by Blair Davis
Rutgers University Press, 2012
Cloth: 978-0-8135-5252-1 | eISBN: 978-0-8135-7720-3 | Paper: 978-0-8135-5253-8
Library of Congress Classification PN1995.9.B2D38 2012
Dewey Decimal Classification 791.430973

ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC
ABOUT THIS BOOK

The emergence of the double-bill in the 1930s created a divide between A-pictures and B-pictures as theaters typically screened packages featuring one of each. With the former considered more prestigious because of their larger budgets and more popular actors, the lower-budgeted Bs served largely as a support mechanism to A-films of the major studios—most of which also owned the theater chains in which movies were shown. When a 1948 U.S. Supreme Court antitrust ruling severed ownership of theaters from the studios, the B-movie soon became a different entity in the wake of profound changes to the corporate organization and production methods of the major Hollywood studios.

In The Battle for the Bs, Blair Davis analyzes how B-films were produced, distributed, and exhibited in the 1950s and demonstrates the possibilities that existed for low-budget filmmaking at a time when many in Hollywood had abandoned the Bs. Made by newly formed independent companies, 1950s B-movies took advantage of changing demographic patterns to fashion innovative marketing approaches. They established such genre cycles as science fiction and teen-oriented films (think Destination Moon and I Was a Teenage Werewolf) well before the major studios and also contributed to the emergence of the movement now known as underground cinema. Although frequently proving to be multimillion-dollar box-office draws by the end of the decade, the Bs existed in opposition to the cinematic mainstream in the 1950s and created a legacy that was passed on to independent filmmakers in the decades to come.


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