ROOM 4 - Plaisir à GLC

I've been doing some research recently into the British theatrical exhibition of Jess Franco's films, and came across this telling glimpse into life in 1970s Britain.

Franco's 1973 erotic horror film Plaisir à trois was one of the highlights of his sojourn with French porno producer Robert De Nesle, whose company Comptoir Français du Film Production bankrolled over twenty of his movies in the 1970s. When the film was submitted to the British Board of Film Censors on 8th May 1974, however, it was rejected outright.

Attempting to release the film were Cinecenta, a theatre chain specializing in the newly emergent sex films from America and the Continent. Many of their acquisitions suffered terribly at the hands of the censor, either banned outright or subjected to massive cuts before being grudgingly allowed an 'X' certificate (running times of 'X' prints often dipped below sixty minutes).

While the sexual revolution of the 1960s had swept through youth culture, parts of the intelligentsia and various exotic social groupings, it was yet to loosen the Establishment's grip on popular entertainment. Sex films, as seen in British cinemas, were splicy, frustrating affairs, with the 'meat' of the matter forever nipped in the bud. However, Cinecenta and companies like them were unwilling to admit defeat. One further legal avenue was open: if a film had been banned by the BBFC it was still possible to ask for a 'local X' from individual councils. Thus, in 1975 Plaisir à trois was submitted to London's then governing body, the Greater London Council (GLC) for consideration.

The 'Compton's' cinema chain had already succeeded in this endeavour with another Jess Franco film The Demons, which was rejected by the BBFC outright on the 23rd of March 1972, but which entered selective distribution to the country's sex cinemas in 1973, following successful applications for local licences in cities such as London and Birmingham. Plaisir à trois, now retitled How To Seduce a Virgin, was thus granted a number of local certificates and entered distribution in the summer of 1975...

Below is an article I discovered in the long-defunct British film trade magazine Cinema & TV Today, dated the 26th of April 1975, which outlines the controversy stirred up by Franco's film - a controversy that has not been remarked upon, to my knowledge, since the mid-seventies:

GLC ignores anti-porn protestors
by Quentin Falk

The GLC refused to be seduced this week by the members of the Festival of Light and the Salvation Army.

For despite the extra-mural influence of some 100 anti-porn campaigners, including Lord Longford, who went down on their knees as the council met, the GLC endorsed its viewing board's decision to give a certificate to "How To Seduce a Virgin."

The French sex film, which has been variously described as a "tale of murder and sex in a mental hospital" and telling "how a husband procures a woman for his lesbian wife to seduce and murder" was refused a certificate by the British Board of Film Censors.

The film was eventually passed by 44 votes to 36, much to the chagrin of the praying campaigners.

Cinecenta, who are handling the film, originally sought a GLC certificate in January and then withdrew the film when the big censorship debate came up in council at the end of that month.

After the GLC voted to retain censorship for adults, Cinecenta then offered the film again for consideration.

Commented viewing board chairman, Phil Bassett: "It's a rather sordid, seedy film."

Some context here:

Lord Longford was a Labour peer and campaigner on moral issues, best known, and deeply infamous, for his Christian forgiveness of 'Moors Murderer' Myra Hindley and his subsequent campaigning for her release. He earned himself the sobriquet 'Lord Porn' after he toured European sex cinemas on a 'fact-finding' mission to support his abhorrence of the sex industry. He was also a bitter opponent of gay rights and backed Margaret Thatcher's anti-gay 'Section 28' legislation to the end.

The Festival of Light was a conservative movement formed in the late 1960s by British Christians opposed to the so-called permissive society. Its most tenacious media campaigners were Mary Whitehouse and Malcolm Muggeridge, both of whom regularly appeared on television (Muggeridge famously calling for Monty Python's Life of Brian to be banned).

How to Seduce a Virgin did not set the box office alight, nor, as far as I can tell, did it spend a huge amount of time on the circuit. What's interesting today is to see the furore surrounding such a relatively obscure Franco title, with Christians picketing and praying their way into the news. Sadly, no British company picked up the film for distribution in the heyday of the 'video-nasty' so we have no way of knowing how it would have fared in that feverish moral climate. It seems unlikely that it would have been so controversial again, when films such as Cannibal Holocaust and I Spit On Your Grave were in circulation, but you never know - Jess Franco's name was infamous within the BBFC, and by the time the video revolution occurred a great many of his films between 1970 and 1980 had been banned outright.

Hopefully, Pete Tombs' company Mondo Macabro will consider this movie for release if and when they can secure the rights for a DVD release. Because, behind the controversy, and despite the obscurity, there's a terrific Sadean horror film just waiting to pounce!

ROOM 6 - THE TOPOGRAPHIC SUITE

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Yesiphanies
This is a slightly longer version of a piece I wrote for the November edition of
The Wire magazine.


Mention Yes casually, and a confession often follows. ‘I used to be really into them’, or ‘I must admit, I saw them in 1974 and they were fantastic.’ You’d be surprised how many avant-garde musicians and writers of a certain age spent their teenage years twiddling their fingers along to Steve Howe’s guitar runs, or pouring over the byzantine lyrics of Jon Anderson.

I owe my first exposure to Yes to a chance encounter after school. Aged 16, I bumped into a Sixth-Former, Andrew ‘Tiny’ Wood (later the singer in Ultrasound). I was carrying Captain Beefheart’s Trout Mask Replica, nicked from Virgin in Leeds; he was carrying Yessongs. We became friends, bonded through music, and he joined my first band Possession. Tiny was thirsty for new ideas, and he got into ‘my’ music straight away; it took me another twenty years to get into Yes…

The exception was Heart of the Sunrise (the Yessongs version), its opening salvo at least. Three minutes of soaringly exciting rock, densely constructed yet immediately accessible, rising and meshing until: oh dear. Enter Jon Anderson, in full flower: “Love comes to you, and you follow”…

I switched off. No way was I ‘following’ Jon Anderson. He was the antithesis of my taste in vocalists: I was into caustic observers like Mark E. Smith, emotional contortionists like Pere Ubu’s David Thomas. The winsome, choirboyish Anderson, conveying peace and mystical religiosity, was an abomination to my ears. And so my mind snapped closed.

One of the unexpected pleasures of rebuilding my friendship with Jhonn Balance, five years after my exit from Coil in 1993, was meeting Thighpaulsandra, by then ensconsed as Coil’s keyboard wizard. It led to my partner Ossian and I housesitting for him one summer fortnight in 1999, at his country cottage in the hills outside Pontypridd, South Wales. His record collection boasted a formidable prog’ section, and from some quiet place in the back of my mind came a thought – ‘I should listen to the Yes albums.’ The notion was supported by the presence of several books about Yes on Thighpaulsandra’s shelves, including Bill Martin’s Music of Yes: Structure and Vision in Progressive Rock, a fantastically elaborate thesis paying special attention to Anderson’s lyrics. The sun was out. The hillside views were captivating. All the auxiliaries of pleasure were aligned. The albums suddenly, profoundly, clicked.

I know, I know. Bucolic setting inspires cynical musician into adoration of pastoral rock. Post-industrial sound-squelcher in hedgerow conversion! Transfiguration by tractor! But it worked. Away from London, windows opened literally and metaphorically. Sunlight and sweet dirty countryside. Grass and blossom and manure. Listening under enormous skies, stars astonishingly vivid, the Milky Way glistening over twilit fields, I fell for Yes harder than for any band in what felt like an age.

I wanted to hear it all, see it all, read it all, so I mainlined the entire Yes catalogue. I soon came to agree with Bill Martin, who topped-and-tailed their oeuvre to a ‘main sequence’ stretching from The Yes Album in 1971, through Fragile, Close to the Edge, Tales From Topographic Oceans, and Relayer, to Going For The One in 1977 (with the triple-live Yessongs for an encore).

The jagged opening guitar chords, propulsive uncoiling bass and clotted Leslie-speaker organ of Yours is No Disgrace from The Yes Album dispelled any lingering expectations of wetness and whimsy. As the albums effloresced, criticisms fell away like dew. Show-off virtuosity? Rubbish – Yes music was ensemble-driven to a tee, folding even the most prodigious solos into a three-dimensional whole. Grandiosity? Guilty as charged, and all the better for it. Approached with a sense of humour, the grandness of Yes transforms into something exhilarating and massively endearing. The impossibly grandiloquent climax of And You And I made me ache with that special kind of joy that can only escape in tears. Likewise Steve Howe’s solos: his playing on the run-out of Siberian Khatru is incredibly moving, for reasons I can’t begin to define. How blinkered I’d been: Yes songs such as Roundabout and South Side of the Sky were confidently muscular and physical, rewriting my whole attitude to the group. Squire’s bass playing is vital in this respect, unbelievably gutsy yet supremely flexible and nuanced.

And then the biggest stumbling block: Anderson.

In the fresh evening air I turned my antennae in a new direction. A singer with no irony. No aggression or mannerism. Optimistic instead of dystopian, with the bravery to try and communicate something bigger than himself. A complete exclusion of nihilism (the cock-rock of philosophy). It’s possible to love Anderson without ‘getting’ his lyrics, which for a singer is vital. I find the poetry hit and miss, but he has a phenomenal talent for phrasing. His lyrics are an attempt to unify the disparate strands of world religion: new and old, Christian and Pagan, East and West. He seeks worldly analogues for spiritual abstractions, and the spiritual essence in the everyday. These are goals that one can accept or reject, but the ambition, sincerity and unbowed optimism of Anderson still inspire me even when his gnosis does not.

A common misconception is that Anderson wrote nothing but woolly metaphysical abstraction. One need only listen to the terrifying Gates of Delirium to realise that this is not the case. A study of the way high principles turn to vengeance in wartime (“Kill them, give them as they give us/Slay them, burn their children’s laughter on to Hell” ), it’s hard and truthful and informed by Tolstoy more than Tolkien.

Nowadays it's common for critics to dismiss progressive rock in accordance with a diktat set in stone by post-punk orthodoxy, a default position of scorn which has become as fossilized as the 'rock dinosaurs' punk set out to destroy. Exceptions are sometimes made for King Crimson, or Van Der Graaf Generator (great bands both) because they're 'dark' and therefore cooler. But Yes are derided so often it's become rather irksome. A BBC4 documentary supposedly celebrating prog-rock wasted precious screen time indulging the usual suspects and their predictable pot-shots. It's as if the music can never be enjoyed in mainstream discourse without the cynical priests of post-punk scowling from the sidelines.

Anderson’s total lack of cynicism is the ultimate in exotic pleasures if you’ve drunk maybe too long at the well of disillusionment. His generous spirit and faith in the worth of humanity is unforced, unbowed and immune to even the meanest criticism – and let’s be clear, Yes attracted mountains of it, especially after punk. There’s a line in Going For The One where Anderson pokes fun at himself, and it’s both comic and slightly terrifying (has he begun to see himself as the haters see him?): “Now the verses I’ve sang don’t add much weight to the story in my head/So I’m thinking I should go and write a punchline/But they’re so hard to find/In my cosmic mind/So I think I’ll take a look out of the window”. No need to worry – it’s just the humour of Yes, another of their unsung qualities.

Jon Anderson and Yes opened a window for me in 1999. For a change it wasn’t the sort I’d contemplate jumping out of, nor throwing someone else through. It refreshed me. Through the window, some of my bitter old blackness left.

R.I.P. PAUL NASCHY (1934 - 2009)

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Paul Naschy, one of the greatest Icons of the Horror genre, has died aged 75.

A wrestler before he entered the film industry, Naschy (born Jacinto Molina Alvarez) remained a fighter to the end: he battled cancer for over a year yet he was determined to continue working. The excellent Mark of Naschy website announced in October that he'd recently completed filming a vampire picture, Empusa, described as "a supernatural story of seamen, fishermen, ships, and a seagull who happens to be a vampire/witch woman". Naschy took over the directing of Empusa when frequent collaborator Carlos Aured pulled out, and was working on the post-production sound right up to his death. He said, "I sincerely believe that this is the best script I have written in my career."



The name 'Paul Naschy' will forever be synonymous with a brand of delirious monster-driven horror cinema, and he leaves behind him an enormous legacy, characterized more than anything else by the sheer pleasure of the horror genre. Even at their grisliest, his movies are fun all the way. The name of the game for Naschy was entertainment; his films are lunatic, wayward, sometimes daft as can be, but they always offer the viewer a terrific blast of thrills and amusement. I feel sure that future generations of horror fanatics will continue to regard his work with affection and admiration. It may be the end for Jacinto Molina on this Earth, but Paul Naschy, and his most famous screen creation Waldemar Daninsky, will always stalk the shadows of the silver screen.

ROOM 4 - Comptoir Français du Film Production Titles on DVD in 2010

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Exciting developments in Francoland! DVD maestros Mondo Macabro have announced that they’re soon to release three ‘volumes’ of Jess Franco on DVD, drawn from the archives of Robert De Nesle’s Comptoir Français du Film Production. De Nesle died in 1978, but Mondo Macabro’s Pete Tombs has successfully negotiated with the current rights holders to bring us some of the key works in Franco’s filmography. No titles have been officially confirmed as yet, but the list of probable contenders (excluding those already officially available) includes:

Trois filles nues dans l'ile de Robinson
Les ébranlées
Le journal intime d'une nymphomane aka Sinner
Un capitaine de quinze ans
Plaisir à trois
La comtesse perverse
Maciste contre la reine des Amazones
Les exploits érotiques de Maciste dans l'Atlantide
Le miroir obscène aka Al otro lado del espejo
Célestine, bonne à tout faire
Les possédées du diable (Lorna l'exorciste)
L'homme le plus sexy du monde aka Le jouisseur
Les nonnes en folie aka Les chatouilleuses
Les grandes emmerdeuses
Elles font tout
Je brûle de partout
Cocktail spécial

While we're waiting for confirmation of the specific titles, here's a quick picture tour of the De Nesle era - I wonder if any of these movies will be included in the line-up?

UPDATE: Mondo Macabro have announced the first three titles!

Le journal intime d'une nymphomane

La comtesse perverse

Les possédées du diable (Lorna l'exorciste)

This is fantastic news. The imminent arrival on DVD of Franco's delirious Comtesse Perverse and his morbid masterpiece Les possédées du diable is hugely significant, while the choice of Le journal intime d'une nymphomane should establish beyond argument the quality and power of this complex, melancholy work. Apparently, if these three do well (expect the first around May 2010), other titles will follow. I'm sure I'm not alone in hoping that the tragic beauty of Al otro lado del espejo and the Sadean brilliance of Plaisir à trois put these two ahead of the pack. Of the others, I'm also especially fond of the delightful and effortlessly weird Les Grandes Emmerdeuses, and I harbour a strange love for the beautifully photographed but totally wacko 'muscleman epic' Les Gloutonnes, De Nesle's sexed-up version of Les exploits érotiques de Maciste dans l'Atlantide. Of the sex comedies, I suspect Trois filles nues dans l'ile de Robinson is the meatiest, and Les chatouilleuses the slightest, although fans of naughty nuns may disagree!

COMMENTS REOPENED

My apologies. Back on the 31st Oct I accidentally switched the option for reader comments to 'members only'. This has now been corrected.

SEVEN DOORS NO.5 - 2nd POST: JUST SAY YES

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If the words "Total Mass Retain" or " Moon gate, climber, Turn round, glider" ring any bells for you, it's possible you'll enjoy my 'Epiphanies' piece in UK-based music magazine The Wire this month. That's right, I'm spreading the love for British Progressive Rock giants Yes. The Wire is published monthly - the issue in question, #310, is out now dated December 2009, and features the artist known as Sensational on the cover.

SEVEN DOORS NO.5 - 1ST POST: Cyclobe music to premiere at The Tate, St. Ives, Saturday 21st November

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A new composition by Cyclobe, The Woods are Alive with the Smell of His Coming, will be premiered at the Tate St. Ives, Cornwall, on the 21st of November as part of an exhibition entitled The Dark Monarch - Magic and Modernity in British Art. The exhibition comprises work by a wide variety of artists; Paul Nash, Barbara Hepworth, Austin Osman Spare, Ithell Colquhoun, David Noonan, Richard Dadd, Derek Jarman, Samuel Palmer and Damien Hirst to name but a few. Cyclobe's audio presentation is a twenty minute pre-recorded piece which is due to be released on our forthcoming album early in the new year. The event, a specially created symposium in conjunction with the exhibition, includes a variety of discussions and lectures from exhibition curators Martin Clark, Michael Bracewell and Alun Rowlands. Chris Stephens, Curator (Modern British Art) & Head of Displays at Tate Britain will also be present, as well as exhibiting artists Jeremy Millar, Mark Titchner and Clare Woods. There will be a screening of the Incredible String Band documentary Be Glad For The Song Has No Ending with director Peter Neal in attendance, and a short film by Angela Cockayne and Philip Hoare (author of England's Lost Eden). From his own collection, Ossian Brown has contributed the 1955 painting The Qliphoth by Austin Osman Spare, part of the 'Contexture of Being' series, for the exhibition's beautiful catalogue. Unfortunately, having only just confirmed our involvement we've not been able to share information about this sooner. We will be present at the event and look forward to seeing anyone who's able to attend. Tickets are limited so please check with the gallery for availability.

With our best wishes,
Ossian Brown and Stephen Thrower
15th November 2009

For ticket and schedule information please visit:
http://www.tate.org.uk/stives/eventseducation/talksdiscussions/20550.htm

and Cyclobe's home site:
http://www.cyclobe.com

SEVEN DOORS No.4

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I've been asked this week by, oh, literally no one, just what The Seven Doors Hotel actually looks like. Well, there are in fact seven: one in Great Britain, one in Portugal, one in Italy, one in Łódź, one in New Orleans, one in Paris, and another at a closely guarded secret location...

With Francomania coursing through my veins this week due to the announcement of my new book project (Sadomania! A Guide to the Films of Jess Franco), I thought you might like to see the Portuguese Seven Doors Hotel. If you're a Franco fan, it may look strangely familiar...

ROOM 4 - 1ST POST: Sadomania! A Guide to the films of Jess Franco

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I've been reticent to speak of this too soon, but I can reveal that before the second volume of Nightmare USA hits the shelves, FAB Press and I will squeeze in a modest little project called Sadomania! A Guide to the Films of Jess Franco. Nothing too ambitious, nothing too epic, just a slim volume about THE MOST PROLIFIC DIRECTOR OF ALL TIME!!!

The name of the book may change (it's a 'holding title' really), but the project is well advanced and on schedule for next year. Wish me luck, as I cross the 100 film mark this week! I've come too far to turn back, so I'm glad I left a few of the highly regarded films for the final leg of the journey. Can you believe, for instance, that with almost a hundred Franco films viewed and reviewed, I've still not actually seen Vampyros Lesbos?!

The ever-increasing availability of Jess Franco's films on DVD and the substantial number now viewable in English make the prospect of writing a comprehensive guide far more attractive than it would've been even five years ago. There are, incredibly, around a hundred Franco films out there in English, either on DVD or dusty old VHS, with many more available in French or Spanish. Certainly now is the time to attempt what seemed impossible and review them all!

Currently, only five 'official' Franco films are stubbornly unavailable to me in any home viewing format - that's discounting unfinished and unreleased projects. But with so many individual films now sourced, one feels optimistic that the job can be done! Sadomania! will be as comprehensive a study as humanly possible, and I'll be giving a fair shake to all of the films, whether classy or sleazy, crude or delicate, cruel or sad, amateurish or artful. In the 21st century Franco's cinema is at last laid out before us, exposed to our hungry gaze like never before. Sadomania! will zoom shamelessly into every nook and cranny, and nothing will be hidden from your view!

Below is a list of the remaining Jess Franco films I am unable to source. I'd be extremely grateful for information or assistance that would enable me to see these and cover them in the book. If you can help, you will naturally receive full credit, plus a signed copy of the book and a sincere thank-you from me!

LABIOS ROJOS (1960)
SEX CHARADE (1970)
VOCES DE MUERTE (1984)
EL ABUELO, LA CONDESA Y ESCARLATA LA TRAVIESA (1985)
LAS CHUPONAS (1986)


Quite a few 'mystery' titles also remain out of reach, many of them unfinished projects which are unlikely to surface. Nevertheless, just in case - here they are!

EL MISTERIO DEL CASTILLO ROJO (1972 - unfinished)
RELAX BABY (1973 - unfinished)
LE MANOIR DU PENDU (1973 - unfinished)
MANDINGA (1975 - unfinished)
EL HUÉSPED DE LA NIEBLA (1982 - short documentary, unreleased?)
BARRIO CHINO (1983 - unfinished)
EL ASESINO LLEVABA MEDIAS NEGRAS (1984 - unfinished)
UNA DE CHINO (1985 - unfinished)
EL HOMBRE QUE MATÓ A MENGELE (1985 - unfinished)
EL RHINOCERONTE BLANCO (1986 - unfinished)
LAS TRIBULACIONES DE UN BUDA BIZCO (1986 - unreleased)
SIDA, LA PESTE DEL SIGLO XX (1986 - unreleased)
TELEPORNO (1986 - unfinished)

I'm also interested in the following titles. These are either composite films containing segments from Franco's official films, or else they're 'co-directing' credits of doubtful validity:

WEIßE HAUT UND SCHWARZE SCHENKEL (1976 - allegedly co-directed with Erwin Dietrich)
CONVOI DE FILLES (1978 - allegedly co-directed with Pierre Chevalier)
À LA POURSUITE DE BARBARA (1991 - allegedly co-directed with Jean Rollin).

ROOM 3 - 1ST POST

One of the appendices included in my book Nightmare USA is the 'Exploitation Independent Checklist'. On it are all of the films covered in the book, plus those to be included in Volume 2 and any others I could think of which fitted the template - i.e. independently produced horror films made in the USA between 1970 and 1985. I think we all love a list, so I've decided to begin this blog by reprinting it here. There are 472 films on it, of which I've seen a woefully unhealthy 335. The sunlight hurts my eyes and I rarely go out. How many have you seen?

* indicates the movies I've seen
Movies in bold are reviewed or covered in depth in Nightmare USA Vol.1

*ABDUCTED - Don Jones (1973)
*ALABAMA'S GHOST - Fredric Hobbs (1973)
*ALCHEMIST, THE - Charles Band (1981)
*ALIEN DEAD, THE - Fred Olen Ray (1980)
*ALIEN FACTOR, THE - Don Dohler (1977)
*BEAUTIES AND THE BEAST - Ray Naneau (1973)
BEN – Phil Karlson (1972) Bing Crosby Productions
*BEYOND EVIL - Herb Freed (1980)
*BLACK DEVIL-DOLL FROM HELL - Chester T. Turner (1984)
*BLACK ROOM, THE - Norman Thaddeus Vane/Elly Kenner (1981)
BLACKENSTEIN - William A. Levey (1972)
*BLOOD - Andy Milligan (1974)
BLOOD BATH - Joel M. Reed (1975)
BLOOD BRIDE - Robert J. Avrech (1979)
BLOOD CULT – Christopher Lewis (1985) SHOT ON VIDEO
*BLOOD FREAK - Brad F. Grinter (1972)
*BLOOD MANIA - Robert Vincent O'Neil (1971)
*BLOOD OF GHASTLY HORROR - Al Adamson (1971)
*BLOOD ORGY OF THE SHE DEVILS - Ted V. Mikels (1972)
*BLOOD RAGE - John Grissmer (1983)
*BLOOD SABBATH - Brianne Murphy (1972)
BLOOD SHACK - Ray Dennis Steckler (1971)
*BLOOD SONG - Alan J. Levi (1982)
*BLOOD STALKERS - Robert W. Morgan (1975)
*BLOODRAGE - Joseph Bigwood [Joseph Zito] (1979)
BLOODSUCKERS FROM OUTER SPACE – Glen Coburn (1984)
*BLOODSUCKING FREAKS - Joel M. Reed (1976)
*BLOODTHIRSTY BUTCHERS, THE - Andy Milligan (1970)
*BLOODY BIRTHDAY - Ed Hunt (1980)
*BLOODY WEDNESDAY - Mark G Gilhuis (1985)
*BLUE SUNSHINE - Jeff Lieberman (1--977)
BLUE VOODOO - director unknown (1977)
*BOARDING HOUSE - John Wintergate (1982)
*THE BODY SHOP - J.G. 'Pat' Patterson (1972)
*BOG - Don Keeslar (1978)
*BOOGEY MAN, THE - Ulli Lommel (1980)
*BOOGEYMAN II – Ulli Lommel (1983)
*BOOGENS, THE - James L. Conway (1981)
BRAIN LEECHES, THE - Fred Olen Ray (1977)
*BRAIN OF BLOOD - Al Adamson (1971)
*BRIDES WORE BLOOD, THE - Bob Favorite (1972)
BUMMER! - William Allen Castleman (1973)
CAPTURE OF BIGFOOT, THE - Bill Rebane (1979)
CARNAGE – Andy Milligan (1983)
*CARNIVAL OF BLOOD - Leonard Kirtman (1970)
*CATACLYSM - Tom McGowan (1980)
*CENTERFOLD GIRLS - John Peyser (1974)
*CHILD, THE - Robert Voskanian (1976)
*CHILDREN, THE - Max Kalmanowicz (1980)
*CHILDREN OF THE CORN – Fritz Kiersch (1984)
*CHILDREN SHOULDN'T PLAY WITH DEAD THINGS - Bob Clark (1972)
*CHRISTMAS EVIL - Lewis Jackson (1980)
*CLAWS - Richard Bansbach/R.E. Pierson (1977)
COMING, THE - Bert I. Gordon (1980)
*COMMUNION - Alfred Sole (1976)
*CONFESSIONS OF A SERIAL KILLER - Mark Blair (1985)
*CORPSE GRINDERS, THE - Ted V. Mikels (1971)
COUNT EROTICO - VAMPIRE - Tony Teresi (1975)
*CRATER LAKE MONSTER, THE - William R. Stromberg (1977)
*CRAZED - Richard Cassidy (1977)
*CRAZIES, THE - George Romero (1973)
*CREATURE FROM BLACK LAKE - Joy N. Houck Jr (1976)
*CREEPER, THE - Wes Olsen (1984)
*CRIMINALLY INSANE - Steve Millard (1975)
*CRYPT OF DARK SECRETS - Jack Weis (1976)
CRYPT OF THE LIVING DEAD - Ray Danton/Julio Salvador (1972)
CURSE OF BIGFOOT - Don Fields (1976)
*CURSE OF THE ALPHA STONE - Stewart Malleson (1972)
*CURSE OF THE HEADLESS HORSEMAN - Leonard Kirtman (1972)
CURSE OF THE MOON CHILD - director unknown (1972)
*CURSE OF THE SCREAMING DEAD - Tony Malanowski (1982)
*DARK, THE - John 'Bud' Cardos (1978)
DARK ANGEL, THE - director unknown (1983)
*DARK AUGUST - Martin Goldman (1975)
DARK DREAMS - Roger Guermontes (1971)
*DARK EYES - James Polakof (1980)
*DARK POWER, THE - Phil Smoot (1985)
*DARK RIDE, THE - Jeremy Hoenack (1977)
*DARK SANITY - Martin Green (1982)
DAUGHTER OF SATAN - director unknown (1970)
*DAWN OF THE DEAD - George Romero (1978)
DAY IT CAME TO EARTH, THE – Harry Thomason (1979)
*DAY OF JUDGEMENT, A - C.D.H. Reynolds (1979)
*DAY OF THE DEAD – George Romero (1985)
DAY OF THE REAPER - Tim Ritter (1984)
DAY SANTA CLAUS CRIED, THE - Philip Otto (1980)
*DEAD AND BURIED – Gary Sherman (1981)
DEAD END – Emerson Bixby (1985) shot on video
*DEADLY GAMES - Scott Mansfield (1980)
DEADLY LOVE – Alexander Newman (1976)
*DEADLY SPAWN, THE - Douglas McKeown (1982)
DEAFULA - Peter Wolf (1974)
*DEATH BED: THE BED THAT EATS - George Barry (1977)
DEATH BY INVITATION - Ken Friedman (1971)
*DEATH GAME - Peter Traynor (1976)
*DEATH SCREAMS - David Nelson (1983)
*DEATH TRAP - Tobe Hooper (1976)
*DEATH WISH CLUB - John Carr (1983)
DEATHHEAD VIRGIN, THE - Norman Foster (1974)
*DEATHDREAM – Bob Clark (1972)
*DEFIANCE OF GOOD, THE - Armand Weston (1974)
*DEMENTED - Arthur Jeffreys/Alex Rebar (1980)
*DEMENTED DEATH FARM MASSACRE: THE MOVIE - Donn Davison/Fred Olen Ray (1972/1986)
*DEMONOID - Alfredo Zacharias (1979)
*DEMON LOVER, THE - Donald D. Jackson (1976)
*DEMONS OF LUDLOW, THE - Bill Rebane (1983)
DEVIL INSIDE HER, THE - Zebedy Colt (1976)?
*DEVIL TIMES FIVE - Sean McGregor (1973)
DEVIL’S DUE – Ernest Danna (1973)
DEVIL'S ECSTASY - Brandon G. Carter (1974)
DEVIL'S EXPRESS - Barry Rosen (1975)
DEVIL'S GIFT, THE - Kenneth J. Berton (1984)
DEVIL'S PLAYGROUND, THE - Rick Taziner (1977)
*THE DEVONSVILLE TERROR – Ulli Lommel (1983)
DIMENSION - Leon Armand (1984)
DISCONNECTED –Gorman Bechard (1983)
DOGS - Burt Brinckerhoff (1976)
*DOGS OF HELL - Worth Keeter III (1982)
*DON'T ANSWER THE PHONE! - Robert Hammer (1979)
*DON'T GO IN THE HOUSE - Joseph Ellison (1979)
*DON'T GO IN THE WOODS - James Bryan (1980)
*DON'T GO NEAR THE PARK - Lawrence Foldes (1979)
*DON'T LOOK IN THE BASEMENT - S.F. Brownrigg (1973)
*DON'T OPEN THE DOOR - S.F. Brownrigg (1975)
DOUBLE GARDEN, THE - Kenneth G. Crane (1970)
DR BLACK, MR HYDE - William Crane (1975)
*DR. DEATH, SEEKER OF SOULS - Eddie Saeta (1973)
DRACULA SUCKS - Philip Marshak (1979)
*DRACULA VS FRANKENSTEIN - Al Adamson (1970)
*DRACULA'S DOG - Albert Band (1978)
DRAGULA - Jim Moss [with Andy Milligan] (1971)
*DREAM NO EVIL - John Hayes (1971)
*DRILLER KILLER, THE – Abel Ferrara (1979)
*DRIVE-IN MASSACRE - Stu Segall (1976)
ECSTASY IN BLUE – Bill Milling (1976)
EFFECTS - Dusty Nelson (1978)
*ENCOUNTER WITH THE UNKNOWN - Harry Thomason (1972)
*ENTER THE DEVIL - Frank Q. Dobbs (1972)
EVILS OF THE NIGHT - Mardi Rustam (1985)
*EQUINOX - Jack Woods (1968/71)
*ERASERHEAD - David Lynch (1976)
*EVIL, THE - Gus Trikonis (1977)
*EVIL COME, EVIL GO - Walt Davis (1972)
*EVIL DEAD, THE – Sam Raimi (1982)
*EVIL FORCE – Evan Lee (1975)
*EVILSPEAK - Eric Weston (1981)
EYES OF FIRE – Avery Crounse (1983)
*FADE TO BLACK - Vernon Zimmerman (1980)
FALL BREAK - Buddy Cooper (1985)
*FATAL GAMES – Michael Elliot (1983)
*FEAR NO EVIL - Frank La Loggia (1980)
*FIEND - Don Dohler (1980)
*FIFTH FLOOR, THE - Howard Avedis (1978)
*FIGHT FOR YOUR LIFE - Robert Endelson (1977)
*FINAL EXAM - Jimmy Huston (1981)
*FINGER LICKIN' GOOD - Rik Taziner (1974)
FLESH FEAST - Brad Grinter (1970)
FORCE OF DARKNESS - Alan Hauge (1985)
*FORCED ENTRY - Helmuth Richler [Shaun Costello] (1972)
*FOREST, THE - Don Jones (1981)
*FOREST OF FEAR - Charles McCrann (1979)
*FRANKENSTEIN ISLAND - Jerry Warren (1981)
*FRIDAY THE 13TH - Sean Cunningham (1980)
*FRIDAY THE 13TH: THE ORPHAN – John Ballard (1977)
*FROZEN SCREAM - Frank Roach & Renee Harmon [uncredited] (1981)
GALAXY INVADER - Don Dohler (1985)
THE GAME – William Rebane (1984)
GANJA AND HESS - Bill Gunn/Fima Noveck (1974)
*GARDEN OF THE DEAD - John Hayes (1972)
*GATOR BAIT - Ferd & Beverly Sebastian (1973)
*GETTING EVEN - Harry Kerwin (1976)
GHOST DANCE, THE - Peter F. Buffa (1980)
*GHOSTS THAT STILL WALK - James T. Flocker (1978)
*GIANT SPIDER INVASION, THE - Bill Rebane (1975)
*GODMONSTER OF INDIAN FLATS - Fredric Hobbs (1973)
*GOD'S BLOODY ACRE - Harry Kerwin (1974)
*GORE-GORE GIRLS, THE - Herschell Gordon Lewis (1972)
*GRADUATION DAY - Herb Freed (1981)
*GRAVE OF THE VAMPIRE - John Hayes (1972)
*GREAT HOLLYWOOD RAPE SLAUGHTER, THE - Charles Edward (1971)
GRIM REAPER - Ron Ormond (1976)
GRIZZLY - William Girdler (1976)
*GURU THE MAD MONK - Andy Milligan (1970)
*HALLOWEEN – John Carpenter (1978)
HANGING HEART – Jimmy Lee (1983)
*HAPPY MOTHER'S DAY, LOVE GEORGE - Darren McGavin (1972)
*HARDGORE - Michael Hugo (1974)
*HAUNTED - Michael DeGaetano (1976)
HAUNTED PUSSY, THE - Doris Wishman (1976)
*HAUNTS - Herb Freed (1975)
*HAVE A NICE WEEKEND - Michael Walters (1974)
*HEADLESS EYES, THE - Kent Bateman (1971)
*HEARSE, THE - George Bowers (1980)
*HELL NIGHT - Tom De Simone (1981)
*HILLS HAVE EYES, THE - Wes Craven (1977)
*HITCH HIKE TO HELL - Irv Berwick (1977)
HOLLYWOOD STRANGLER MEETS THE SKID ROW SLASHER, THE – Ray Dennis Steckler (1979)
*HOME SWEET HOME - Nettie Peña (1981)
*HOMEBODIES - Larry Yust (1973)
*HONEYMOON HORROR - Harry Preston (1982)
HORNY DEVILS, THE - director unknown (1973)
HORROR IN THE WAX MUSEUM – Titus Moody (1983)
*HORROR STAR, THE - Norman Thaddeus Vane (1981)
*HOT SUMMER IN THE CITY - Gail Palmer (1974)/76)?
HOUSE OF DE SADE - Joe Davian (1975)
*HOUSE OF SEVEN CORPSES, THE - Paul Harrison (1973)
HOUSE OF SIN – Carter Stevens (1982)
*HOUSE OF TERROR - Segei Goncharoff (1972)
*HOUSE ON SKULL MOUNTAIN, THE - Ron Honthaner (1974)
*HOUSE THAT CRIED MURDER, THE - Jean-Marie Pélissié (1974)
*HOUSE WHERE DEATH LIVES, THE - Alan Beattie (1980)
*HUMAN EXPERIMENTS - Gregory Goodell (1979)
*I DISMEMBER MAMA - Paul Leder (1972)
*I DRINK YOUR BLOOD - David Durston (1971)
*I SPIT ON YOUR GRAVE - Meir Zarchi (1978)
IGOR AND THE LUNATICS – Billy Parolini (1985)
*IMPULSE - William Grefé (1973)
*INSANITY - Christine Hornisher (1973)
*INVASION OF THE BLOOD FARMERS - Ed Adlum (1972)
ISLAND CLAWS - Hernan Cardenas (1981)
*JANIE - Jack Bravman (1970)
*JAR, THE - Bruce Toscano (1985)
*JEKYLL AND HYDE PORTFOLIO, THE - Eric Jeffrey Haims (1971)
*JUST BEFORE DAWN - Jeff Lieberman (1980)
*KEEP MY GRAVE OPEN - S.F. Brownrigg (1976)
*KIDNAPPED COED – Frederick Friedel (1975)
*KILLING KIND, THE - Curtis Harrington (1973)
*KISS OF THE TARANTULA - Chris Munger (1975)
KNEEL BEFORE ME – Phil Prince (1983)
*LAST HOUSE ON DEAD END STREET - Roger Watkins (1977)
LAST HORROR FILM, THE – David Winters (1982)
*LAST HOUSE ON THE LEFT - Wes Craven (1972)
*LAST RITES - Domonic Paris (1979)
*LAST VICTIM, THE - Jim Sotos (1975)
LEGACY OF BLOOD - Carl Monson (1971)
*LEGACY OF HORROR - Andy Milligan (1978)
LEGACY OF SATAN - Gerard Damiano (1973/76)?
*LEGEND OF BOGGY CREEK, THE - Charles B. Pierce (1972)
LEGEND OF HORROR, THE - Bill Davies/Enrique Carreras (1972)
*LEGEND OF MCCULLOUGH MOUNTAIN - Massey Cramer/Donn Davison (1965/1976)
*LEMORA: A CHILD'S TALE OF THE SUPERNATURAL - Richard Blackburn (1973)
*LET'S SCARE JESSICA TO DEATH - John Hancock (1971)
LOCH NESS HORROR, THE - Larry Buchanan (1981)
LONG ISLAND CANNIBAL MASSACRE - Nathan Schiff (1980)
*LORD SHANGO - Ray Marsh (1975)
*LOVE BUTCHER, THE - Mike Angel/Don Jones (1975)
LOVE ME DEADLY - Jacques Lacerte (1972)
LUCIFERS, THE - director unknown (1971)
*MADAME ZENOBIA - Eduardo Cemano (1973)
*MADMAN - Joe Giannone (1981)
*MAFU CAGE, THE - Karen Arthur (1977)
*MAKO: THE JAWS OF DEATH - William Grefé (1975)
*MALATESTA'S CARNIVAL OF BLOOD - Christopher Speeth (1973)
*MANIAC - William Lustig (1980)
*MANITOU, THE - William Girdler (1977)
*MANSION OF THE DOOMED - Michael Pataki (1975)
*MARDI GRAS MASSACRE - Jack Weis (1978)
*MARK OF THE WITCH - Tom Moore (1970)
*MARTIN - George Romero (1976)
*MASSACRE AT CENTRAL HIGH - Rene Daalder (1976)
*MAUSOLEUM - Michael Dugan (1982)
*MESSIAH OF EVIL - Willard Huyck (1973)
*MICROWAVE MASSACRE - Wayne Berwick (1978 [released 1983])
*MIDNIGHT – John Russo (1982)
MILPITAS MONSTER, THE - Robert L. Burrill (1975)
MIRRORS - Noel Black (1974/78)?
*MONGREL - Robert Burns (1982)
*MONSTROID - Kenneth Hartford/Herbert R. Strock (1979)
*MOONCHILD - Alan Gadney (1972)
*MOTHER'S DAY - Charles Kaufman (1980)
*MOVIE HOUSE MASSACRE - Alice Raley (1984)
MURDERLUST – Donald M. Jones (1985)
MUTANT – John ‘Bud’ Cardos (1984)
*MY BROTHER HAS BAD DREAMS - Robert J. Emery (1972)
*MY FRIENDS NEED KILLING - Paul Leder (1976)
NAIL GUN MASSACRE, THE - Bill Leslie/Terry Lofton (1985)
*NAME FOR EVIL, A - Bernard Girard (1972)
*NATAS: THE REFLECTION - Jack Dunlap (1983)
NECROMANCY – Bert I. Gordon (1972)
*NESTING, THE - Armand Weston (1980)
NEW YEAR'S EVIL - Emmett Alston (1980) Cannon Films
*NIGHT OF HORROR - Tony Malanowski (1981)
*NIGHT OF THE COMET – Thom Eberhardt (1984)
*NIGHT OF THE DEMON - James C. Wasson (1980)
NIGHT OF THE WITCHES - Keith Larsen [Keith Erik Burt] (1970)
NIGHT OF THE ZOMBIES - Joel M. Reed (1981)
*NIGHT TO DISMEMBER, A - Doris Wishman (1983)
*NIGHT TRAIN TO TERROR - Various (1985)
*NIGHTBEAST - Don Dohler (1982)
NIGHTMARE IN BLOOD - John Stanley (1979)
*NOCTURNA - Harry Tampa (1978)
*NURSE SHERRI - Al Adamson (1977)
NUTRIAMAN: THE COPASAW CREATURE - Joe Catalanotto/Martin Folse (1985)
OCTAMAN - Harry Essex (1971)
*OLIVIA – Ulli Lommel (1981)
*ONE DARK NIGHT - Tom McLoughlin (1983)
ORACLE, THE - Roberta Findlay (1985)
*OUTING, THE - Byron W. Quisenberry (1981)
*PETS - Raphael Nussbaum (1973)
*PHANTASM - Don Coscarelli (1978)
PICK-UP – Bennie Hirschenson (1975)
*PIGS - Marc Lawrence (1972)
*PLEASE DON'T EAT MY MOTHER - Carl Monson (1972)
PLEASE DON'T EAT THE BABIES - Henri Charr (1983)
*POINT OF TERROR - Alex Nichol (1971)
POOR PRETTY EDDIE - Richard Robinson/David Worth (1973)
*POOR WHITE TRASH PART 2 - S.F. Brownrigg (1974)
POSSESSED - director unknown (1976)
*POSSESSED, THE - Charles Nizet (1974)
POWER, THE - Jeffrey Obrow/ Stephen Carpenter (1982)?
*PRANKS - Jeffrey Obrow/ Stephen Carpenter (1981)
PREMONITION - Alan Rudolph (1970)
*PREMONITION, THE - Robert Allan Schnitzer (1975)
*PREY, THE - Edwin Brown (1980)
*PSYCHED BY THE 4D WITCH - Victor Luminera (1972)
*PSYCHIC KILLER - Ray Danton (1975)
*PSYCHO FROM TEXAS - Jim Feazell (1971)
*PSYCHO LOVER, THE - Robert Vincent O'Neil (1970)
PSYCHO SISTERS - Reginald Le Borg (1974)
*PSYCHOPATH - Larry Brown (1972)
*PSYCHOTRONIC MAN, THE - Jack M. Sell (1979)
*RANA: THE CREATURE FROM SHADOW LAKE - Bill Rebane (1981)
RAVAGER, THE - Charles Nizet (1970)
*RATS ARE COMING, THE WEREWOLVES ARE HERE – Andy Milligan (1971)
*RAW FORCE – Edward D. Murphy (1981)
*REDEEMER, THE - Constantine Gochis (1976)
RED HEAT - Ray Dennis Steckler (1975)
RETURN - Andrew Silver (1985)
*RETURN, THE – Greydon Clark (1980)
RETURN TO BOGGY CREEK - Tom Moore (1977)
*RETURNING, THE - Joel Bender (1983)
REVENGE OF BIGFOOT – Harry Thomason (1979)
THE RIPPER – Christopher Lewis (1985) § SHOT ON VIDEO
*RUBY - Curtis Harrington/Stephanie Rothman (1977)
SACRILEGE - Ray Dennis Steckler (1971)
SAN FRANCISCO BALL - Jack Genaro (1971)
SATAN WAR – Bart La Rue (1979)
*SATAN'S BLACK WEDDING - Steve Millard (1975)
SATAN'S BLADE - L. Scott Castillo Jr (1984)
*SATAN'S CHEERLEADERS - Greydon Clark (1977)
*SATAN'S CHILDREN - Joe Wiezycki (1974)
SATAN'S LUST - director unknown (1971)
SATAN'S TOUCH - John D. Goodell (1984)
*SAVAGE ABDUCTION - John Lawrence (1972)
SAVAGE WATER - Paul Kener (1978)
*SAVAGE WEEKEND - David Paulsen (1976)
*SCALPEL - John Grissmer (1974)
SCALPS – Fred Olen Ray (1982)
SCARED TO DEATH - William Malone (1980)
*SCAREMAKER, THE - Robert Deubel (1982)
SCHIZOID - David Paulsen (1980) Cannon Films
SCHOOL FOR DEAD GIRLS - director unknown (1972)
*SCREAM BLOODY MURDER - Marc B. Ray (1972)
SCREAM FOR VENGEANCE - Bob Blizz (1979)
*SCREAM IN THE STREETS, A - Carl Monson (1972)
*SCREAMS OF A WINTER NIGHT - James Wilson (1979)
*SEASON OF THE WITCH - George Romero (1972)
*SEEDS OF EVIL - Jim Kay (1973)
SESSION, THE - Pasquale Arico (1971)
*SEVERED ARM, THE - Thomas Alderman (1972)
SEX DEMON - J.C. Crickett (1975)
SEX PSYCHO - Walt Davis (1970)
*SEX RITUALS OF THE OCCULT - Robert Caramico (1970)
*SEX WISH - Tim McCoy (1976)
SEXORCIST DEVIL - Ray Dennis Steckler (1974)
SEXUAL SATANIC AWARENESS - Ray Dennis Steckler (1972)
*THE SHADOW OF CHIKARA - Earl Barton (1978)
*SHADOWS OF THE MIND - Roger Watkins (1980)
*SHOCK WAVES - Ken Wiederhorn (1976)
*SHRIEK OF THE MUTILATED - Michael Findlay (1974)
*SILENT MADNESS - Simon Nuchtern (1984)
*SILENT NIGHT, BLOODY NIGHT - Theodore Gershuny (1972)
*SILENT NIGHT, DEADLY NIGHT - Charles E. Sellier Jr (1984)
*SILENT SCREAM, THE - Denny Harris (1979)
*SIMON, KING OF THE WITCHES - Bruce Kessler (1971)
SINGLE GIRLS, THE - Ferd & Beverly Sebastian (1973)
*SISTERS OF DEATH - Joseph Mazzuca (1972 [released 1977])
*SKETCHES OF A STRANGLER - Paul Leder (1978)
*SLAYER, THE - J.S. Cardone (1981)
*SLEAZY RIDER - Roger Gentry (1972)
SLEDGEHAMMER – David A. Prior (1983)
*SNUFF - Michael Findlay (1976)
*SOLE SURVIVOR - Thom Eberhardt (1982)
*SOMETIMES AUNT MARTHA DOES DREADFUL THINGS - Thomas Casey (1971)
SONS OF SATAN - Tom DeSimone (1973)
*SOUL VENGEANCE – Jamaa Fanaka (1975)
SOUTH OF HELL MOUNTAIN - Louis Lehman/William Sachs (1971)
*SPAWN OF THE SLITHIS - Steven Traxler (1977)
*THE SPECTRE OF EDGAR ALLAN POE - Mohy Quandour (1972)
STANLEY - William Grefé (1972)
*STIGMA - David Durston (1972)
STRANGE VENGEANCE OF ROSALIE, THE - Jack Starrett (1972)
*STRANGENESS, THE - David Michael Hillman (1980)
SUGAR COOKIES - Theodore Gershuny (1973)
*SUICIDE CULT - James Glickenhaus (1977)
*SUPERSTITION - James Roberson (1982)
SWEET KILL - Curtis Hanson (1971)
SWEET SAVIOR - Bob Roberts (1971)
*SWEET SIXTEEN - Jim Sotos (1983)
*SWINGERS MASSACRE - Ron Garcia (1973)
TALES OF THE THIRD DIMENSION - Tom Durham/Worth Keeter/Thom McKintyre (1984)
*TENEMENT - Roberta Findlay (1985)
TERRI’S REVENGE – Zebedy Colt (1976)
TERROR AT ORGY CASTLE - Zoltan G. Spenser (1971)
*TERROR AT RED WOLF INN - Bud Townsend (1972)
TERROR IN THE WAX MUSEUM - George Fenady (1973) Bing Crosby Productions
TERROR ON TOUR – Don Edmonds (1980)
*TEXAS CHAIN SAW MASSACRE, THE - Tobe Hooper (1974)
*THIRSTY DEAD, THE - Terry Becker (1973)
*THREE ON A MEATHOOK - William Girdler (1972)
THROUGH THE LOOKING GLASS - Jonas Middleton (1976)
*TILL DEATH - Walter Stocker (1974)
*TIME WALKER - Tom Kennedy (1982)
*TO ALL A GOODNIGHT - David Hess (1980)
*TOOLBOX MURDERS, THE - Dennis Donnelly (1977)
*TORTURE DUNGEON - Andy Milligan (1970)
*TOUCH OF SATAN, THE - Don Henderson (1971)
*TOURIST TRAP - David Schmoeller (1978)
*TOWN THAT DREADED SUNDOWN, THE - Charles B. Pierce (1976)
*TOY BOX, THE - Ron Garcia (1970)
*TOYS ARE NOT FOR CHILDREN - Stanley H. Brasloff (1972)
*TRACK OF THE MOONBEAST - Richard Ashe (1972)
*TRICK OR TREATS - Gary Graver (1982)
*TRIP WITH THE TEACHER - Earl Barton (1974/75)?
*TWISTED BRAIN - Larry N. Stouffer (1974)
*UNHINGED - Don Gronquist (1982)
*UNSEEN, THE - Peter Foleg (1981)
UNWILLING LOVERS - Zebedy Colt (1976/77)?
*VARROW MISSION, THE - Peter Semelka (1978)
*VICTIMS - Daniel DiSomma (1977)
VICTIMS - Jeff Hathcock (1985)
*VISIONS OF EVIL - Harry Thomason (1973)
*VOICES OF DESIRE - Chuck Vincent (1970)
VOODOO HEARTBEAT - Charles Nizet (1972)
VULTURES – Paul Leder (1983)
WAPPER - William Gilfry/Todd Hughes/Tim Kirk (1975)
*WARLOCK MOON - Bill Herbert (1975/1978?)
*WARNING, THE - Greydon Clark (1980)
WATERPOWER - Gerard Damiano/Warren Evans (1977)
WEASELS RIP MY FLESH - Nathan Schiff (1979)
*WELCOME TO ARROW BEACH - Lawrence Harvey (1973)
WEREWOLVES ON WHEELS - Michel Levesque (1971)
WET WILDERNESS - director unknown (1975)
WHISKEY MOUNTAIN - William Grefé (1977)
*WHODUNIT? - Bill [William T.] Naud (1982)
WILLARD – Daniel Mann (1971) Bing Crosby Productions
*WITCH WHO CAME FROM THE SEA, THE - Matt Cimber (1976)
*WIZARD OF GORE, THE - Herschell Gordon Lewis (1970)
*WOLFMAN - Worth Keeter III (1979)
WOMAN'S TORMENT, A - Roberta Findlay (1976)
*WORM EATERS, THE - Herb Robbins (1977)
*WRONG WAY - Ray Williams (1972)
ZAAT – Don Barton (1975)
*ZODIAC KILLER, THE - Tom Hanson (1971)
ZOMBIE ISLAND MASSACRE - John T. Carter (1983)