![]() ![]() “The reader”, says Saliba, “is led through the story by the narrator with no sense of reality other than what the narrator has to say”. Saliba has recently argued that Edgar Allan Poe’s “structural omission of an objective viewpoint for the reader forces the reader to experience the tale with no point of reference outside the framework of the story”. ![]() Price, Poe, Corman, and AIP were to be inextricably connected for four years and seven films in the Poe cycle.1ĭavid R. It was shot in full color and Cinemascope for $270,000, most of which was paid to the star, Vincent Price. The Fall of the House of Usher (1960) and the Poe cycle “is one of the high points in the commodification of Poe, imposing a theatrically gothic aspect to his writings … and making him a favorite to a wide range of audiences” (Neimeyer 218). Up to this point he produced black-and-white films in teen-targeted genres such as horror, science fiction, and juvenile delinquency (JD). Corman was a director that Arkoff and Nicholson employed for his fast turnover, miniscule budgets, and reliability as much as his competence. Arkoff, for instance, stated that all the company was interested in were “its and ass. Previously, AIP was regarded as an exploitative production company, something that Arkoff and Nicolson seemed to revel in. He proposed a strategy for AIP to reposition the studio upmarket. In his pitch, Corman identified the dual appeal of Edgar Allan Poe as a part of the American literary canon but also a fan favorite. Plus one quality film in colour is better than two cheap films in black and white” (qtd. Corman pitched a better idea, a film based upon Edgar Allan Poe’s short story “The Fall of the House of Usher.” Corman rationalized that Poe “has a built in following with …. Arkoff and James Nicholson asked Roger Corman, their in-house director, to make two black-and-white horror films at $100,000 each. ![]() One day over lunch in 1960, American International Pictures (AIP) executives Samuel Z. ![]()
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