Night of the Living Dead
Night of the Living Dead | |
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Directed by | George A. Romero |
Screenplay by |
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Produced by |
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Starring |
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Cinematography | George A. Romero |
Edited by | George A. Romero |
Production company | Image Ten |
Distributed by | Continental Distributing |
Release dates |
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Running time | 96 minutes[1] |
Country | United States |
Language | English |
Budget | $114,000–$125,000[2][3] |
Box office | $30,236,452 (est.)[a] |
Night of the Living Dead is a 1968 American independent horror film directed, photographed, and edited by George A. Romero, written by Romero and John Russo, produced by Russell Streiner and Karl Hardman, and starring Duane Jones and Judith O'Dea. The story follows seven people trapped in a farmhouse in rural Pennsylvania, under assault by reanimated corpses. Although the flesh-eating monsters that appear in the film are referred to as "ghouls", they are credited with popularizing the modern portrayal of zombies in popular culture.
Having gained experience creating television commercials,
Night of the Living Dead premiered in Pittsburgh on October 1, 1968. It grossed US$12 million
Night of the Living Dead created a successful franchise that includes five sequels released between 1978 and 2009, all directed by Romero. Due to an error when titling the original film, it entered the public domain upon release,[9] resulting in numerous adaptations, remakes, and a lasting legacy in the horror genre. An official remake, written by Romero and directed by Tom Savini, was released in 1990.
Plot
Siblings Barbra and Johnny drive to a cemetery in rural Pennsylvania to visit their father's grave, where a pale man in a tattered suit kills Johnny and attacks Barbra. She flees to a nearby farmhouse but finds the resident's corpse lying half-eaten on the stairs. A growing horde of ghouls soon surround the house as a stranger, Ben, arrives and initially mistakes Barbra for the homeowner. After driving back several ghouls, he boards the windows and doors. While searching the home for supplies, he locates a lever-action rifle.
A nearly catatonic Barbra is surprised to find people already taking shelter in the home's cellar. Harry, his wife Helen, and their young daughter Karen fled there after a group of the same monsters overturned their car and bit Karen on the arm, leaving her seriously ill. A couple, Tom and Judy, took shelter after hearing an emergency broadcast about a series of brutal killings. Tom and Ben secure the farmhouse while Harry protests that it is unsafe aboveground before returning to the cellar. Ghouls continue to besiege the farmhouse in increasing numbers.
The refugees listen to radio and television reports of an army of cannibalistic corpses committing
Ben devises a plan to obtain medical supplies for Karen and transport the group to a rescue center by refueling his truck at a pump on the farm. Ben, Tom, and Judy drive there together, holding the ghouls off with torches and Molotov cocktails. However, the gas from the pump spills and causes the truck to catch fire and explode, killing Tom and Judy. Ben returns and breaks down the door when Harry does not let him in.
The remaining survivors attempt to figure a way out. They pause their discussion to watch the 3 a.m. news update until the power cuts out. The ghouls soon break through the doors and windows of the unlit home. In the chaos, Harry grabs Ben's gun but is disarmed and shot by Ben. Harry staggers down to the cellar and dies next to his daughter.
Karen dies from her injuries, becomes a ghoul, and eats her father's remains. She stabs her mother to death with a masonry trowel. Barbra tries to help Ben keep the ghouls out, but a reanimated Johnny drags her away. As the horde breaks in, Ben takes refuge in the cellar, where he shoots Harry's and Helen's ghouls.
In the morning, an armed posse arrives to dispatch the remaining ghouls. Awoken by their gunfire and sirens, Ben emerges from the cellar, but they shoot him, mistaking Ben for a ghoul. His body is thrown onto a bonfire and burned with the rest of the ghouls.
Cast
The low-budget film included no well-known actors,[10] but propelled the careers of some cast members.[11] Two independent film companies from Pittsburgh—Hardman Associates and director George A. Romero's The Latent Image—combined to form Image Ten, a production company chartered only to create Night of the Living Dead.[12] The cast consisted of members of Image Ten, actors previously cast for their commercials, acquaintances of Romero, and Pittsburgh stage actors.[13]
- Duane Jones as Ben. The casting was potentially controversial in 1968 when it was rare for a black man to be cast as the hero of an American film primarily composed of white actors, but Romero said that Jones performed the best in his audition.[14] Jones went on to appear in other films, including Ganja & Hess (1973) and Beat Street (1984),[15] but worried that people only recognized him as Ben.[16]
- Judith O'Dea as Barbra. A 23-year-old commercial and stage actress, O'Dea previously worked for Hardman and Eastman in Pittsburgh. O'Dea was in Hollywood seeking entry to the movie business when contacted about the role.[17] O'Dea expressed surprise at the film's cultural impact and the renown it brought her.[18]
- Karl Hardman as Harry Cooper. President of Hardman Associates, Karl Hardman, played the hostile father. Cooper's wife was played by Hardman's real-life business and romantic partner Marilyn Eastman.[19][20]
- Marilyn Eastman as Helen Cooper.[21] Vice president of Hardman Associates, Marilyn Eastman played the doomed mother Helen Cooper and the unnamed, bug-eating zombie. She later appeared in Santa Claws (1996), directed by John Russo.[20][22]
- Kyra Schon as Karen Cooper. Hardman's daughter in real life,[23] 9-year-old Schon also portrayed the mangled corpse on the house's upstairs floor that Ben drags away.[24]
- Keith Wayne as Tom. "Keith Wayne" was Ronald Keith Hartman's chiropractor in North Carolina.[25] Wayne explained the change in careers during a 1992 interview, "I am not that person anymore. [...] I got to a point in my life where I wanted to have some control. I didn't want to wake up at 40 or 50 and not be in control."[26] In 1995, he took his own life at age 50.[27][28]
- Judith Ridley as Judy. The 19-year-old receptionist from Hardman Associates auditioned for Barbra without any acting experience and was given the less-demanding role of Judy.[29] Ridley starred in Romero's unsuccessful second feature There's Always Vanilla (1971).[30]
- Bill Hinzman, who played the first ghoul encountered by Barbra and Johnny in the cemetery, went on to work on a number of horror films including The Majorettes (1986) and Flesheater (1988).[31][32]
- George Kosana as Sheriff McClelland. Kosana also served as the film's production manager.[33]
- Chiller Theatre.[35] His daughter Lori would go on to star in Romero's Day of the Dead (1985).[36][37]
Production
Development and pre-production
External videos | |
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The Calgon Story The creation of a high-budget television commercial for Calgon brand detergent spurred the film's producers to create a horror movie.[38] |
George Romero embarked upon his career in the film industry while attending Carnegie Mellon University in Pittsburgh.[39] He directed and produced television commercials and industrial films for The Latent Image, a company he co-founded with his friend Russell Streiner.[40] The Latent Image started small, but after producing a high-budget Calgon commercial spoofing Fantastic Voyage (1966), Romero felt that The Latent Image had the experience and equipment to produce a feature film.[38] They wanted to capitalize on the film industry's "thirst for the bizarre", according to Romero.[41] He, Streiner, and John A. Russo contacted Karl Hardman and Marilyn Eastman, president, and vice president respectively, of a Pittsburgh-based industrial film firm called Hardman Associates, Inc. The Latent Image pitched their idea for a then-untitled horror film.[42]
These discussions led to the creation of Image Ten, a production company chartered to produce a single feature film. The initial budget was $6,000;[12] each member of the production company invested $600 for a share of the profits.[43][b] Ten more investors contributed another $6,000, but this was still insufficient.[44] Production stopped multiple times during filming while Romero used early footage to persuade additional investors.[45] Image Ten eventually raised approximately $114,000 for the budget ($999,000 today).[46][44]
Writing
The script was co-written by Russo and Romero. They abandoned an early
Romero drew inspiration from Richard Matheson's I Am Legend (1954),[54][c] a horror novel about a plague that ravages a futuristic Los Angeles. The infected in I Am Legend become vampire-like creatures and prey on the uninfected.[55][44][56] Matheson described Romero's interpretation as "kind of cornball",[57] and more theft than homage.[58] In an interview, Romero contrasted Night of the Living Dead with I Am Legend. He explained that Matheson wrote about the aftermath of a complete global upheaval; Romero wanted to explore how people would respond to that kind of disaster as it developed.[59]
Much of the dialogue was altered, rewritten, or improvised by the cast.
The lead role was initially written for a
Filming
Principal photography
The small budget dictated much of the production process.[42][66] Scenes were filmed near Evans City, Pennsylvania, 30 miles (48 km) north of Pittsburgh in rural Butler County;[67] the opening sequence was shot at the Evans City Cemetery on Franklin Road, south of the borough.[68][d] Lacking the money to build or purchase a house for the main set, the filmmakers rented a nearby farmhouse scheduled for demolition. Though it lacked running water, some crew members slept there during the shooting, taking baths in a nearby creek.[71] The building's neglected cellar was not a viable location for filming, so the few basement scenes were shot beneath The Latent Image offices.[72] The basement door shown in the film was cut into a wall by the production team and led nowhere.[73]
Directing
Night of the Living Dead was the first feature-length film directed by George A. Romero. His initial work involved filming advertisements, industrial films, and
While some critics dismissed Romero's film because of the graphic scenes, writer R. H. W. Dillard claimed that the "open-eyed detailing" of taboo heightened the film's success. He asked, "What girl has not, at one time or another, wished to kill her mother? And Karen, in the film, offers a particularly vivid opportunity to commit the forbidden deed vicariously."[89] Romero featured social taboos as key themes, especially cannibalism. Film historian Robin Wood interprets the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Wood argues that the zombies' consumption of people represents the logical endpoint of human interactions under capitalism.[90]
Post-production
Members of Image Ten were involved in filming and
Soundtrack
The film's music consisted of existing pieces that were mixed or modified for the film. Much of the soundtrack had been used by previous films.[e] Romero selected tracks from the Hi-Q music library, and Hardman cut them to match the scenes and augmented them with electronic effects.[94][42] A soundtrack album featuring music and dialogue cues from the film was compiled and released on LP by Varèse Sarabande in 1982. In 2008, the recording group 400 Lonely Things released the album Tonight of the Living Dead, an instrumental album with music and sounds sampled from the 1968 film.[95]
No. | Title | Writer(s) | Length |
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1. | "Driveway to the Cemetery (Main Theme)" | Spencer Moore | 02:19 |
2. | "At the Gravesite/Flight/Refuge" | William Loose/Loose—Seely/W. Loose | 03:42 |
3. | "Farmhouse/First Approach" | Geordie Hormel | 01:16 |
4. | "Ghoulash (J.R.'s Demise)" | Ib Glindemann | 03:30 |
5. | "Boarding Up" | G. Hormel/Loose—Seely/Glindemann | 03:00 |
6. | "First Radio Report/Torch on the Porch" | Phil Green/G. Hormel | 02:27 |
7. | "Boarding Up 2/Discovery: Gun 'n Ammo" | G. Hormel | 02:07 |
8. | "Cleaning House" | S. Moore | 01:36 |
No. | Title | Writer(s) | Length |
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9. | "First Advance" | Ib Glindemann | 02:43 |
10. | "Discovery of TV/Preparing to Escape/Tom & Judy" (All the samples of the track were composed by Geordie Hormel) | G. Hormel/J. Meakin/J. Meakin | 04:20 |
11. | "Attempted Escape" | G. Hormel | 01:29 |
12. | "Truck on Fire/Ben Attacks Harry/Leg of Leg*" (*electronic sound effects by Karl Hardman) | G. Hormel | 03:41 |
13. | "Beat 'Em or Burn 'Em/Final Advance" (Final Advance was composed by Harry Bluestone and Emil Cadkin) | G. Hormel | 02:50 |
14. | "Helen's Death*/Dawn/Posse in the Fields/Ben Awakes" (*electronic sound effects by Karl Hardman) | S. Moore | 03:05 |
15. | "O.K. Vince/Funeral Pyre (End Title)" | S. Moore | 01:10 |
Release
Premiere controversy
Night of the Living Dead premiered on October 1, 1968, at the Fulton Theater in
The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying ... It's hard to remember what sort of effect this movie might have had on you when you were six or seven. But try to remember. At that age, kids take the events on the screen seriously, and they identify fiercely with the hero. When the hero is killed, that's not an unhappy ending but a tragic one: Nobody got out alive. It's just over, that's all.[98]
A review in Variety denounced the movie as a moral failing of the film's makers, the horror genre, and regional cinema. The reviewer claimed that the "unrelieved orgy of sadism" was effectively pornography due to its extreme violence.[100] These early denouncements would not limit the film's commercial success or later critical recognition.[101]
Critical reception
Despite the controversy, five years after the premiere Paul McCullough of Take One observed that Night of the Living Dead was the "most profitable horror film ever ... produced outside the walls of a major studio".[102] In the decade after its release, the film grossed over $15 million at the U.S. box office. It was translated into over 25 languages.[103] The Wall Street Journal reported that it was the top-grossing film in Europe in 1968.[89][89] In a 1971 Newsweek article, Paul D. Zimmerman noted that the film had "become a bona fide cult movie for a burgeoning band of blood-lusting cinema buffs".[104]
Decades after its release, the film enjoys a reputation as a classic and still receives positive reviews.
Night of the Living Dead was awarded two distinguished honors decades after its debut. The
New Yorker critic
Copyright status and home media
In the United States, Night of the Living Dead was mistakenly released into the public domain because the original distributor failed to replace the copyright notice when changing the film's name.[9][124] Image Ten displayed a notice on the title frames of the film beneath the original title, Night of the Flesh Eaters, but the Walter Reade Organization removed it when changing the title.[9][125] At that time, United States copyright law held that public dissemination required copyright notice to maintain a copyright.[126] Several years after the film's release, its creators discovered that the original prints distributed to theaters had no copyright protection.[124]
Because Night of the Living Dead was not copyrighted, it has received hundreds of home video releases on VHS, Betamax, DVD, Blu-ray, and other formats.[127] Over two hundred distinct versions of the film have been released on tapes alone.[128] Numerous versions of the film have appeared on DVD, Blu-ray, and LaserDisc with varying quality.[129] The original film is available to view or download for free on many websites.[f] As of February 2024[update], it is the Internet Archive's third most-viewed film, with over 3.5 million views.[138]
The film received a VHS release in 1993 through Tempe Video.
Revisions
There are numerous revised versions of the film with content added, deleted, rearranged, or more heavily modified. From its initial release into the public domain, Night of the Living Dead was widely screened from inferior prints in grindhouse theaters, a trend that continued among the bottom-tier home video companies. The first major revisions of Night of the Living Dead involved colorization by home video distributors. Hal Roach Studios released a colorized version in 1986 that featured ghouls with pale green skin.[146][147] Another colorized version appeared in 1997 from Anchor Bay Entertainment with grey-skinned zombies.[148] In 2009, Legend Films co-produced a colorized 3D version of the film with PassmoreLab, a company that converts 2-D film into 3-D format.[149] The film was theatrically released on October 14, 2010.[150] According to Legend Films founder Barry Sandrew, Night of the Living Dead is the first entirely live action 2-D film to be converted to 3-D.[151]
In 1999, co-writer Russo released a modified version called Night of the Living Dead: 30th Anniversary Edition.[152] He filmed additional scenes and recorded a revised soundtrack composed by Scott Vladimir Licina. In an interview with Fangoria magazine, Russo explained that he wanted to "give the movie a more modern pace".[153] Russo took liberties with the original script. The additions are neither clearly identified nor even listed. Entertainment Weekly reported "no bad blood" between Russo and Romero. The magazine quoted Romero as saying, "I didn't want to touch Night of the Living Dead".[154] Critics disliked the revised film, notably Harry Knowles of Ain't It Cool News, who promised to permanently ban anyone from his publication who offered positive criticism of the film.[155][156]
A collaborative animated project known as Night of the Living Dead: Reanimated was screened at several film festivals[157] and was released onto DVD on July 27, 2010, by Wild Eye Releasing.[158][159] This project aims to "reanimate" the 1968 film by replacing Romero's celluloid images with animation done in a wide variety of styles by artists from around the world, laid over the original audio from Romero's version.[160] Night of the Living Dead: Reanimated was nominated in the category of Best Independent Production (film, documentary or short) for the 8th Annual Rondo Hatton Classic Horror Awards.[161]
Starting in 2015, and working from the original camera negatives and audio track elements, a 4K digital restoration of Night of the Living Dead was undertaken by the Museum of Modern Art (MoMA) and The Film Foundation.[162] The fully restored version was shown in November 2016 as part of To Save and Project: The 14th MoMA International Festival of Film Preservation.[163][164] This same restoration was released on Blu-ray by The Criterion Collection on February 13, 2018,[141] and on Ultra HD Blu-ray on October 4, 2022.[165]
Related works
Romero's Dead films
Night of the Living Dead is the first of six ... of the Dead films directed by George Romero. Following the 1968 film, Romero released Dawn of the Dead, Day of the Dead, Land of the Dead, Diary of the Dead and Survival of the Dead.[166] Each film traces the evolution of the living dead epidemic in the United States and humanity's desperate attempts to cope with it. As in Night of the Living Dead, Romero peppered the other films in the series with critiques specific to the periods in which they were released.[167][168][169] Romero died with several "Dead" projects unfinished, including the posthumously completed novel The Living Dead[170] and the upcoming film The Twilight of the Dead.[171]
Return of the Living Dead series
The Return of the Living Dead series takes place in an alternate continuity where both the original film and the titular living dead exist. The series has a complicated relationship with Romero's Dead films.[172] Co-writer John Russo wrote the novel Return of the Living Dead (1978) as a sequel to the original film and collaborated with Night alumni Russ Streiner and Rudy Ricci on a screenplay under the same title. In 1981, investment banker Tom Fox bought the rights to the story. Fox brought in Dan O'Bannon to direct and rewrite the script, changing nearly everything but the title.[173][174] O'Bannon's The Return of the Living Dead arrived in theaters in 1985 alongside Day of the Dead. Romero and his associates attempted to block Fox from marketing his film as a sequel and demanded the name be changed. In a previous court case, Dawn Associates v. Links (1978), they had prevented Illinois-based film distributor William Links from re-releasing an unrelated film under the title Return of the Living Dead. Fox was forced to cease his advertising campaign but allowed to retain the title.[175][174][176][177]
Rise of the Living Dead
George Cameron Romero, the son of director George A. Romero, wrote a prequel to his father's classic, under the working titles Origins and Rise of the Living Dead. George Cameron Romero said that he created Rise of the Living Dead as an homage to his father's work, a glimpse into the political turmoil of the mid-to-late 1960s, and a bookend piece to his father's original story. Despite raising funds for the film on
Many remakes have attempted to reimagine the original film's story, most notably the 1990 remake written by Romero and directed by special effects artist Tom Savini. Savini had planned to work on the 1968 film before being drafted into the Vietnam War,[182][183] and, after the war, worked with Romero on the sequels.[184] The remake was based on the original screenplay but included a revised plot that portrayed Barbra (Patricia Tallman) as a capable and active heroine.[185] Film historian Barry Grant interprets the new Barbara as a reversal of the original film's portrayal of feminine passivity.[186] He explores how the 1990 Barbra embodies—arguably masculine—virtuous professionalism, as depicted in the works of classic Hollywood director Howard Hawks, a major influence on Romero.[187] Grant describes her as the film's only Hawksian professional. After changing from a mousy outfit that mirrors the original into the visually militaristic clothing she discovers in the farmhouse, Barbra is the lone character able to separate her emotions from the objective necessity to exterminate the living dead.[188] According to Grant, Romero is able to offer one of the most important feminist outlooks in horror because the undead disrupt all traditional values including patriarchy.[189]
Due to its public domain status, many independent producers have created remakes of Night of the Living Dead.[9][124] The film has been remade more than any other movie.[190] Independent remakes have used the film's titular "living dead" as an allegory for racial tension, terrorism, nuclear war, and beyond.[190]
In other media
At the suggestion of Bill Hinzman (the actor who played the zombie that first attacks Barbra in the graveyard and kills her brother Johnny at the beginning of the original film), composers Todd Goodman and Stephen Catanzarite composed an opera Night of the Living Dead based on the film.[191] The Microscopic Opera Company produced its world premiere, which was performed at the Kelly-Strayhorn Theater in Pittsburgh, in October 2013.[192] The opera was awarded the American Prize for Theater Composition in 2014.[193]
A play called Night of the Living Dead Live! was published in 2017[194] and has been performed in major cities including Toronto, Leeds and Auckland.[195][196][197]
Legacy
Romero revolutionized the horror film genre with Night of the Living Dead; according to Almar Haflidason of the BBC, the film represented "a new dawn in horror film-making".[198] The film ushered in the splatter film subgenre. Earlier horror films had largely involved rubber masks, costumes, cardboard sets, and mysterious figures lurking in the shadows. They were set in locations far removed from rural and suburban America.[199] Romero revealed the power behind exploitation and setting horror in ordinary, unexceptional locations and offered a template for making an effective film on a small budget.[200] Night spawned countless imitators in cinema, television, and video gaming.[7] According to author Barry Keith Grant, the slasher films of the 1970s and 1980s such as John Carpenter's Halloween (1978), Sean S. Cunningham's Friday the 13th (1980), and Wes Craven's A Nightmare on Elm Street (1984) are indebted to Romero's use of gore in a familiar setting.[201]
The film is regarded as one of the launching pads for the modern zombie movie,
According to professor of religious studies Kim Paffenroth, Romero's antagonists broke with earlier traditions of "voodoo zombies" by having no human villain in control of the zombie and thus no potential to ever restore the monsters' humanity.[210] Compared to the vampires and Haitian zombies that served as inspiration, Romero's antagonists derive more horror from abjection, the disgust that arises from an inability to separate clean from corrupt. While the vampire myth offers a potential escape from mundane life, the zombie offers an infinite decay more abject than conventional death.[211] Cultural critic Steven Shaviro has remarked that—unlike with other movie characters—audiences cannot identify with the zombies because there is no identity left within their bodies, and that they instead provide audiences a combination of disgust and fascinated attraction.[203][212]
Critical analysis
Since its release, many critics and film historians have interpreted Night of the Living Dead as a subversive film that critiques 1960s American society, international
Elliot Stein of The Village Voice sees the film as an ardent critique of American involvement in the Vietnam War, arguing that it "was not set in Transylvania, but Pennsylvania – this was Middle America at war, and the zombie carnage seemed a grotesque echo of the conflict then raging in Vietnam".[218] Film historian Sumiko Higashi concurs, arguing that Night of the Living Dead draws from the visual vocabulary the media used to report on the war, noting especially that the photographs of the napalm girl and the execution of Nguyễn Văn Lém would be fresh in the minds of the film's creators and audience.[219] She points to aspects of the Vietnam War paralleled in the film: grainy black-and-white newsreels, search and destroy operations, helicopters, and graphic carnage.[220] In 1968, the news was still broadcast in black and white, and the graphic photographs that appear during the closing credits resemble the contemporary Vietnam War photojournalism.[65]
Critics have compared the shooting of the film's black protagonist to the assassination of Martin Luther King Jr.[65][221][222] Stein explains, "In this first-ever subversive horror movie, the resourceful black hero survives the zombies only to be surprised by a redneck posse".[218] In 2018, on the film's 50th anniversary, Mark Lager of CineAction noted a clear parallel between the killing and destruction of Ben's body by white police and the violence directed at African Americans during the civil rights movement. Lager described it as a more honest exploration of 1960s America than anything produced by Hollywood.[223]
Film historian Gregory Waller identifies broad-ranging critiques of American institutions including the nuclear family, private homes, media, government, and "the entire mechanism of civil defense".[224] Film historian Linda Badley explains that the film was so horrifying because the monsters were not creatures from outer space or some exotic environment, but rather that "They're us."[225] In the 2009 documentary film Nightmares in Red, White and Blue, the zombies in the film are compared to the "silent majority" of the U.S. in the late 1960s.[226]
See also
Notes
- ^ Night of the Living Dead's worldwide box office:
- ^ The initial ten members for which Image Ten gets its name are:
- George A. Romero
- John Russo
- Russell Streiner
- Marilyn Eastman
- Karl Hardman
- Vince Survinski (production manager)
- Richard Ricci (actor)
- Rudy Ricci (actor)
- Gary Streiner (sound)
- Dave Clipper (attorney)
(Kane 2010, p. 22)
- ^ Official film adaptations of Matheson's novel include The Last Man on Earth (1964), The Omega Man (1971), and the 2007 release I Am Legend.
- ^ In 2011, when the cemetery chapel was under warrant for demolition, Gary R. Steiner led a successful effort to raise funding to restore the building.[69][70]
- ^ The opening title music with the car on the road had been used in a 1961 episode of the TV series Ben Casey entitled "I Remember a Lemon Tree" and is also featured in an episode of Naked City entitled "Bullets Cost Too Much". Most of the music in the film had previously been used on the soundtrack for the science-fiction B-movie Teenagers from Outer Space (1959), as well as several pieces used in the classic Steve McQueen western series Wanted Dead or Alive (1958–61). The piece playing when Ben finds the rifle can be heard in a more complete form during the beginning of The Devil's Messenger (1961) starring Lon Chaney Jr. Another piece, accompanying Barbra's flight from the cemetery zombie, was taken from the score for The Hideous Sun Demon (1959) (Kane 2010, pp. 71–72).
- ^ Online hosts include:
Citations
- ^ "Night of the Living Dead (X)". British Board of Film Classification. November 18, 1980. Archived from the original on August 5, 2016. Retrieved June 7, 2016.
- ^ a b Hughes, Mark (October 30, 2013). "The Top Ten Best Low-Budget Horror Movies of All Time". Forbes. Archived from the original on December 27, 2014. Retrieved December 27, 2014.
- ^ "Night of the Living Dead (1968)". AFI Catalog of Feature Films: The First 100 Years 1893–1993. American Film Institute. December 21, 2021. Archived from the original on December 20, 2021. Retrieved December 20, 2021.
- ^ "Night of the Living Dead". Box Office Mojo. Archived from the original on May 31, 2023. Retrieved May 31, 2023.
- ^ Klawans, Stuart (February 13, 2018). "Night of the Living Dead: Mere Anarchy Is Loosed". The Criterion Collection. Archived from the original on January 23, 2021. Retrieved January 31, 2021.
- ^ a b Allen, Jamie (November 16, 1999). "U.S. film registry adds 25 new titles". Entertainment. CNN. Archived from the original on June 16, 2020. Retrieved November 20, 2017.
- ^ a b Maçek III, J.C. (June 14, 2012). "The Zombification Family Tree: Legacy of the Living Dead". PopMatters. Archived from the original on July 3, 2017. Retrieved October 18, 2017.
- ^ "Preserving the Silver Screen (December 1999) - Library of Congress Information Bulletin". www.loc.gov. Archived from the original on April 14, 2021. Retrieved July 28, 2020.
- ^ a b c d e Boluk & Lenz 2011, p. 5.
- ^ Sandell, Scott (July 21, 2017). "Classic Hollywood: George Romero, Mr. Rogers and the Pittsburgh connection". Los Angeles Times. Archived from the original on October 22, 2023. Retrieved October 22, 2023.
- ^ Kane 2010, ch. 4.
- ^ a b Kane 2010, pp. 20–23.
- ^ Kane 2010, ch. 4, pp. 42–48.
- ^ Jones 2005, p. 118.
- ^ Fraser, C. Gerald (July 28, 1988). "Duane L. Jones, 51, Actor and Director of Stage Works, Dies". The New York Times. Archived from the original on November 4, 2011. Retrieved January 24, 2012.
- ^ Jones, Duane (2002). Bonus interviews. Night of the Living Dead (DVD). Millennium Edition. Elite Entertainment.
- ^ Collum 2004, pp. 3–9.
- ^ a b Collum 2004, p. 4.
- ^ "Night of the Living Dead Cast and Crew - Karl Hardman". www.image-ten.com. Archived from the original on August 26, 2023. Retrieved August 26, 2023.
- ^ a b Barnes, Mike (August 23, 2021). "Marilyn Eastman, Actress and Vital Behind-the-Scenes Player on 'Night of the Living Dead,' Dies at 87". The Hollywood Reporter. Archived from the original on August 26, 2023. Retrieved August 26, 2023.
- ^ a b c Collum 2004, p. 3.
- ^ Nolan, Emma (August 24, 2021). "Tributes for Marilyn Eastman, 'Night of the Living Dead' Star, Dead at 87". Newsweek. Archived from the original on August 26, 2023. Retrieved August 26, 2023.
- ^ Kane 2010, p. 42.
- ^ a b c Kane 2010, p. 43.
- ^ a b Hazlett, Terry (March 14, 1974). "Former Houston Man Heading for Stardom". Observer-Reporter. p. C-6. Archived from the original on January 18, 2020. Retrieved December 30, 2022 – via Google News Archive Search.
- ^ Langford, Bob (December 18, 1992). "A Zombie in His Closet". The News and Observer. Raleigh, North Carolina. pp. 1D, 3D. Archived from the original on August 31, 2023. Retrieved August 30, 2023.
- ^ Kane 2010, p. 204.
- ^ Hartman, Keith (1995). "How to Find Chiropractic Help, Bursitis and Tendinitis, Sternum Noises, Knee and Neck Care; plus the Notice of the Death of Dr. Hartman". Hard Gainer. No. 40. Archived from the original on July 5, 2022.
- ^ Kane 2010, pp. 42–43.
- ^ Kane 2010, pp. 90–92.
- ^ Barton, Steve (February 6, 2012). "Rest in Peace: Bill Hinzman". Dread Central. Archived from the original on August 26, 2023. Retrieved August 26, 2023.
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[[...]educational film FALLOUT: WHEN AND HOW TO PROTECT YOURSELF AGAINST IT (USA 1959, produced by Creative Arts Studio Inc. on behalf of the Office of Civil and Defense Mobilization). What accompanies the introductory shots of nuclear explosions in the educational film is accompanied by the documented catastrophe in the end credits in NIGHT (cf. Höltgen 23).] - ^ Kane 2010, pp. 71–72.
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References
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Further reading
- Becker, Matt. "A Point of Little Hope: Hippie Horror Films and the Politics of Ambivalence". The Velvet Light Trap(No. 57, Spring 2006): pp. 42–59.
- Carroll, Noël. "The Nature of Horror". The Journal of Aesthetics and Art Criticism 46 (No. 1, Autumn 1987): pp. 51–59.
- Crane, Jonathan Lake. Terror and Everyday Life: Singular Moments in the History of the Horror Film. Thousand Oaks, CA.: ISBN 978-0-8039-5849-4.
- Jancovich, Mark, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Manchester, Eng.: ISBN 978-0-7190-6631-3
- Lowenstein, Adam. Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film. New York: ISBN 978-0-231-13246-6.
- Maye, Harun. "Rewriting the Dead: The Tension between Nostalgia and Perversion in George A. Romero's Night of the Living Dead (1968)". In: Nostalgia or Perversion? Gothic Rewriting from the Eighteenth Century until the Present Day. Ed. Isabella van Elferen. Newcastle: Cambridge Scholars Publishing 2007. ISBN 978-1-84718-247-0.
- Moreman, Christopher M. "A Modern Meditation on Death: Identifying Buddhist Teachings in George A. Romero's Night of the Living Dead". Contemporary Buddhism 9 (No. 2, 2008): pp. 151–165.
- Pharr, Mary. "Greek Gifts: Vision and Revision in Two Versions of Night of the Living Dead". In Trajectories of the Fantastic. Ed. Michael A. Morrison. Westport, CT: ISBN 978-0-313-29646-8.
- Pinedo, Isabel Cristina. Recreational Terror: Women and the Pleasures of Horror Film Viewing. Albany, NY: ISBN 978-0-7914-3441-3.
- Russell, Jamie. Book of the Dead: The Complete History of Zombie Cinema. Surrey: Fab Press, 2005. ISBN 978-1-903254-33-2.
- Shapiro, Jerome F. Atomic Bomb Cinema: The Apocalyptic Imagination on Film. London: Routledge, 2001. ISBN 978-0-415-93660-6.
- ISBN 978-0-231-05777-6.
- Young, Lola. Fear of the Dark: 'Race', Gender and Sexuality in the Cinema. London: Routledge, 1996. ISBN 978-0-415-09709-3.
External links
- Night of the Living Dead essay by Jim Trombetta on the National Film Registry website
- Night of the Living Dead at IMDb
- Night of the Living Dead at AllMovie
- Night of the Living Dead at the American Film Institute Catalog
- Night of the Living Dead at Rotten Tomatoes
- Night of the Living Dead at the TCM Movie Database(archived)
- Night of the Living Dead: Mere Anarchy Is Loosed an essay by Criterion Collection
- Night of the Living Dead is available for free viewing and download at the Internet Archive
- Night of the Living Dead (in color) is available for free viewing and download at the Internet Archive
- Night of the Living Dead (full film) on Project Gutenberg
- Night of the Living Dead (Trailer) on YouTube
- Night of the Living Dead (full film) on YouTube
- Night of the Living Dead (full film in color) on YouTube