berlin International Film Festival attracts over 130 countries, making it
2499-542: A filmmaker for a career break; their career is otherwise stalled, or they feel unable to manage a more significant commitment to a studio film; the film offers an opportunity to showcase a talent that has not gained traction in the studio system; or simply because they want to work with a particular director they admire. Examples of the latter include John Travolta and Bruce Willis taking less than their usual pay to work with Quentin Tarantino on Pulp Fiction . Generally,
2646-506: A friend of Barbeau's, was cast as Nick Castle. The Fog was Atkins' first appearance in a Carpenter film, and he also appeared in Carpenter's next film, Escape from New York (1981) as well as Halloween III: Season of the Witch (1982), which was produced and scored by Carpenter. Jamie Lee Curtis , who was the main star of Carpenter's 1978 hit Halloween , appeared as Elizabeth. Commenting on
2793-585: A kind of "wild justice" that "does [..]. offend the law [and] putteth the law out of office." Feuds are cycles of provocation and retaliation, fueled by a desire for revenge and carried out over long periods of time by familial or tribal groups. They were an important part of many pre-industrial societies , especially in the Mediterranean region. They still persist in some areas, notably in Albania with its tradition of gjakmarrja or "blood feuds", revenge that
2940-405: A larger-than-life experience. The 1950s and early 1960s saw a Hollywood dominated by musicals, historical epics, and other films which benefited from these advances. This proved commercially viable during most of the 1950s. However, by the late 1960s, audience share was dwindling at an alarming rate. Several costly flops, including Cleopatra (1963) and Hello, Dolly! (1969) put severe strain on
3087-513: A later squabble. Chimpanzees are one of the most common species that show revenge due to their desire for dominance. Studies have also been performed on less cognitive species such as fish to demonstrate that not only intellectual animals execute revenge. Studies of crows by Professor John Marzluff have also shown that some animals can carry "blood feuds" in similar ways to humans. Using a "dangerous" mask to cover their face and trap, band, and then release crows, Marzluff observed that within two weeks,
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#17329048182653234-472: A loose-knit group of like-minded New York artists using shock value and humor in their Super 8 mm films and video art . Other key players in this movement included Kembra Pfahler , Casandra Stark , Beth B , Tommy Turner, Richard Kern and Lydia Lunch . Rallying around such institutions as the Film-Makers' Cooperative and Anthology Film Archives, this new generation of independents devoted themselves to
3381-554: A means of justice restoration. A growing body of research reveals that a vengeful disposition is correlated to adverse health outcomes: strong desires for revenge and greater willingness to act on these desires have been correlated with post-traumatic stress disorder symptoms and psychiatric morbidity. The popular expression "revenge is a dish best served cold" suggests that revenge is more satisfying if enacted when unexpected or long-feared, inverting traditional civilized revulsion toward "cold-blooded" violence. The idea's origin
3528-526: A mere $ 27.4 million domestically against a $ 45 million budget. De Laurentiis, furious that the film had been a commercial disaster, was then forced to produce any film Lynch desired. He offered Lynch only $ 6 million in order to minimize the risk if the film had failed to recoup its costs; however, the film, Blue Velvet (1986), was a resounding success, earning him another Academy Award for Best Director nod. Lynch subsequently returned to independent filmmaking, and did not work with another major studio for over
3675-696: A number of filmmakers responded by building their own cameras and moving their operations to Hollywood, California , where the distance from Edison's home base of New Jersey made it more difficult for the MPPC to enforce its patents. The Edison Trust was soon ended by two decisions of the Supreme Court of the United States : one in 1912, which canceled the patent on raw film, and a second in 1915, which cancelled all MPPC patents. Though these decisions succeeded at legalizing independent film, they would do little to remedy
3822-450: A number of young film makers began to experiment with transgression not as a box-office draw, but as an artistic act . Directors such as John Waters and David Lynch would make a name for themselves by the early 1970s for the bizarre and often disturbing imagery which characterized their films. When Lynch's first feature film, Eraserhead (1977), brought Lynch to the attention of producer Mel Brooks , he soon found himself in charge of
3969-568: A point; there’s no changing the past, and at a certain distance, there’s no rectifying it." Writer Peter Hutchings notes that, while the film contains these implicit themes, that Carpenter is "more interested in conjuring up a sinister atmosphere than he is in exploring some of the social ramifications of such a story". The initial inspiration for The Fog came to Carpenter when he and his collaborator and then-girlfriend, Debra Hill , were promoting their film Assault on Precinct 13 (1976) in England;
4116-518: A popular literary theme historically and continues to play a role in contemporary works. Examples of literature that feature revenge as a theme include the plays Hamlet and Othello by William Shakespeare , the novel The Count of Monte Cristo by Alexandre Dumas , and the short story " The Cask of Amontillado " by Edgar Allan Poe . More modern examples include the novels Carrie by Stephen King , Gone Girl by Gillian Flynn , and The Princess Bride by William Goldman . Although revenge
4263-526: A proverbial saying, and translated "revenge is very good eaten cold". The phrase has been wrongly credited to the novel Les Liaisons Dangereuses (1782). The phrase has also been credited to the Pashtuns of Afghanistan. Earlier speakers of English might use the set phrase "with a wanion " rather than the more modern standard "with a vengeance" to express intensity. A Japanese proverb states, "If you want revenge, then dig two graves". While this reference
4410-613: A result of the falling cost of technology to make, edit and digitally distribute films, filmmaking is more widely accessible than ever before. Full-length films are often showcased at film festivals such as the Sundance Film Festival, Slamdance Film Festival, South by Southwest Festival, Raindance Film Festival, Telluride Film Festival, and Palm Springs Film Festival. Award winners from these exhibitions are more likely to get picked up for distribution by major film distributors. Film festivals and screenings like these are just one of
4557-501: A separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name. Still, even with a broadening of the company, UA struggled. The coming of sound ended the careers of Pickford and Fairbanks. Chaplin, rich enough to do what he pleased, worked only occasionally. Schenck resigned in 1933 to organize a new company with Darryl F. Zanuck , Twentieth Century Pictures , which soon provided four pictures
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4704-587: A ship and its subsequent plundering was based on an actual event (the wrecking of the Frolic ) that took place in the 19th century near Goleta, California (this event was portrayed more directly in the 1975 Tom Laughlin film, The Master Gunfighter ). The premise also bears strong resemblances to Massimo Pupillo 's 1965 Terror-Creatures from the Grave as well as the John Greenleaf Whittier poem The Wreck of
4851-412: A significant percentage of crows encountered - 26%, to be exact - would "scold" the people wearing the dangerous mask, proving that crows pass information pertaining to feuds within their family units to spread awareness about dangers they may face. This included crows not initially trapped by the mask-wearing researchers, seeing as some of the crows were un-banded. This was further proven three years after
4998-564: A studio's ability to package and release their work. This table lists the companies active in late 1935 illustrates the categories commonly used to characterize the Hollywood system. The studio system quickly became so powerful that some filmmakers once again sought independence. On May 24, 1916, the Lincoln Motion Picture Company was formed, the first movie studio owned and controlled by independent filmmakers. In 1919, four of
5145-428: A total of 152 weeks, and it ultimately grossed $ 21.3 million in the United States and Canada, with $ 11 million of that total being " rentals " (i.e. the share of the film's box office gross that goes to the film's distributors/studio). The Fog has been released on various home video formats since the early 1980s: Magnetic Video released it on betamax and VHS in the fall of 1980, Embassy Home Entertainment reissued
5292-515: A vacant lot near Georgia Street in downtown Los Angeles . While there, the company decided to explore new territories, traveling several miles north to Hollywood , a little village that was friendly and positive about the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California , a Biograph melodrama about California in the 1800s, while it belonged to Mexico. Griffith stayed there for months and made several films before returning to New York. During
5439-403: A year to UA's schedule. He was replaced as president by sales manager Al Lichtman who himself resigned after only a few months. Pickford produced a few films, and at various times Goldwyn, Korda, Walt Disney , Walter Wanger , and David O. Selznick were made "producing partners" (i.e., sharing in the profits), but ownership still rested with the founders. As the years passed and the dynamics of
5586-399: Is a theme in itself, it is also considered to be a genre . Revenge as a genre has been consistent with a variety of themes that have frequently appeared in different texts over the last few centuries. Such themes include but are not limited to: disguise , masking , sex , cannibalism , the grotesque , bodily fluids, power, violent murders, and secrecy. Each theme is usually coupled with
5733-421: Is a theme in various woodblock prints depicting the forty-seven rōnin by many well-known and influential artists, including Utagawa Kuniyoshi . The Chinese playwright Ji Junxiang used revenge as the central theme in his theatrical work The Orphan of Zhao ; it depicts more specifically familial revenge, which is placed in the context of Confucian morality and social hierarchical structure. Revenge has been
5880-472: Is also more of a push from EU National governments to fund all aspects of the arts, including film. The European Commission for Culture has an Audiovisual sector, for example, whose role is most notably to help distribute and promote films and festivals across Europe. Additionally, the Commission organizes policymaking, research, and reporting on "media literacy" and "digital distribution." As with other media,
6027-414: Is approached by a walking-dead corpse in the morgue, as well as the finale in which Barbeau's character ascends to the roof of the lighthouse to escape the mariner ghosts. Carpenter and Debra Hill said the necessity of a re-shoot became especially clear to them after they realized that The Fog would have to compete with horror films that had higher gore content. Approximately one-third of the finished film
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6174-490: Is carried out not only by the individual, but by their extended relations for generations to come. Blood feuds are still practised in many parts of the world, including Kurdish regions of Turkey and in Papua New Guinea . In Japan, honouring one's family, clan, or lord through the practice of revenge killings is called "katakiuchi" (敵討ち). These killings could also involve the relatives of an offender. Today, katakiuchi
6321-527: Is frequently misunderstood by Western audiences, the Japanese reader understands that this proverb means that enactors of revenge must be more dedicated to killing their enemy than to surviving the ordeal themselves. Revenge is a popular subject across many forms of art. Some examples include the painting Herodias' Revenge by Juan de Flandes and the operas Don Giovanni and The Marriage of Figaro , both by Wolfgang Amadeus Mozart . In Japanese art, revenge
6468-497: Is most often pursued by peaceful means, but revenge remains an important part of Japanese culture. Philosophers tend to believe that to punish and to take revenge are vastly different activities: "One who undertakes to punish rationally does not do so for the sake of the wrongdoing, which is now in the past - but for the sake of the future, that the wrongdoing shall not be repeated, either by him, or by others who see him, or by others who see him punished". In contrast, seeking revenge
6615-448: Is motivated by a yearning to see a transgressor suffer; revenge is necessarily preceded by anger, whereas punishment does not have to be. Indeed, Kaiser, Vick, and Major point out the following: "An important psychological implication of the various efforts to define revenge is that there is no objective standard for declaring an act to be motivated by revenge or not. Revenge is a label that is ascribed based on perceivers’ attributions for
6762-527: Is obscure. The French diplomat Charles Maurice de Talleyrand-Périgord (1754–1838) has been credited with the saying, "La vengeance est un met que l'on doit manger froid" ["Revenge is a dish that must be eaten cold"], albeit without supporting detail. The concept has been in the English language at least since the 1846 translation of the 1845 French novel Mathilde by Joseph Marie Eugène Sue : " la vengeance se mange très bien froide ", there italicized as if quoting
6909-410: Is said to have observed, "The inmates are taking over the asylum." The four partners, with advice from McAdoo (son-in-law and former Treasury Secretary of then-President Woodrow Wilson ), formed their distribution company, with Hiram Abrams as its first managing director. The original terms called for Pickford, Fairbanks, Griffith, and Chaplin to independently produce five pictures each year, but by
7056-465: Is the additional footage completed during reshoots. The reshoots increased the film's budget from $ 900,000 to $ 1.1 million. Carpenter's musical score for The Fog features prominent synthesizer and elements of drone music , and was largely composed in the key of A minor . As the film progresses, its score shifts to the key of B major and features a flatter pitch. The score has been released on compact disc and vinyl in several different editions since
7203-437: Is then called a feud . These societies usually regard the honor of individuals and groups as of central importance. Thus, while protecting their reputation, an avenger feels as if they restore the previous state of dignity and justice . According to Michael Ignatieff , "Revenge is a profound moral desire to keep faith with the dead, to honor their memory by taking up their cause where they left off". Thus, honor may become
7350-717: The New York Daily News gave the film a middling two out of four-star review, praising the performances but writing that "Carpenter obviously is entranced by ghost stories, but he seems willing to sacrifice story for effect." Kevin Thomas of the Los Angeles Times similarly lauded the acting, and complimented the film as "an elegant and scary thriller of the supernatural that's far more impressive and satisfying than Carpenter's grisly and pointless (but profitable) Halloween ." The New York Times ' s Vincent Canby praised
7497-538: The de facto ban on small productions; the independent filmmakers who had fled to Southern California during the enforcement of the trust had already laid the groundwork for the studio system of classical Hollywood cinema . In early 1910, director D.W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of performers Blanche Sweet , Lillian Gish , Mary Pickford , Lionel Barrymore , and others. They began filming on
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#17329048182657644-622: The American Civil Liberties Union . Following on the heels of Easy Rider shortly afterward was the revived United Artists' Midnight Cowboy (also 1969), which, like Easy Rider , took numerous cues from Kenneth Anger and his influences in the French New Wave. It became the first and only X rated film to win the Academy Award for Best Picture. Midnight Cowboy also held the distinction of featuring cameo roles by many of
7791-545: The Anthology Film Archives in 1970, which would likewise prove essential to the development and preservation of independent films, even to this day. Not all low-budget films existed as non-commercial art ventures. The success of films like Little Fugitive , which had been made with low (or sometimes non-existent ) budgets encouraged a huge boom in popularity for non-studio films. Low-budget film making promised exponentially greater returns (in terms of percentages) if
7938-607: The Mirisch brothers, Billy Wilder , Joseph E. Levine and others. By the late 1950s, RKO had ceased film production, and the remaining four of the big five had recognized that they did not know how to reach the youth audience. In an attempt to capture this audience, the Studios hired a host of young filmmakers (many of whom were mentored by Roger Corman ) and allowed them to make their films with relatively little studio control. Warner Brothers offered first-time producer Warren Beatty 40% of
8085-461: The U.S. domestic box office revenue was from independent studios. The 1990s saw the rise and success of independent films not only through the film festival circuit but at the box office as well while established actors, such as Bruce Willis , John Travolta , and Tim Robbins , found success themselves both in independent films and Hollywood studio films. Teenage Mutant Ninja Turtles in 1990 from New Line Cinema grossed over $ 100 million in
8232-594: The World War I effort. Already veterans of Hollywood, the four film stars began to talk of forming their own company to better control their own work as well as their futures. They were spurred on by the actions of established Hollywood producers and distributors, who were making moves to tighten their control over their stars' salaries and creative license. With the addition of Griffith, planning began, but Hart bowed out before things had formalized. When he heard about their scheme, Richard A. Rowland , head of Metro Pictures ,
8379-404: The blockbuster Star Wars and Indiana Jones franchises. In fact, the only two movies of the movement which can be described as uncompromisingly independent are Easy Rider at the beginning, and Peter Bogdanovich 's They All Laughed , at the end. Peter Bogdanovich bought back the rights from the studio to his 1980 film and paid for its distribution out of his own pocket, convinced that
8526-420: The protagonist and antagonist to develop a masked or disguised identity include sex, power, and even cannibalism . Examples of sex and power being used as themes can be seen in the novel Gone Girl by Gillian Flynn , as well as the aforementioned drama, Titus Andronicus . The emergence of the internet has provided new ways of exacting revenge. Customer revenge targets businesses and corporations with
8673-648: The "prosumer" camera segment and film schools for those who are less autodidactic. Film programs in universities such as NYU in New York and USC in Los Angeles have benefited from this transitional growth. The economic side of filmmaking is also less of an obstacle than before, because the backing of a major studio is no longer needed to access necessary movie funding. Crowdfunding services like Kickstarter , Pozible , and Tubestart have helped people raise thousands of dollars; enough to fund their own, low-budget productions. As
8820-485: The $ 5 million film The Elephant Man (1980) for Paramount. Though Eraserhead was strictly an out-of-pocket, low-budget, independent film, Lynch made the transition with unprecedented grace. The film was a huge commercial success, and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch. It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director. Seeing Lynch as
8967-423: The 1950s progressed, the new low-budget paradigm of filmmaking gained increased recognition internationally, with films such as Satyajit Ray 's critically acclaimed Apu Trilogy (1955–1959). Unlike the films made within the studio system, these new low-budget films could afford to take risks and explore new artistic territory outside the classical Hollywood narrative. Maya Deren was soon joined in New York by
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#17329048182659114-405: The 6 original conspirators, offers the gold and himself to spare the others. The ghost of Blake himself seizes the gold cross and he and his crew disappear in a blinding flash of light as the fog miraculously vanishes. Stevie, now alone again at the lighthouse, warns her listeners that the fog could come again and instructs any ships that can hear her to keep an eye out for it. After everyone leaves
9261-474: The B-grade shlock film soon fell to the level of the Z movie , a niche category of films with production values so low that they became a spectacle in their own right. The cult audiences these pictures attracted soon made them ideal candidates for midnight movie screenings revolving around audience participation and cosplay . In 1968, a young filmmaker named George A. Romero shocked audiences with Night of
9408-598: The Edison era of the early 1900s, many Jewish immigrants had found jobs in the U.S. film industry. Under the Edison Trust, they were able to make their mark in a brand-new business: the exhibition of films in storefront theaters called nickelodeons . Within a few years, ambitious men like Samuel Goldwyn , Carl Laemmle , Adolph Zukor , Louis B. Mayer , and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to
9555-699: The Episcopal Church of the Ascension in Sierra Madre . The original production budget was approximately $ 900,000. The film was shot by cinematographer Dean Cundey , and Carpenter stated the appearance of the film was inspired by the Val Lewton -produced horror films I Walked with a Zombie (1943) and Isle of the Dead (1945), which he described as "very shadowy, all suggestion, and he has all sorts of melodrama going. I
9702-618: The Hollywood movie studios to sell their theater chains and to eliminate certain anti-competitive practices. This effectively brought an end to the studio system of Hollywood's Golden Age . By 1958, many of the reasons for creating the SIMPP had been corrected and SIMPP closed its offices. The efforts of the SIMPP and the advent of inexpensive portable cameras during World War II effectively made it possible for any person in America with an interest in making films to write, produce, and direct one without
9849-524: The Living Dead , a new kind of intense and unforgiving independent horror film. This film was released just after the abandonment of the production code, but before the adoption of the MPAA rating system . As such, it was the first and last film of its kind to enjoy a completely unrestricted screening, in which young children were able to witness Romero's new brand of highly realistic gore. This film would help to set
9996-834: The Palatine which appeared in The Atlantic Monthly in 1867, about the wreck of the ship Princess Augusta in 1738 , at Block Island , within Rhode Island . Carpenter named characters in the screenplay after people with whom he had collaborated on previous projects. Among them are Dan O'Bannon , a screenwriter who worked with Carpenter on Dark Star (1974); Nick Castle , who portrayed Michael Myers in Halloween ; Tommy Wallace , an editor, sound designer and art designer who worked on Dark Star and Assault on Precinct 13 , as well as several other subsequent projects. The babysitter in
10143-515: The Pickford/Fairbanks Studio, but did not own a studio lot as such. Because of this, many of their films would be shot on location. Primarily acting as bankers, they offered money to independent producers. Thus UA did not have the overhead, the maintenance or the expensive production staff which ran up costs at other studios. UA went public in 1956, and as the other mainstream studios fell into decline, UA prospered, adding relationships with
10290-449: The United States . The Hollywood oligopoly replaced the Edison monopoly. Within this new system, a pecking order was soon established which left little room for any newcomers. By the mid-1930s, at the top were the five major studios, 20th Century Fox , Metro-Goldwyn-Mayer , Paramount Pictures , RKO Pictures , and Warner Bros. Then came three smaller companies, Columbia Pictures , United Artists , and Universal Studios . Finally there
10437-404: The United States making it the most successful indie film in box-office history to that point. Miramax Films had a string of hits with Sex, Lies, and Videotape , My Left Foot , and Clerks , putting Miramax and New Line Cinema in the sights of big companies looking to cash in on the success of independent studios. In 1993, Disney bought Miramax for $ 60 million. Turner Broadcasting , in
10584-472: The act. Revenge is an inference, regardless of whether the individuals making the inference are the harmdoers themselves, the injured parties, or outsiders. Because revenge is an inference, various individuals can disagree on whether the same action is revenge or not." Belief in the just-world fallacy is also associated with revenge: in particular, having strong experiences or challenges against, can increase distress and motivate individuals to seek revenge, as
10731-525: The aid of any major film studio . These circumstances soon resulted in a number of critically acclaimed and highly influential works, including Maya Deren 's Meshes of the Afternoon in 1943, Kenneth Anger's Fireworks in 1947, and Morris Engel, Ruth Orkin and Ray Abrashkin's Little Fugitive in 1953. Filmmakers such as Ken Jacobs , with little or no formal training, began to experiment with new ways of making and shooting films. Little Fugitive became
10878-411: The availability of new technologies has fueled the democratization of filmmaking and the growth of independent film. In the late forties and fifties, new inexpensive portable cameras made it easier for independent filmmakers to produce content without studio backing. The emergence of camcorders in the eighties broadened the pool of filmmakers experimenting with the newly available technology. More recently,
11025-415: The beach. It is inscribed with the word "DANE". Stevie carries it with her to the lighthouse where she broadcasts her radio show. As she is listening to music on a cassette, the driftwood begins seeping water. As the water touches her cassette player, a man's voice is inexplicably heard on the tape, vowing revenge, and the words "6 must die" appear on the wood before it bursts into flames. Stevie extinguishes
11172-464: The biggest supplier of raw film, Eastman Kodak . A number of filmmakers declined or were refused membership to the trust and came to be described as "independent". At the time of the formation of the MPPC, Thomas Edison owned most of the major patents relating to motion pictures, including that for raw film . The MPPC vigorously enforced its patents, constantly bringing suits and receiving injunctions against independent filmmakers. Because of this,
11319-433: The business changed, these "producing partners" drifted away. Goldwyn and Disney left for RKO , Wanger for Universal Pictures , Selznick and Korda for retirement . By the late 1940s, United Artists had virtually ceased to exist as either a producer or distributor. In 1941, Mary Pickford , Charles Chaplin , Walt Disney , Orson Welles , Samuel Goldwyn , David O. Selznick , Alexander Korda , and Walter Wanger —many of
11466-468: The church, Malone remains inside and wonders why he was spared given that there were 5 deaths. The fog then reappears along with the ghosts, and Blake decapitates Malone, making 6. The Fog ' s central themes are revenge and the resurfacing of "repressed past events" in small-town America, as it focuses on the supernatural vengeance inflicted on the residents of a community that has prospered from looted salvage. William Fischer of Collider describes
11613-536: The climate of independent horror for decades to come, as films like The Texas Chain Saw Massacre (1974) and Cannibal Holocaust (1980) continued to push the envelope. With the production code abandoned and violent and disturbing films like Romero's gaining popularity, Hollywood opted to placate the uneasy filmgoing public with the MPAA ratings system, which would place restrictions on ticket sales to young people. Unlike
11760-424: The concept of dramatic irony . Dramatic irony is a literary device in which the audience possesses knowledge unavailable to characters in a novel, play, or film. Its purpose is to intensify the tragic events that are going to unfold by creating tension between the audience and the actions of the characters. The most common theme within the genre of revenge is the recurring violent murders that take place throughout
11907-569: The craft. Aspiring filmmakers can range from those simply with access to a smartphone or digital camera, to those who write "spec" scripts (to pitch to studios), actively network, and use crowdsourcing and other financing to get their films professionally produced. Oftentimes, aspiring filmmakers have other day-jobs to support themselves financially while they pitch their scripts and ideas to independent film production companies, talent agents, and wealthy investors. This recent technology-fueled renaissance has helped fuel other supporting industries such as
12054-536: The defiance of the now-establishment New Hollywood, proposing that "all film schools be blown up and all boring films never be made again." In 1978, Sterling Van Wagenen and Charles Gary Allison , with Chairperson Robert Redford , (veteran of New Hollywood and star of Butch Cassidy and the Sundance Kid ) founded the Utah/US Film Festival in an effort to attract more filmmakers to Utah and showcase what
12201-399: The desire for the sustenance of power motivates vengeful behavior as a means of impression management: "People who are more vengeful tend to be those who are motivated by power, by authority and by the desire for status. They don't want to lose face ". Vengeful behavior has been found across a majority of human societies throughout history. Some societies encourage vengeful behavior, which
12348-517: The face of the earth." In 2018, The Guardian called it "one of the director's most atmospheric, the shots of a wave-lashed cove and fog-choked headland making the town's impending reckoning almost poetic." In the early 2010s, Time Out conducted a poll of over 100 authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films. The Fog placed at number 77 on their top 100 list. Zombiemania: 80 Movies to Die For author Arnold T. Blumberg wrote that
12495-489: The features released in the United States and usually cost between $ 5 and $ 10 million to produce. Hollywood was producing these three different classes of feature films by means of three different types of producers. The superior products were the large, budget blockbusters and high-cost star vehicles marketed by the six major studio producer-distributors. Budgets on the major studios' pictures averaged $ 100 million, with approximately one-third of it spent on marketing because of
12642-619: The film again on VHS in 1985. MGM Home Entertainment released the film on VHS in 2000 before issuing a special edition DVD in August 2002. Another special edition DVD was released in Europe in 2004. Scream Factory released the film on Blu-ray in July 2013, before reissuing it on 4K UHD on September 13, 2022, in both standard and limited steelbook editions. Upon its original release, The Fog received mixed responses from film critics. Ernest Leogrande of
12789-415: The film as one preoccupied with "an all-American town getting ready to celebrate its founding, a founding marred by a dark crime. When Father Patrick Malone discovers the horrible truth and brings it to the attention of Mayor Kathy Williams, she shrugs it off and dismisses any impact or introspection it might cast over the centenary. It was so long ago, she reasons, and what is there to do about it? And she has
12936-406: The film could have a successful run in the theaters. During this time, independent producer/director Roger Corman began a sweeping body of work that would become legendary for its frugality and grueling shooting schedule. Until his so-called "retirement" as a director in 1971 (he continued to produce films even after this date), he would produce up to seven movies a year, matching and often exceeding
13083-509: The film was "a very effective small scale chiller" and "an attempt to capture the essence of a typical spooky American folktale while simultaneously paying homage to the EC Comics of the 1950s and the then very recent Italian zombie influx." A novelization of the movie, written by Dennis Etchison , was published by Bantam Books in January 1980. The novel clarifies the implication in the film that
13230-427: The film was set for release during Christmas 1979, but AVCO Embassy president Bob Rehme opted to wait until February 1980, when there would be less major box office competition from other films and more theater screens available. The film was given a staggered release in various cities by AVCO Embassy Pictures beginning February 1, 1980, before expanding to further locations later that month. Its theatrical run lasted
13377-435: The film's release. In addition to the final $ 1.1 million production budget, AVCO Embassy spent over $ 3 million solely on advertising which included TV spots, radio spots, print ads and even the placement of fog machines (costing £350 each) in the lobbies of selected theaters where the film was showing. A further undisclosed amount was spent on 600 prints of the film, 540 of which were distributed to American cinemas. Originally,
13524-486: The film's visual elements, but felt it ultimately paled in comparison to Carpenter's Halloween , describing it as "neither a rewarding ghost story nor... science-fiction, though it borrows freely from both genres... Unlike Halloween , which was a model of straight-forward terror and carefully controlled suspense, The Fog is constructed of random diversions. There are too many story lines, which necessitate so much cross-cutting that no one sequence can ever build to
13671-478: The film, Mrs. Kobritz, is named after Richard Kobritz, who produced Carpenter's 1978 television film Someone's Watching Me! . Other references that are interwoven into the film include the name of the John Houseman character "Mr. Machen" (a reference to Welsh horror fantasist Arthur Machen ); a radio report that mentions Arkham Reef ; and the town's coroner Dr. Phibes was named after the titular character of
13818-428: The filmmaking business would slowly squeeze out the more idiosyncratic of these young filmmakers, while ensconcing the more malleable and commercially successful of them. Film critic Manohla Dargis described this era as the "halcyon age" of the decade's filmmaking that "was less revolution than business as usual, with rebel hype". She also pointed out in her New York Times article that enthusiasts insisted this era
13965-426: The fire and sees that the wood once again reads "DANE", and the tape is once again playing normally. Town resident Nick and hitchhiker Elizabeth find the lost fishing trawler adrift and the corpse of one of the fishermen. Later, while Elizabeth is in the autopsy room alone, the fisherman's corpse briefly comes to life and accosts her before collapsing. Nick and coroner Dr. Phibes see the now-lifeless corpse has carved
14112-545: The first independent film to be nominated for Academy Award for Best Original Screenplay at the American Academy Awards . It also received Silver Lion at Venice . Both Engel and Anger's films won acclaim overseas from the burgeoning French New Wave , with Fireworks inspiring praise and an invitation to study under him in Europe from Jean Cocteau , and François Truffaut citing Little Fugitive as an essential inspiration to his seminal work, The 400 Blows . As
14259-401: The five-per-year schedule that the executives at United Artists had once thought impossible. Like those of the avant-garde, the films of Roger Corman took advantage of the fact that unlike the studio system, independent films had never been bound by its self-imposed production code . Corman's example (and that of others like him) would help start a boom in independent B-movies in the 1960s,
14406-508: The following year, two New Hollywood directors had become sufficiently established for Coppola to be offered oversight of Paramount's The Godfather (1972) and Lucas had obtained studio funding for American Graffiti (1973) from Universal. In the mid-1970s, the major Hollywood studios continued to tap these new filmmakers for both ideas and personnel, producing films such as Paper Moon (1973) and Taxi Driver (1976), all of which met with critical and commercial success. These successes by
14553-646: The game. Though the eventual breakup of the studio system and its restrictive chain-theater distribution network would leave independent movie houses eager for the kind of populist, seat-filling product of the Poverty Row studios, that same paradigm shift would also lead to the decline and ultimate disappearance of "Poverty Row" as a Hollywood phenomenon. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on
14700-526: The gross on his film Bonnie and Clyde (1967) instead of a minimal fee. The movie had grossed over $ 70 million worldwide by 1973. These initial successes paved the way for the studio to relinquish almost complete control to the film school generation and began what the media dubbed " New Hollywood ." Dennis Hopper , the American actor, made his writing and directing debut with Easy Rider (1969). Along with his producer/co-star/co-writer Peter Fonda , Hopper
14847-453: The horror films starring Vincent Price from the early 1970s. The Fog was part of a two-picture deal with AVCO Embassy Pictures, along with Escape from New York (1981). Cast as the female lead was Adrienne Barbeau , Carpenter's wife, who had appeared in Carpenter's TV movie Someone's Watching Me! in 1978. This was her first feature film. Barbeau also appeared in Carpenter's next film, Escape from New York (1981). Tom Atkins ,
14994-653: The intent to cause damage or harm. In general, people tend to place more credence in online reviews rather than corporate communications . With technology becoming more readily available, corporations and firms are more likely to experience damage caused by negative reviews posted online going viral . Recent studies indicate this type of consumer rage aimed at corporations is becoming more common, especially in Western societies . The rise of social media sites like Facebook , Twitter , and YouTube act as public platforms for exacting new forms of revenge. Revenge porn involves
15141-487: The large release campaigns. Another class of Hollywood feature film included art films, specialty films, and other niche-market fare controlled by the conglomerates' indie subsidiaries. Budgets on these indie films averaged $ 40 million per release in the early 2000s, with $ 10 million to $ 15 million spent on marketing (MPA, 2006:12). The final class of film consisted of genre and specialty films whose release campaigns were administered by independent producer-distributors with only
15288-750: The largest film festival in the world. Other large events include the Toronto International Film Festival , Hong Kong International Film Festival , and the Panafrican Film and TV Festival of Ouagadougou . The European Union , specifically through the European Cinema and VOD Initiative (ECVI), has established programs that attempt to adapt the film industry to an increasing digital demand for film on video on demand services, outside of theatrical screenings. With this program, VOD offerings are paired with traditional movie screenings. There
15435-427: The leading figures in American silent cinema ( Mary Pickford , Charles Chaplin , Douglas Fairbanks , and D. W. Griffith ) formed United Artists. Each held a 20% stake, with the remaining 20% held by lawyer William Gibbs McAdoo . The idea for the venture originated with Fairbanks, Chaplin, Pickford, and cowboy star William S. Hart a year earlier as they were traveling around the U.S. selling Liberty bonds to help
15582-406: The marketing of independent films is characterized by limited release , often at independent movie theaters , but they can also have major marketing campaigns and a wide release . Independent films are often screened at local, national, or international film festivals before distribution (theatrical or retail release). An independent film production can rival a mainstream film production if it has
15729-466: The members of New Hollywood led each of them, in turn, to make more and more extravagant demands, both on the studio and eventually on the audience. While most members of the New Hollywood generation were, or started out as, independent filmmakers, a number of their projects were produced and released by major studios. The New Hollywood generation soon became firmly entrenched in a revived incarnation of
15876-492: The necessary funding and distribution. In 1908, the Motion Picture Patents Company or "Edison Trust" was formed as a trust . The Trust was a cartel that held a monopoly on film production and distribution comprising all the major film companies of the time ( Edison , Biograph , Vitagraph , Essanay , Selig , Lubin , Kalem , American Star , American Pathé ), the leading distributor ( George Kleine ) and
16023-463: The number 3 on the floor with a scalpel. That evening, as the town begins its celebrations, local weatherman Dan is killed by the ghosts at the weather station. The fog has returned and starts moving inland, disrupting the town's telephone and power lines. Using a backup generator , Stevie begs her listeners to go to her house and save her son. The ghosts kill her son's babysitter but Nick and Elizabeth rescue Andy. Stevie advises her listeners to head to
16170-536: The old studios from financial ruin by providing them with a new formula for success. Indeed, it was during this period that the very definition of an independent film became blurred. Though Midnight Cowboy was financed by United Artists, the company was certainly a studio. Likewise, Zoetrope was another "independent studio" which worked within the system to make a space for independent directors who needed funding. George Lucas would leave Zoetrope in 1971 to create his own independent studio, Lucasfilm , which would produce
16317-479: The options in which movies can be independently produced/released. Revenge Revenge is defined as committing a harmful action against a person or group in response to a grievance , be it real or perceived. Vengeful forms of justice, such as primitive justice or retributive justice , are often differentiated from more formal and refined forms of justice such as distributive justice or restorative justice . Social psychologist Ian Mckee states that
16464-918: The original poster provides the victim's personal information, including links to social media accounts, furthering the harassment. Online revenge porn's origins can be traced to 2010 when Hunter Moore created the first site, IsAnyoneUp , to share nude photos of his girlfriend. Humans are not the only species known to take revenge. There are several species such as camels , elephants , fish , lions , coots , crows , and many species of primates ( chimpanzees , macaques , baboons , etc.) that have been recognized to seek revenge. Primatologists Frans de Waal and Lesleigh Luttrellave conducted numerous studies that provide evidence of revenge in many species of primates. They observed chimpanzees and noticed patterns of revenge. For example, if chimpanzee A helped chimpanzee B defeat his opponent, chimpanzee C, then chimpanzee C would be more likely to help chimpanzee A's opponent in
16611-628: The picture was better than what the studio believed — he eventually went bankrupt because of this. In retrospect, it can be seen that Steven Spielberg 's Jaws (1975) and George Lucas 's Star Wars (1977) marked the beginning of the end for the New Hollywood. With their unprecedented box-office successes, these movies jump-started Hollywood's blockbuster mentality, giving studios a new paradigm as to how to make money in this changing commercial landscape. The focus on high-concept premises, with greater concentration on tie-in merchandise (such as toys), spin-offs into other media (such as soundtracks), and
16758-431: The potential of independent film could be. At the time, the main focus of the event was to present a series of retrospective films and filmmaker panel discussions; however it also included a small program of new independent films. The jury of the 1978 festival was headed by Gary Allison , and included Verna Fields , Linwood Gale Dunn , Katherine Ross , Charles E. Sellier Jr. , Mark Rydell , and Anthea Sylbert . In 1981,
16905-485: The principal aim of which was to bring in the youth market which the major studios had lost touch with. By promising sex , wanton violence , drug use , and nudity , these films hoped to draw audiences to independent theaters by offering to show them what the major studios could not. Horror and science fiction films experienced a period of tremendous growth during this time. As these tiny producers, theaters, and distributors continued to attempt to undercut one another,
17052-638: The production code, this rating system posed a threat to independent films in that it would affect the number of tickets they could sell and cut into the grindhouse theaters' share of the youth market. This change would further widen the divide between commercial and non-commercial films. However, having a film audience-classified is strictly voluntary for independents and there is no legal impediment to releasing movies on an unrated basis. However, unrated movies face obstacles in marketing because media outlets, such as TV channels, newspapers and websites, often place their own restrictions on movies that do not come with
17199-434: The production side of the business. After hearing about Biograph's success in Hollywood, in 1913 many such would-be movie-makers headed west to avoid the fees imposed by Edison. Soon they were the heads of a new kind of enterprise: the movie studio . By establishing a new system of production, distribution, and exhibition which was independent of The Edison Trust in New York, these studios opened up new horizons for cinema in
17346-575: The production, distribution, and exhibition of films. In 1942, the SIMPP filed an antitrust suit against Paramount's United Detroit Theatres. The complaint accused Paramount of conspiracy to control first-run and subsequent-run theaters in Detroit. It was the first antitrust suit brought by producers against exhibitors alleging monopoly and restraint of trade. In 1948, the United States Supreme Court Paramount Decision ordered
17493-423: The prologue with Mr. Machen ( John Houseman ) telling ghost stories to fascinated children by a campfire (Houseman played a similar role in the opening of the 1981 film Ghost Story ), which was filmed on a soundstage. Carpenter added several other new scenes and re-shot others in order to make the film more comprehensible, more frightening and gorier. Among the additions were the sequence in which Curtis's character
17640-441: The role and on appearing in another of Carpenter's films, she said: "That's what I love about John. He's letting me explore different aspects of myself. I'm spoiled rotten now. My next director is going to be almost a letdown." In a retrospective interview, Curtis stated that her part was written into the film by Carpenter, who felt sympathy for her after the success of Halloween had failed to lead to her obtaining other roles. This
17787-461: The same people who were members of United Artists—founded the Society of Independent Motion Picture Producers . Later members included William Cagney , Sol Lesser , and Hal Roach . The Society aimed to preserve the rights of independent producers in an industry overwhelmingly controlled by the studio system. SIMPP fought to end monopolistic practices by the five major Hollywood studios which controlled
17934-551: The same time that the maverick film students of the American New Wave were developing the skills they would use to take over Hollywood, many of their peers had begun to develop their style of filmmaking in a different direction. Influenced by foreign and art house directors such as Ingmar Bergman and Federico Fellini , exploitation shockers (i.e. Joseph P. Mawra , Michael Findlay , and Henri Pachard ) and avant-garde cinema, ( Kenneth Anger , Maya Deren and Bruce Conner )
18081-545: The same year that United Artists, bought out by MGM after the financial failure of Michael Cimino 's Heaven's Gate (1980), ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. In 1985, the now well-established Sundance Institute, headed by Sterling Van Wagenen, took over management of the US Film Festival, which
18228-483: The scripts were based on studio pitches and subsequently paid for by the studios, the production financing was from the studio, and the marketing and distribution of the films were designed and controlled by the studio's advertising agency. Though Coppola made considerable efforts to resist the influence of the studios, opting to finance his risky 1979 film Apocalypse Now himself rather than compromise with skeptical studio executives, he, and filmmakers like him, had saved
18375-416: The six who must die were not random but in fact descendants of the six original conspirators. In 2005, the film was remade under the direction of Rupert Wainwright with a screenplay by Cooper Layne and starring Tom Welling and Maggie Grace . Though based on Carpenter and Hill's original screenplay, the remake was made more in the vein of a "teen horror film" and given a PG-13 rating (the original film
18522-409: The studio system, which financed the development, production and distribution of their films. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. Seemingly independent films such as Taxi Driver , The Last Picture Show and others were studio films:
18669-411: The studios. Meanwhile, in 1951, lawyers-turned-producers Arthur Krim and Robert Benjamin had made a deal with the remaining stockholders of United Artists which would allow them to make an attempt to revive the company and, if the attempt was successful, buy it after five years. The attempt was a success, and in 1955 United Artists became the first "studio" without an actual studio. UA leased space at
18816-408: The switch from film to digital cameras, inexpensive non-linear editing and the move to distribution via the internet have led to more people being able to make and exhibit movies of their own, including young people and individuals from marginalized communities. These people may have little to no formal technical or academic training, but instead are autodidactic filmmakers, using online sources to learn
18963-455: The text, especially in the final act or scene. The root of the violence is usually derived from the characters' childhood development. The themes of masking and disguise have the ability to go hand in hand with each other. A character may employ disguise literally or metaphorically . A mask is the literal example of this theme; while pretending to be something one is not is considered to be the metaphoric example. Additional themes that may cause
19110-407: The time the company got underway in 1920–1921, feature films were becoming more expensive and more polished, and running times had settled at around ninety minutes (or eight reels). It was believed that no one, no matter how popular, could produce and star in five quality feature films a year. By 1924, Griffith had dropped out and the company was facing a crisis: either bring in others to help support
19257-609: The top Warhol superstars , who had already become symbols of the militantly anti-Hollywood climate of NYC's independent film community. Within a month, another young Corman trainee, Francis Ford Coppola , made his debut in Spain at the Donostia-San Sebastian International Film Festival with The Rain People (1969), a film he had produced through his own company, American Zoetrope . Though The Rain People
19404-435: The town's church, but then finds herself trapped and under siege by the ghosts when the fog envelops her lighthouse. Seeking refuge inside the church, a group of townsfolk finds a large gold cross in the wall cavity, made from the rest of the stolen gold from the Elizabeth Dane , just as the fog begins enveloping the church and the ghosts begin their attack. Malone, knowing that the ghosts have returned to take 6 lives instead of
19551-451: The two visited Stonehenge during the trip, where they witnessed an eerie fog rolling over the landscape from a distance. Carpenter stated that he drew additional inspiration for the story from the British film The Trollenberg Terror (1958), which dealt with monsters hiding in the clouds. In the DVD audio commentary for the film, Carpenter noted that the story of the deliberate wreckage of
19698-444: The use of sequels (which had been made more respectable by Coppola's The Godfather Part II ), all showed the studios how to make money in the new environment. On realizing how much money could potentially be made in films, major corporations started buying up the remaining Hollywood studios, saving them from the oblivion which befell RKO in the 50s. Eventually, even RKO was revived, the corporate mentality these companies brought to
19845-466: The vengeful public dissemination of intimate pictures and videos of another person's sexual activity with the intent of creating widespread shame . Participation in online revenge porn activities incites a sense of pleasure through the harm, embarrassment, and humiliation being inflicted on the victim. The allowance of anonymity on revenge porn sites encourages further incivility by empowering and encouraging this type of behavior. In many instances,
19992-405: The years since its original release, it has established a cult following . A remake was released in 2005. On the eve of the centennial of the small coastal town Antonio Bay in Northern California , old Mr. Machen tells ghost stories to children by a campfire on the beach. One story is about a clipper ship that crashed against the rocks nearby, causing all of its crew to drown after mistaking
20139-401: Was " Poverty Row ", a catch-all term used to encompass any other smaller studio that managed to fight their way up into the increasingly exclusive movie business. While the small studios that made up Poverty Row could be characterized as existing "independently" of any major studio, they utilized the same kind of vertically and horizontally integrated systems of business as the larger players in
20286-636: Was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on the studio's dime)." During the 1970s, shifts in thematic depictions of sexuality and violence occurred in American cinema, prominently featuring heightened depictions of realistic sex and violence. Directors who wished to reach mainstream audiences of Old Hollywood quickly learned to stylize these themes to make their films appealing and attractive rather than repulsive or obscene. However, at
20433-522: Was a plan in part to take over the independent film industry and at the same time start "independent" studios of their own. The following are all "indie" studios owned by conglomerate Hollywood: By the early 2000s, Hollywood was producing three different classes of films: 1) big-budget blockbusters , 2) art films , specialty films and niche-market films produced by the conglomerate-owned "indies" and 3) genre and specialty films coming from true indie studios and producers. The third category comprised over half
20580-417: Was a real fan of that sort of thing." Although a lower-budget independent film, Carpenter chose to shoot in the anamorphic 2.35:1 format to elevate its visual appearance. After viewing a rough cut of the film, Carpenter was dissatisfied with the results. Recalling the experience, Carpenter commented: "It was terrible. I had a movie that didn't work, and I knew it in my heart". Carpenter subsequently added
20727-473: Was experiencing financial difficulties. Gary Beer and Sterling Van Wagenen spearheaded production of the inaugural Sundance Film Festival which included Program Director Tony Safford and Administrative Director Jenny Walz Selby. In 1991, the festival was officially renamed the Sundance Film Festival, after Redford's famous role as The Sundance Kid . Through this festival the Independent Cinema movement
20874-645: Was largely overlooked by American audiences, Zoetrope would become a powerful force in New Hollywood. Through Zoetrope, Coppola formed a distribution agreement with studio giant Warner Bros., which he would exploit to achieve wide releases for his films without making himself subject to their control. These three films provided the major Hollywood studios with both an example to follow and a new crop of talent to draw from. Zoetrope co-founder George Lucas made his feature film debut with THX 1138 (1971), also released by Zoetrope through their deal with Warner Bros., announcing himself as another major talent of New Hollywood. By
21021-558: Was launched. Such notable figures as Kevin Smith , Robert Rodriguez , Quentin Tarantino , David O. Russell , Paul Thomas Anderson , Steven Soderbergh , James Wan , Hal Hartley , Joel and Ethan Coen and Jim Jarmusch garnered resounding critical acclaim and unprecedented box office sales. The significance of the Sundance Film Festival is documented in the work of Professor Emanuel Levy Cinema of Outsiders: The Rise of American Independent Film, (NYU Press, 1999; 2001). In 2005, about 15% of
21168-419: Was rated R ). Green-lit by Revolution Studios with just eighteen pages of script written, the film was panned for its poor script and acting and has a Rotten Tomatoes rating of 4%. Independent film It is not unusual for well-known actors who are cast in independent features to take substantial pay cuts for a variety of reasons: if they truly believe in the message of the film, they feel indebted to
21315-408: Was responsible for one of the first completely independent films of New Hollywood. Easy Rider debuted at Cannes and garnered the "First Film Award" ( French : Prix de la premiere oeuvre ) after which it received two Oscar nominations, one for best original screenplay and one for Corman-alum Jack Nicholson 's breakthrough performance in the supporting role of George Hanson, an alcoholic lawyer for
21462-467: Was scheduled to be released at Christmas that year by AVCO Embassy Pictures , but its release date was delayed to February 1, 1980. The film divided critics upon release, receiving praise for its visuals and acting, and criticism for its structure and screenplay. Despite mixed reviews, the film grossed $ 21.3 million domestically. The Fog contains themes of revenge and repressed corrupt historical events resurfacing in contemporary small-town America. In
21609-636: Was the first collaboration between Carpenter and character actor George Buck Flower , who would go on to appear in four more films directed by Carpenter: Escape from New York (1981), Starman (1984), They Live (1988) and Village of the Damned (1995). Filming took place from April to May 1979 at Raleigh Studios in Hollywood, California (interior scenes) and on location at several other cities in California, including Point Reyes ; Bolinas ; Inverness ; and
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