document_title: American International Pictures

question_text: who became the main director for the american international pictures company

question_tokens: who became the main director for the american international pictures company

text: American International Pictures

text: AIP personnel[edit]

text: Nicholson and Arkoff served as executive producers while Roger Corman and Alex Gordon were the principal film producers and, sometimes, directors. Writer Charles B. Griffith wrote many of the early films, along with Arkoff's brother-in-law, Lou Rusoff, who later produced many of the films he had written. Other writers included Ray Russell, Richard Matheson and Charles Beaumont. Floyd Crosby, A.S.C. famous for his camera work on a number of exotic documentaries and the Oscar winner, High Noon, was chief cinematographer. His innovative use of surreal color and odd lenses and angles gave AIP films a signature look. The early rubber monster suits and miniatures of Paul Blaisdell were used in AIP's science fiction films. The company also hired Les Baxter[2] and Ronald Stein to compose many of its film scores.

text: In the 1950s the company had a number of actors under contract, including John Ashley, Fay Spain and Steve Terrell.

text: Emphasis on teenagers[edit]

text: When many of ARC/AIP's first releases failed to earn a profit, Arkoff quizzed film exhibitors who told him of the value of the teenage market as adults were watching television.[3][4] AIP stopped making Westerns with Arkoff explaining: "To compete with television westerns you have to have color, big stars and $2,000,000".[5]:126

text: AIP was the first company to use focus groups,[6] polling American teenagers about what they would like to see and using their responses to determine titles, stars, and story content. AIP would question their exhibitors (who often provided 20% of AIP's financing[5]:35) what they thought of the success of a title, then would have a writer create a script for it.[5]:156 A sequence of tasks in a typical production involved creating a great title, getting an artist such as Albert Kallis who supervised all AIP artwork from 1955–73[7] to create a dynamic, eye-catching poster, then raising the cash, and finally writing and casting the film.

text: The ARKOFF formula[edit]

text: Samuel Z. Arkoff related his tried-and-true "ARKOFF formula" for producing a successful low-budget movie years later, during a 1980s talk show appearance. His ideas for a movie included:

text:
Action (exciting, entertaining drama)
Revolution (novel or controversial themes and ideas)
Killing (a modicum of violence)
Oratory (notable dialogue and speeches)
Fantasy (acted-out fantasies common to the audience)
Fornication (sex appeal, for young adults)

tag: ul

text: Later the AIP publicity department devised a strategy called "The Peter Pan Syndrome":

text:
a) a younger child will watch anything an older child will watch;  b) an older child will not watch anything a younger child will watch; c) a girl will watch anything a boy will watch  d) a boy will not watch anything a girl will watch; therefore:
to catch your greatest audience you zero in on the 19-year-old male.[8]

text: American Releasing Company[edit]

text: AIP began as the American Releasing Company, a new distribution company formed in the early 1950s formed by James H. Nicholson and Samuel Z. Arkoff.

text: Roger Corman[edit]

text: They were interested in distributing a car chase movie produced by Roger Corman for his Palo Alto Productions, The Fast and the Furious (1955). Corman had received offers from other companies for the film, but ARC offered to advance money to enable Corman to make two other films. Corman agreed, The Fast and the Furious performed well at the box office and the company was launched.

text: Corman's next two films for the company were a Western Five Guns West (1955), which Corman directed, and a science fiction movie, The Beast with a Million Eyes (1955). The title from the latter had come from Nicholson.

text: ARC also distributed the Western Outlaw Treasure (1955) starring Johnny Carpenter.

text: Alex Gordon[edit]

text: ARC got Corman to direct another Western and science fiction combination Apache Woman (1955) and Day the World Ended (1955). The scripts for both written by Arkoff's brother in law Lou Rusoff, who would become the company's leading writer in its early days. Apache Woman was produced by Alex Gordon, an associate of Arkoff's, Day was produced by Corman. Both were made by Golden State Productions, ARC's production arm.[9]

text: Normally B movies were made for the second part of a bill and received a flat rate. As television was encroaching on the B movie market, Nicholson and Arkoff felt it would be more profitable to make two low budget films and distribute them together on a double bill. Nicholson came up with a title for a film to support Day the World Ended, The Phantom from 10,000 Leagues (1955), but lacked the money to make both films. They split the costs with Dan and Jack Milner, film editors who wanted to get into production. The resulting double bill was very successful at the box office. [9]

text: Gordon also produced The Oklahoma Woman (1955), a Western directed by Corman, made through Sunset Productions. It was put on a double bill with Female Jungle (1955), a film noir.

text: Other films released under the ARC banner include Corman's Gunslinger (1956) and a British documentary Operation Malaya (1955).

text: American International in the 1950s[edit]

text: Arkoff and Nicholson had always wanted to name their company "American International Pictures" but the name was unavailable. When the name became available, they changed over.

text: There were three main production arms at AIP in the late 1950s: Roger Corman, Alex Gordon and Lou Rusoff, and Herman Cohen. Arkoff and Nicholson would buy films from other filmmakers as well, and import films from outside America.

text: Roger Corman[edit]

text: Corman continued to be an important member of AIP (though he also worked for Allied Artists and his own Filmgroup company during this period). He had a big hit for the company with the science fiction film It Conquered the World (1956) from a script by Rusoff that was rewritten by Charles B. Griffith.

text: His films included Naked Paradise (1957) (in which Arkoff had a small role); Rock All Night (1956); The Undead (1957); Sorority Girl (1957); The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957); Machine Gun Kelly (1958) with Charles Bronson; Teenage Cave Man, with Robert Vaughn.

text: AIP also distributed films Corman helped finance such as Night of the Blood Beast (1958), She Gods of Shark Reef (1958), and The Brain Eaters (1958).

text: Alex Gordon and Lou Rusoff[edit]

text: The other key producer for AIP was Alex Gordon who mostly made movies though his Golden State Productions outfit, usually written by Lou Rusoff. He made Girls in Prison (1956), with director Edward L. Cahn who would become one of AIP's most prolific directors. AIP released it on a double bill with Hot Rod Girl (1956).

text: Cahn also directed the following for Gordon: The She-Creature (1956) (released with It Conquered the World); Flesh and the Spur (1956), the last Western made by AIP; Shake, Rattle & Rock! (1956), a rock musical with Mike Connors; Runaway Daughters (1956); Voodoo Woman (1957), Dragstrip Girl (1957), with John Ashley; Motorcycle Gang (1957), again with Ashley; Jet Attack (1958), and Submarine Seahawk (1958).Most of these were written by Rusoff and directed by Edward L. Cahn.

text: Gordon left AIP and Rusoff alone produced Hot Rod Gang (1958) and Ghost of Dragstrip Hollow (1959).

text: Herman Cohen[edit]

text: Another key producer for AIP was Herman Cohen who had a huge hit with I Was a Teenage Werewolf (1957) starring Michael Landon). He followed it with I Was a Teenage Frankenstein (1957), Blood of Dracula (1957), How to Make a Monster (1958), The Headless Ghost (1959), and Horrors of the Black Museum (1959).

text: Other Producers[edit]

text: Other key producers who worked for AIP in the late 1950s included:

text:
Norman T. Herman who made Hot Rod Girl (1956).
Robert Gurney who produced Invasion of the Saucer Men (1957), Reform School Girl (1957), and Terror from the Year 5000 (1958).
Bert I. Gordon who did The Amazing Colossal Man (1957), Attack of the Puppet People (1958), War of the Colossal Beast (1958), and Earth vs. the Spider (1958).
Burt Topper who made Hell Squad (1958), Tank Commandos (1959) and Diary of a High School Bride (1959).
Edward Bernds made High School Hellcats (1958).
Stanley Shpetne made The Bonnie Parker Story (1958) and Paratroop Command (1959).
Stanley Kallis did Operation Dames (1959) and Roadracers (1959).

text: Pick Ups[edit]

text: AIP would flesh out their distribution schedule by buying films made by outside producers. These included The Astounding She-Monster (1957), the documentary Naked Africa (1957), The Screaming Skull (1957), The Cool and the Crazy (1958), Daddy-O (1958), Dragstrip Riot (1958), Tank Batallion (1958), , .

text: Anglo-Amalgamated[edit]

text: AIP developed a mutual relationship with Britain's Anglo-Amalgamated who would distribute AIP's product in the UK. In return AIP would distribute their movies in the US, such as The Tommy Steele Story (1957) and Cat Girl (1957).

text: AIP also imported White Huntress from England , Pulgarcito (1958) from Mexico and The Sky Calls (1959) from Russia.

text: Late 1950s Crisis[edit]

text: AIP became a victim of its own success when other companies started copying its double-bill strategy. Costs were rising and were not compensated by increased box office grosses. They shut down most of their production arms and focused on distributing films from Italy, while they decided what to do next.

text: AIP's 1960s output[edit]

text: Imports[edit]

text: In the late 1950s, AIP kept their company afloat by importing films from Italy. These included Sheba and the Gladiator (1959), Goliath and the Barbarians (1959)

text: There was also Atomic Agent (1959) from France, The Angry Red Planet (1959) from Denmark, Tiger of Bengal (1959) and The Indian Tomb (1960) from Fritz Lang in Germany, Portrait of a Sinner (1959) from Germany, The Professionals (1960) from Britain, and Escape to Paradise (1960) from the Philippines.

text: They also bought Why Must I Die? (1960) and The Jailbreakers (1960).

text: The Corman-Poe cycle[edit]

text: In the early 1960s, AIP gained some kudos by combining Roger Corman, Vincent Price and the stories of Edgar Allan Poe into a series of horror films, with scripts by Richard Matheson, Charles Beaumont, Ray Russell, R. Wright Campbell and Robert Towne.

text: The original idea, usually credited[who?] to Corman and Lou Rusoff, was to take Poe's story "The Fall of the House of Usher", which had both a high name-recognition value and the merit of being in the public domain, and thus royalty-free, and expand it into a feature film. Corman convinced the studio to give him a larger budget than the typical AIP film so he could film the movie in widescreen and color, and use it to create lavish sets as well.[10] The success of House of Usher led AIP to finance further films based on Poe's stories. The sets and special effects were often reused in subsequent movies (for example, the burning roof of the Usher mansion reappears in most of the other films as stock footage) making the series quite cost-effective. All the films in the series were directed by Roger Corman, and they all starred Price except The Premature Burial, which featured Ray Milland in the lead. It was originally produced for another studio, but AIP acquired the rights to it.[11]

text: As the series progressed, Corman made attempts to change the formula. Later films added more humor to the stories, especially The Raven, which takes Poe's poem as an inspiration and develops it into an all-out farce starring Price, Boris Karloff and Peter Lorre; Karloff had starred in a 1935 film with the same title. Corman also adapted H. P. Lovecraft's short novel The Case of Charles Dexter Ward in an attempt to get away from Poe, but AIP changed the title to that of an obscure Poe poem, The Haunted Palace, and marketed it as yet another movie in the series. The last two films in the series, The Masque of the Red Death and The Tomb of Ligeia, were filmed in England with an unusually long schedule for Corman and AIP.

text: Although Corman and Lou Rusoff are generally credited with coming up with the idea for the Poe series, in an interview on the Anchor Bay DVD of Mario Bava's Black Sabbath, Mark Damon claims that he first suggested the idea to Corman. Damon also says that Corman let him direct The Pit and the Pendulum uncredited. Corman's commentary for Pit mentions nothing of this and all existing production stills of the film show Corman directing.

text: List of Corman-Poe films[edit]

text: Of eight films, seven feature stories that are actually based on the works of Poe.

text:
House of Usher (1960) (based on the short story "The Fall of the House of Usher")
The Pit and the Pendulum (1961) (based on the short story of the same name)
The Premature Burial (1962) (based on the short story of the same name)
Tales of Terror (1962) (based on the short stories "Morella", "The Black Cat", "The Cask of Amontillado", and "The Facts in the Case of M. Valdemar")
The Raven (1963) (based on the poem of the same name)
The Haunted Palace (1963) (based on H.P. Lovecraft's novella The Case of Charles Dexter Ward, using the title from Poe's 1839 poem)
The Masque of the Red Death (1964) (based on the short story of the same name with another Poe short story, "Hop-Frog", used as a sub-plot.)
The Tomb of Ligeia (1965) (based on the short story "Ligeia")

tag: ol

text: Occasionally, Corman's 1963 film The Terror (produced immediately after The Raven) is recognized as being part of the Corman-Poe cycle, although the film's story and title are not based on any literary work.

text: Based in rented office space at the Chaplin Studios, during the early 1960s AIP concentrated on horror films inspired by the Poe cycle. In 1962 Arkoff said AIP were in a position similar to Columbia Pictures just before they made Submarine and Dirigible:

text: Before that they were on poverty row. Our better position will enable us to obtain more important writers, perhaps more important producers as well. We're a privately owned company at the moment but perhaps within two or three years we will become a public company.[12]

text: Beach Party Movies[edit]

text: Beginning with 1963's Beach Party, AIP created a new genre of beach party films featuring Annette Funicello and Frankie Avalon. The original idea and the first script were Lou Rusoff's. The highly successful and often imitated series ended in 1966 with the 7th film, The Ghost in the Invisible Bikini. Many actors from the beach films also appeared in AIP's spy-spoofs such as Dr. Goldfoot and the Bikini Machine (1965) and car racing sagas like Fireball 500 (1966) and Thunder Alley. During this time AIP also produced or distributed most of Roger Corman's horror films such as X: The Man with X-Ray Eyes.

text: In 1966, the studio released The Wild Angels starring Peter Fonda, based loosely on the real-life exploits of the Hells Angels motorcycle gang. This film ushered in AIP's most successful year and kicked off a subgenre of motorcycle gang films that lasted almost ten years and included Devil's Angels, The Glory Stompers with Dennis Hopper and The Born Losers—the film that introduced the Billy Jack character.

text: In 1968 AIP launched a $22 million film program.[13] The psychedelic and hippie scenes of the late '60s were also exploited with films like The Trip, also with Peter Fonda, Riot on Sunset Strip, Wild in the Streets, Maryjane, Gas-s-s-s, and Psych-Out with Jack Nicholson. These "social protest" films were also highly successful. Horror movies also enjoyed a revival of popularity in the late 60s.[14]

text: International American International[edit]

text: In the United Kingdom, AIP struck up a film making partnership with Nat Cohen and Stuart Levy's Anglo-Amalgamated.

text: On a trip to Italy, Arkoff met Fulvio Lucisano, an Italian screenwriter and producer who eventually headed Italian International Film,[15] which co-produced 25 films in Italy for AIP.[16] Due to importing completed productions from other foreign countries being cheaper and more simplistic than producing their own in-house studio films in America, AIP had released many giallo, sword and sandal (or "peplum)", Eurospy and Macaroni Combat war films featuring many American stars and Italian stars such as the comedy team of Franco Franchi and Ciccio Ingrassia. However, AIP released only two Spaghetti Westerns (Massacre Time and God Forgives... I Don't!), perhaps recalling their failure of Westerns in the 1950s. Many of these films were edited, rewritten with different (dubbed English) dialogue, usually by Arkoff's nephew Ted Rusoff, and sometimes rescored by Les Baxter.

text: AIP through Henry G. Saperstein is known for being the major U.S. distributor for Toho's Godzilla and Daiei's Gamera (kaiju) movies of the '60s and '70s. AIP also distributed other Japanese science fiction movies like Frankenstein Conquers the World, Monster from a Prehistoric Planet, and the South Korean production Yonggary, Monster from the Deep as well as two Japanese animated features from Toei Animation, Alakazam the Great and Jack and the Witch. AIP also released a pair of Japanese spy thrillers redubbed as a comedy co-written by Woody Allen called What's Up Tiger Lily?.[17]

text: The studio also released edited and English-dubbed versions of several Eastern Bloc science fiction films, that had the dialogue rewritten for the American market and in some cases had additional scenes filmed with American and British actors. These include the Soviet film Planeta Bur (Planet of Storms) which was released by AIP in two different English-dubbed versions, as Voyage to the Prehistoric Planet and Voyage to the Planet of Prehistoric Women and the highly regarded 1963 Czech science fiction film Ikarie XB-1, which was retitled Voyage to the End of the Universe.

text: A few years later, AIP backed a British Poe film directed by Gordon Hessler: The Oblong Box (1969) based on the short story of the same name.

text: AIP-TV[edit]

text: In 1964, AIP became one of the last film studios to start its own television production company, American International Productions Television (a.k.a. American International Television or AIP-TV).[18] AIP-TV at first released many of their 1950s films to American television stations, then filmed unsuccessful television pilots for Beach Party and Sergeant Deadhead. The company then made several colour horror/science fiction television movies by Larry Buchanan that were remakes of black-and-white AIP films, and sold packages of many dubbed European, Japanese, and Mexican films (the last type produced by K. Gordon Murray) and foreign-made live-action and animated TV series (including Prince Planet). The best known animated series AIP-TV distributed was Sinbad Jr. and his Magic Belt.

text: In order to allay the fears of cinema owners who feared current releases would soon end up being shown on television, AIP issued a statement retroactive to 1963 that the company would not release any of their films to television until five years after cinema release unless the film had not made back its original negative costs.[19] AIP-TV also filmed specials of promotion of AIP films such as The Wild Weird World of Dr. Goldfoot (1965, ABC) and An Evening of Edgar Allan Poe (1972, syndication), both with Vincent Price.

text: In 1978, AIP-TV distributed the pop music series Twiggy's Jukebox. For several years around this time, AIP-TV also distributed several British TV series, including The Avengers, to U.S. stations.

text: AIP Records[edit]

text: AIP started their own record label, American International Records in 1959[20] to release tunes used in their movies. There were a number of soundtrack albums as well.[21]

text: AIP Records was once distributed by MGM Records,[22] the record label owned by AIP's successor-in-interest MGM.

text: Later years[edit]

text: In 1969 AIP went public to raise extra capital, issuing 300,000 shares.[23][24]

text: In 1970, they entered into an agreement with Commonwealth United Entertainment to issue their films.[25] In 1971 they released 31 films, their greatest number to date, and were seen as one of the most stable companies in Hollywood.[26] Despite their exploitation roots, they did not concentrate on X or R rated filmmaking during this period.[27]

text: Resignation of Nicholson[edit]

text: In 1972 James H. Nicholson resigned from AIP to set up his own production company working out of 20th Century Fox, called Academy Pictures Corporation; its only two releases were The Legend of Hell House and Dirty Mary Crazy Larry.[28][29] AIP bought out over 100,000 of Nicholson's shares.[30] He died shortly thereafter of a cancerous brain tumor.[31]

text: Arkoff alone[edit]

text: Arkoff continued on at AIP as president until the end of the decade. Heads of production during the 1970s included Larry Gordon[32] and Jere Henshaw.

text: By the early 1970s AIP felt the horror movie cycle was in decline, and so switched to other genres, such as kung fu and gangsters.[33] Notably they produced some of that decade's blaxploitation films like Blacula, and Foxy Brown. In a throwback to the old "studio days", the company is credited with making Pam Grier a household name, as the majority of her early '70s films were made under contract to American International.

text: In the mid to late 1970s, AIP began to produce more mainstream films such as Bunny O'Hare, Cooley High, The Great Scout & Cathouse Thursday, The Amityville Horror, Love at First Bite, Meteor, Force 10 from Navarone, Shout at the Devil, The Island of Dr. Moreau and C.H.O.M.P.S.[34] The increased spending on these projects, though they did make some money, contributed to the company's downfall. In the meantime, the studio imported and released its final foreign film, an Australian film, Mad Max, dubbed into American English.

text: James Nicholson's first wife Sylvia was still a major shareholder of the company. She sued AIP for mismanagement but this was resolved in 1978 when AIP bought out her shares.[35]

text: Merger with Filmways[edit]

text: By the late 1970s costs of making movies continued to rise, AIP's tactic of moving into bigger budgeted quality pictures was not paying off at the box office, and Arkoff began to think of merging the company. "We've been the Woolworths of the movie business but Woolworths is being out priced," said Arkoff.[36] Talks began with Filmways Incorporated. Negotiations stalled for a while[37] but resumed a number of months later.[38] In 1979 AIP was sold to Filmways, Inc. for $30 million and became a subsidiary production unit thereof renamed Filmways Pictures in 1980.[39][40]

text: Arkoff was unhappy with the direction of the company and resigned to set up his own production company, receiving a pay out worth $1.4 million.[41][42]

text: AIP-TV was absorbed as the wholly owned program syndication arm of Filmways Television. Filmways was later bought by Orion Pictures Company in 1982 and Filmways was later renamed to Orion Pictures Corporation, but retained the distribution arm. This allowed Orion to establish its own distribution after utilizing Warner Bros. for distribution which still has distribution rights to Orion films Warner distributed. Today, a majority of the AIP library is owned by Metro-Goldwyn-Mayer's subsidiary Orion Pictures Corporation. The American International name is still a registered trademark owned by MGM's Orion Pictures unit.[43][44]

text: List of American International Pictures films[edit]

text:
Release Date
Title
Genre
Director

as American Releasing Corporation

1955
Operation Malaya
British made Documentary

February 15, 1955
The Fast and the Furious
Crime
John Ireland

April 15, 1955
Five Guns West
Western
Roger Corman

May 15, 1955
Outlaw Treasure
Western

June 15, 1955
The Beast with a Million Eyes
Sci-Fi

September 15, 1955
Apache Woman
Western
Roger Corman

December 1955
Day the World Ended
Sci-Fi
Roger Corman

December 1955
The Phantom from 10,000 Leagues
Sci-Fi

June 15, 1956
The Oklahoma Woman
Western
Roger Corman

June 15, 1956
Female Jungle
Crime
Bruno VeSota

June 1956
Gunslinger
Western
Roger Corman

as American International Pictures

July 15, 1956
It Conquered the World
Sci-Fi
Roger Corman

July 1956
Girls in Prison
Crime
Edward L. Cahn

July 1956
Hot Rod Girl
Teenage
Lew Landers

August 1956
The She Creature
Horror
Edward L. Cahn

September 25, 1956
Flesh and the Spur
Western
Edward L. Cahn

November 1956
Runaway Daughters
Teenage
Edward L. Cahn

November 1956
Shake, Rattle & Rock!
Musical
Edward L. Cahn

1957
The Astounding She-Monster
SciFi/Horror

January 1957
Naked Paradise
Crime
Roger Corman

February 10, 1957
Not of This Earth
Sci-Fi
Roger Corman

February 10, 1957
Attack of the Crab Monsters
Sci-Fi
Roger Corman

March 1, 1957
Voodoo Woman
Horror
Edward L. Cahn

April 24, 1957
Dragstrip Girl
Teenage
Edward L. Cahn

April 1957
Rock All Night
Crime
Roger Corman

March 1957
The Undead
Horror
Roger Corman

June 19, 1957
I Was a Teenage Werewolf
Horror
Gene Fowler Jr.

June 1957
Invasion of the Saucer Men
Sci-Fi
Edward L. Cahn

August 1957
Naked Africa
Documentary

August 1957
Reform School Girl
Crime
Edward Bernds

August 1957
Rock Around the World
British made teenage musical

August 1957
The White Huntress
Adventure
George P. Breakston

September 1957
Cat Girl
British made horror

October 22, 1957
Motorcycle Gang
Outlaw biker film
Edward L. Cahn

October 25, 1957
The Amazing Colossal Man
Sci-Fi
Bert I. Gordon

October 1957
Sorority Girl
Teenage
Roger Corman

November 23, 1957
I Was a Teenage Frankenstein
Horror

November 1957
Blood of Dracula
Horror

December 1957
The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent
Adventure
Roger Corman

January 1958
The Screaming Skull
Horror

January 1958
Terror from the Year 5000
Sci-Fi

February 1958
Jet Attack
War
Edward L. Cahn

February 1958
Suicide Battalion
War
Edward L. Cahn

March 1958
The Cool and the Crazy

William Witney

March 1958
Daddy-O
Teenage

March 1958
Dragstrip Riot
Teenage

April 1958
Attack of the Puppet People
Sci-Fi
Bert I. Gordon

May 28, 1958
The Bonnie Parker Story
Gangsteer
William Witney

May 1958
Machine-Gun Kelly
Gangster
Roger Corman

June 1958
High School Hellcats
Teenage
Edward Bernds

June 1958
Hot Rod Gang
Teenage
Lew Landers

July 1, 1958
How to Make a Monster
Horror

July 30, 1958
War of the Colossal Beast
Sci-Fi
Bert I. Gordon

July 1958
Hell Squad
War
Burt Topper

July 1958
Tank Battalion
War

July 1958
Teenage Cave Man
Sci-Fi
Roger Corman

August 1958
Night of the Blood Beast
Sci-Fi/Horror
Bernard L. Kowalski

August 1958
She Gods of Shark Reef
Adventure
Roger Corman

September 1958
The Brain Eaters
Sci-Fi/Horror
Bruno VeSota

September 1958
Earth vs. the Spider
Sci-Fi

December 1958
Submarine Seahawk
War

February 1959
Paratroop Command
War
William Witney

March 1959
Operation Dames
War

March 1959
Roadracers

March 1959
Tank Commandos
War
Burt Topper

April 29, 1959
The Headless Ghost
Horror

April 29, 1959
Horrors of the Black Museum
British made Horror

July 1959
Diary of a High School Bride
Romance
Burt Topper

July 1959
Ghost of Dragstrip Hollow
Horror

September 23, 1959
Sheba and the Gladiator
Sword and Sandal

October 21, 1959
A Bucket of Blood
Horror
Roger Corman

October 1959
Attack of the Giant Leeches
Sci-Fi/Horror
Bernard L. Kowalski

November 23, 1959
The Angry Red Planet
Sci-Fi
Sidney W. Pink

November 1959
Goliath and the Barbarians
Sword and Sandal

text:
Release Date
Title
Genre
Director

June 22, 1960
House of Usher
Horror
Roger Corman

June 1960
The Jailbreakers
Crime

June 1960
Why Must I Die?
Crime

July 1960
The Amazing Transparent Man
Sci-Fi
Edgar G. Ulmer

July 1960
Beyond the Time Barrier
Sci-Fi
Edgar G. Ulmer

August 31, 1960
Circus of Horrors
British made horror film

October 1960
The Indian Tomb
Released in a combined feature Journey to the Lost City
Fritz Lang

October 1960
The Tiger of Eschnapur
Released in a combined feature Journey to the Lost City
Fritz Lang

November 1960
Goliath and the Dragon
Sword and Sandal

February 15, 1961
Black Sunday
Italian made Horror
Mario Bava

March 22, 1961
The Hand
British made crime film

March 22, 1961
Konga
British made Monster film

April 1961
Beware of Children
British made comedy

May 1961
Master of the World
Sci-Fi
William Witney

July 14, 1961
Alakazam the Great
Japanese made animated film

August 12, 1961
The Pit and the Pendulum
Horror
Roger Corman

December 6, 1961
Portrait of a Sinner
British made drama

December 12, 1961
The Continental Twist
Musical

December 13, 1961
Assignment Outer Space
Sci-Fi

December 13, 1961
The Phantom Planet
Sci-Fi

December 28, 1961
Flight of the Lost Balloon
Sci-fi adventure

December 1961
Guns of the Black Witch
Italian made swashbuckler

1962
Battle Beyond the Sun
Russian made sci-fi

1962
A House of Sand

1962
Duel of Fire
Italian made swashbuckler

March 7, 1962
The Premature Burial
Horror
Roger Corman

March 10, 1962
Journey to the Seventh Planet
Sci-Fi
Sidney W. Pink

April 25, 1962
Burn, Witch, Burn
British made Horror

May 20, 1962
Invasion of the Star Creatures
Sci-fi comedy

June 1962
The Prisoner of the Iron Mask
Italian made swashbuckler

July 4, 1962
Tales of Terror
Horror
Roger Corman

July 5, 1962
Panic in Year Zero!
Nuclear war thriller
Ray Milland

August 10, 1962
The Brain That Wouldn't Die
Sci-fi

August 1962
Marco Polo
Italian made swashbuckler

September 1962
White Slave Ship
Italian made swashbuckler

November 18, 1962
A Story of David
British made biblical film

December 1962
Samson and the Seven Miracles of the World
Sword and Sandal

December 1962
Warriors Five!
Italian war film

January 20, 1963
Reptilicus
Danish made monster film
Sidney W. Pink

January 25, 1963
The Raven
Horror
Roger Corman

March 3, 1963
California
Western

March 26, 1963
Operation Bikini
War film

April 24, 1963
Free, White and 21

Larry Buchanan

May 1, 1963
The Mind Benders
British made spy film

June 6, 1963
Night Tide
Horror
Curtis Harrington

June 12, 1963
Erik the Conqueror
Italian Viking film

June 17, 1963
The Terror
Horror
Roger Corman

August 7, 1963
Beach Party
Teen Beach Movie
William Asher

August 28, 1963
The Haunted Palace
Horror
Roger Corman

September 18, 1963
X: The Man with the X-Ray Eyes
Horror
Roger Corman

September 25, 1963
Dementia 13
Horror

December 18, 1963
Samson and the Slave Queen
Sword and Sandal

December 25, 1963
Goliath and the Sins of Babylon
Sword and Sandal

1964
Hercules and the Tyrants of Babylon
Sword and Sandal

1964
Swingers' Paradise
British made teenage musical

January 22, 1964
The Comedy of Terrors
Horror comedy
Jacques Tourneur

January 22, 1964
Pyro... The Thing Without a Face
Spanish crime horror film

March 8, 1964
The Last Man on Earth
Horror

March 12, 1964
Summer Holiday
British made teenage musical

March 25, 1964
Muscle Beach Party
Teen Beach Movie
William Asher

March 1964
Under Age

Larry Buchanan

April 1, 1964
Commando
Italian made war film

April 1, 1964
Torpedo Bay
Italian made war film

April 1964
Unearthly Stranger
British made sci-fi

May 6, 1964
Black Sabbath
Italian made horror
Mario Bava

May 20, 1964
The Evil Eye
Italian made horror
Mario Bava

June 24, 1964
The Masque of the Red Death
Horror

June 1964
Some People
British made musical

July 22, 1964
Bikini Beach
Teen Beach Movie
William Asher

September 17, 1964
Godzilla vs. the Thing
Japanese Monster film

September 1964
Diary of a Bachelor

October 29, 1964
The Time Travelers
Sci-Fi

November 11, 1964
Pajama Party
Teenage film

November 25, 1964
Navajo Run
Western

November 25, 1964
Voyage to the End of the Universe
Czech made Sci-Fi

December 29, 1964
T.A.M.I. Show
Teenage musical

1965
The Eye Creatures
Sci-Fi
Larry Buchanan

January 20, 1965
The Tomb of Ligeia
Horror
Roger Corman

January 27, 1965
Operation Snafu
British made War comedy

March 3, 1965
The Lost World of Sinbad
Japanese swashbuckler

March 11, 1965
Atragon
Japanese Monster film

March 1965
Rome Against Rome
Sword and Sandal

April 14, 1965
Beach Blanket Bingo
Teen Beach Movie
William Asher

April 20, 1965
The Pawnbroker

April 28, 1965
The Fool Killer

April 1965
Taboos of the World
Shockumentary

May 19, 1965
Go Go Mania
British made teenage musical

May 26, 1965
War-Gods of the Deep
British made Horror
Jacques Tourneur

June 30, 1965
Ski Party
Teen Beach Movie

July 8, 1966
Frankenstein Conquers the World
Japanese Monster film

July 14, 1965
How to Stuff a Wild Bikini
Teen Beach Movie
William Asher

August 1, 1965
Voyage to the Prehistoric Planet
Sci-fi
Curtis Harrington

August 18, 1965
Sergeant Deadhead
Comedy

October 27, 1965
Die, Monster, Die!
Horror
Daniel Haller

October 27, 1965
Planet of the Vampires
Italian made sci-fi
Mario Bava

November 6, 1965
Dr. Goldfoot and the Bikini Machine

November 30, 1965
King & Country
British made drama

1966
Zontar, the Thing from Venus
Sci-fi
Larry Buchanan

1966
Curse of the Swamp Creature
Sci-fi
Larry Buchanan

January 12, 1966
Secret Agent Fireball
Eurospy

January 1966
Conquered City
Italian made war film

January 1966
Spy in Your Eye
Eurospy

March 1966
Queen of Blood
Sci-Fi
Curtis Harrington

March 2, 1966
Blood Bath
Horror
Jack Hill

April 12, 1966
The Girl-Getters
British made drama

April 13, 1966
The Dirty Game
Eurospy anthology film

April 1966
Man from Cocody
French made action film

April 1966
What's Up, Tiger Lily?
Japanese made spy film comedy

April 1966
The Ghost in the Invisible Bikini
Teen Beach Movie

May 1966
The Great Spy Chase
Eurospy

June 7, 1966
Fireball 500
Car Racing film
William Asher

July 1966
Tarzan and the Valley of Gold

July 20, 1966
The Wild Angels
Outlaw biker film
Roger Corman

November 9, 1966
Dr. Goldfoot and the Girl Bombs
Eurospy comedy
Mario Bava

November 1966
Door to Door Maniac
Crime

December 28, 1966
Trunk to Cairo
Israeli made spy film

1967
Mars Needs Women
Sci-fi
Larry Buchanan

1967
In the Year 2889
Sci-fi
Larry Buchanan

1967
Creature of Destruction
Sci-fi
Larry Buchanan

January 18, 1967
War Italian Style
Italian made war film comedy

March 18, 1967
Riot on Sunset Strip

March 22, 1967
Thunder Alley
Car racing film
Richard Rush

April 1967
Devil's Angels
Outlaw biker film
Daniel Haller

May 17, 1967
The Million Eyes of Sumuru
Action

August 23, 1967
The Trip

Roger Corman

November 22, 1967
The Glory Stompers
Outlaw biker film

1968
Voyage to the Planet of Prehistoric Women
Sci-fi
Peter Bogdanovich

January 18, 1968
The Born Losers
Outlaw biker film

January 24, 1968
Maryjane

Maury Dexter

January 24, 1968
The Wild Racers
Racing car film
Daniel Haller

May 1968
The Mini-Skirt Mob
Outlaw biker film
Maury Dexter

May 1968
The Savage Seven
Outlaw biker film
Richard Rush

May 15, 1968
Witchfinder General
Horror

May 29, 1968
Wild in the Streets

September 22, 1968
Psych-Out

Richard Rush

November 1968
Killers Three
Crime

December 20, 1968
Three in the Attic

1969
'It's Alive!'
Monster film
Larry Buchanan

March 18, 1969
The Wonderful World of Puss 'n Boots

April 16, 1969
Hell's Belles
Outlaw biker film

May 1969
God Forgives... I Don't!

May 23, 1969
Destroy All Monsters
Japanese Monster film

June 11, 1969
The Oblong Box
Horror

July 23, 1969
Spirits of the Dead

August 19, 1969
Angel, Angel, Down We Go

August 27, 1969
De Sade

September 8, 1969
The Honeymoon Killers

September 10, 1969
Hell's Angels '69
Outlaw biker film

text:
Release Date
Title
Notes

1970
Strawberries Need Rain

1970
Pacific Vibrations

January 1970
The Savage Wild

January 1970
Scream and Scream Again

January 14, 1970
The Dunwich Horror

March 24, 1970
Bloody Mama

April 15, 1970
The Haunted House of Horror

May 8, 1970
Lola

June 1970
A Bullet for Pretty Boy

June 10, 1970
Count Yorga, Vampire

July 29, 1970
Cry of the Banshee

September 2, 1970
Angel Unchained
Outlaw biker film

September 9, 1970
Venus in Furs

October 22, 1970
The Vampire Lovers

February 17, 1971
Gas-s-s-s

Roger Corman

February 18, 1971
Wuthering Heights

March 17, 1971
Blood and Lace

April 22, 1971
The Hard Ride
Outlaw biker film

April 28, 1971
The Incredible 2-Headed Transplant

May 18, 1971
The Abominable Dr. Phibes

August 20, 1971
Swedish Fly Girls

September 29, 1971
Chrome and Hot Leather
Outlaw biker film

October 6, 1971
Murders in the Rue Morgue

October 13, 1971
A Lizard in a Woman's Skin

October 18, 1971
Bunny O'Hare

October 27, 1971
Some of My Best Friends Are...

October 1971
1000 Convicts and a Woman

December 22, 1971
Kidnapped

January 19, 1972
Together

February 2, 1972
The Return of Count Yorga

February 1972
Godzilla vs. the Smog Monster

March 10, 1972
Frogs

March 15, 1972
Whoever Slew Auntie Roo?

April 1972
Dr. Jekyll and Sister Hyde

May 17, 1972
Blood from the Mummy's Tomb

May 1972
Pickup on 101

Wild in the Sky

The Bloody Judge

June 14, 1972
Boxcar Bertha

July 19, 1972
The Thing with Two Heads

July 21, 1972
F.T.A.

July 1972
Dr. Phibes Rises Again

August 16, 1972
Slaughter
Blaxploitation

August 25, 1972
Blacula
Blaxploitation

August 1972
Deathmaster

The Sandpit Generals

September 1972
Tam-Lin

October 10, 1972
Baron Blood

November 10, 1972
Unholy Rollers

November 22, 1972
Prison Girls

January 17, 1973
The Dirt Gang

January 19, 1973
Black Mama White Mama

January 1973
Manson

February 7, 1973
Black Caesar
Blaxploitation

March 27, 1973
Sisters

April 1973
Cannibal Girls

May 4, 1973
Deep Thrust

June 13, 1973
Coffy
Blaxploitation
Jack Hill

June 27, 1973
Scream, Blacula, Scream
Blaxploitation

June 1973
Little Cigars

July 20, 1973
Dillinger

August 8, 1973
Heavy Traffic

August 31, 1973
Slaughter's Big Rip-Off
Blaxploitation

September 1973
Death Line

October 31, 1973
The Italian Connection

October 1973
The Screaming Tiger

November 21, 1973
Battle of the Amazons
Sword-and-Sandal

December 1973
Hell Up in Harlem
Blaxploitation

January 30, 1974
The Bat People

February 13, 1974
Bamboo Gods and Iron Men

February 1974
Secret Life of a Schoolgirl Wife

March 6, 1974
Deranged

March 20, 1974
Sugar Hill

April 5, 1974
Foxy Brown
Blaxploitation Jack Hill

May 15, 1974
Truck Stop Women

May 22, 1974
Madhouse

June 5, 1974
Thriller: A Cruel Picture

Dirty O'Neil

June 26, 1974
The Nine Lives of Fritz the Cat

Truck Turner

July 17, 1974
Golden Needles

July 1974
Savage Sisters

August 8, 1974
Macon County Line

August 18, 1974
Act of Vengeance

October 1974
Hangup

November 22, 1974
Sunday in the Country

December 25, 1974
Abby

1975
Vampira

February 1975
Super Stooges vs. the Wonder Women

March 26, 1975
Sheba, Baby

March 1975
House of Whipcord

War Goddess

The Wild Party

April 25, 1975
The Reincarnation of Peter Proud

May 21, 1975
Cornbread, Earl and Me

The Wild McCullochs

May 1975
What Have You Done to Solange?

June 11, 1975
Murph the Surf

June 25, 1975
Cooley High

July 2, 1975
Bucktown

July 31, 1975
Hennessy

August 13, 1975
The Land That Time Forgot

September 3, 1975
Return to Macon County

September 28, 1975
Walking Tall Part 2

December 17, 1975
Sixpack Annie

December 25, 1975
Friday Foster
Blaxploitation

January 14, 1976
Killer Force

March 1976
Bobbie Jo and the Outlaw

One Summer Love

April 21, 1976
Crime and Passion

May 1976
Annie

June 18, 1976
The Food of the Gods

June 23, 1976
The Great Scout & Cathouse Thursday

I Don't Want to Be Born

July 9, 1976
A Small Town in Texas

July 30, 1976
Squirm

July 1976
At the Earth's Core

Special Delivery

August 13, 1976
Futureworld
Sci-Fi

August 25, 1976
J.D.'s Revenge

September 17, 1976
Street People

October 7, 1976
A Matter of Time

October 8, 1976
Scorchy

November 24, 1976
Shout at the Devil

December 24, 1976
The Monkey Hustle

The Town That Dreaded Sundown
Horror

December 1976
Escape from Angola

January 23, 1977
The Day That Shook the World

February 2, 1977
Chatterbox

February 11, 1977
Strange Shadows in an Empty Room

March 4, 1977
Death Weekend

April 1, 1977
Breaker! Breaker!

June 15, 1977
Tentacles

June 29, 1977
Empire of the Ants
Sci-Fi

July 6, 1977
The People That Time Forgot

July 13, 1977
The Island of Dr. Moreau

August 10, 1977
The Little Girl Who Lives Down the Lane

August 17, 1977
Joyride

August 31, 1977
Walking Tall: Final Chapter

October 14, 1977
Rolling Thunder

December 28, 1977
Grayeagle

December 1977
The Incredible Melting Man

The Private Files of J. Edgar Hoover

February 1978
Record City

March 1978
Last Cannibal World

April 19, 1978
Holocaust 2000

May 13, 1978
Jennifer

May 24, 1978
Youngblood

May 26, 1978
Here Come the Tigers

High-Ballin'

May 1978
Our Winning Season

June 6, 1978
Cracking Up

June 22, 1978
Matilda

June 1978
Who Can Kill a Child?

July 14, 1978
Mean Dog Blues

October 5, 1978
The Norsemen

December 8, 1978
Force 10 from Navarone

April 18, 1979
The Evictors

April 27, 1979
Love at First Bite

June 1, 1979
Sunnyside

July 27, 1979
The Amityville Horror

September 14, 1979
California Dreaming

September 1979
Seven

October 5, 1979
Something Short of Paradise

October 19, 1979
Meteor

November 1979
Jaguar Lives!

December 21, 1979
C.H.O.M.P.S.

text:
Release Date
Title
Notes

February 15, 1980
Mad Max
Australian sci-fi dystopian film dubbed in American English

March 14, 1980
Defiance

March 14, 1980
The Visitor

March 28, 1980
Nothing Personal

May 1, 1980
Gorp

July 11, 1980
How to Beat the High Cost of Living

text: Unmade Films[edit]

text: The following films were announced for production by AIP but never made:

text:
adaptation of She by H. Rider Haggard - to be made in 1958 in Australia by Roger Corman[45]
Even and the Dragon to be directed by Stanley Shpetner (1958)[46]
Take Me to Your Leader - a part-animated feature (1958)[47]
Aladdin and the Giant produced by Herman Cohen (1959)[48]
In the Year 2889 from the novel by Jules Verne (1959)[49]
The Talking Dog - a comedy (1959)[49]
When the Sleeper Wakes from the novel by H.G. Wells (1960–62)[50] - Vincent Price was announced as a star in 1965[51]
a colour remake of Metropolis (1961)[52]
Genghis Khan (1960s) - a Roadshow production to be directed by Jacques Tourneur with a $4.5 million budget[53]
The Great Deluge - story of Noah's Ark[54]
War of the Planets (1962) - a $2 million science fiction epic starring Vincent Price and Boris Karloff based on a script by Harlan Ellison[55]
Off on a Comet (1962) a filming of Jules Verne's novel advertised in comic books[56]
Stratofin (1962) based on Jules Verne's Master of the World[57]
It's Alive (1963) with Peter Lorre, Harvey Lembeck and Elsa Lanchester[58]
Something in the Walls (1963)[59]
The Magnificent Leonardi with Ray Milland (1963)[59]
Sins of Babylon (1963)[59]
Rumble (1963) with Annette Funicello and Frankie Avalon from a book by Harlan Ellison about New York gangs[58]
The Graveside Story (1964) - with Price, Karloff, Lorre and Elsa Lanchester[60]
The Gold Bug (1964) with Vincent Price, Peter Lorre, Elsa Lanchester[60]
The Chase (circa 1965) - a silent film comedy starring Buster Keaton[61]
Malibu Madness (1965)[51]
The Haunted Palace (1965)[51]
Seven Footprints to Satan (1965)[51]
The Jet Set or Jet Set Party (1964) - with Frankie Avalon, Funicello and directed by William Asher[62]
Malibu Madness (1965)[63]
Robin Hood Jones (1966) - musical about Robin Hood starring Price, Avalon, Funicello and Susan Hart directed by William Asher[64]
Cruise Party (1966) - with Avalon and Dwayne Hickman[64][65]
The Girl in the Glass Bikini (1966) - science fiction comedy with Avalon, Funicello and Aron Kincaid to be directed by William Asher[66]
The Girl in the Glass Castle (1966) - a $1 million musical comedy[67]
The Hatfields and the McCoys (1966) musical with Avalon and Funicello[68]
It based on Richard Matheson story "Being" (1967)[67]
The Golem (1967)[67]

text: Financial earnings[edit]

text:
1970 - $22.7 million[69]
1971 - $21.4 million[70]
1972 - $24 million
1973 - $24.5 million[71] - profit $744,000[72]
1974 - $32.5 million - profit of $931,400[33]
1975 - $48.2 million[73]
1978 - $51.2 million - profit $1.8 million[74]

text: Notes[edit]

text:
Jump up ^ Johnson, John Cheap Tricks and Class Acts, 1996, McFarland, p.265
Jump up ^ http://www.artistinterviews.eu/?page_id=54&parent_id=22
Jump up ^ Shocker Pioneers Tell How to Make Monsters: Want to Make a Monster? Experts Tell How It's Done Scheuer, Philip K. Los Angeles Times (1923-Current File) [Los Angeles, Calif] September 17, 1958: E1.
Jump up ^ Samuel Z Arkoff Biography, Fancast, archived from the original on 2011-07-23 .
^ Jump up to: a b c Doherty, Thomas (1988), Teenagers and Teenpics, Unwin-Hyman .
Jump up ^ Booker, M. Keith. Historical dictionary of American cinema. Lanham, Md.: Scarecrow Press. p. 22. ISBN 0-8108-7192-0.
Jump up ^ Albert Kallis – bio, Learn about movie posters, archived from the original on 2008-03-21 .
Jump up ^ Bean, Robin and Austen, David U.S.A. Confidential p.215 Films and Filming November 1968 quoted in p.157 Doherty, Thomas Teenagers and Teenpics Unwin-Hyman 1988
^ Jump up to: a b Shocker Pioneers Tell How to Make Monsters: Want to Make a Monster? Experts Tell How It's Done Scheuer, Philip K. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 21 Sep 1958: E1.
Jump up ^ Corman, Roger How I Made 100 Movies in Hollywood and Never Lost a Dime 1998 DaCapo Press
Jump up ^ Corman, Roger & Jerome, Jim How I Made Over a Hundred Movies in Hollywood and Never Lost a Dime 1998 DaCapo Press
Jump up ^ Who Needs High Salaried Stars? Horrors! Film Makers Find Audiences Prefer Action Alpert, Don. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 15 July 1962: A8.
Jump up ^ AIP Reveals Its 1968 Film Program Los Angeles Times (1923-Current File) [Los Angeles, Calif] 13 Jan 1968: b7.
Jump up ^ Bye, Bye, Beach Bunnies: Bye, Bye, Beach Bunnies By VINCENT CANBY. New York Times (1923–Current file) [New York, N.Y] 02 Mar 1969: D1
Jump up ^ Italian International Film on IMDbPro (subscription required)
Jump up ^ p.96 + p.214 Arkoff, Sam & Trubo, Richard Flying Through Hollywood by the Seat of My Pants 1990 Carol Publishing
Jump up ^ "International Secret Police". tokyo street report. 2009-04-16. Archived from the original on 4 July 2010. Retrieved 2010-08-02.
Jump up ^ American-International Television (AIP-TV) [us]
Jump up ^ Heffernan, Kevin Ghouls Gimmicks and Gold: Horror Films and the American Movie Business, 2004, Duke University Press, p.167
Jump up ^ Nielsen Business Media, Inc (1959-06-08). Billboard – Google Books. Retrieved 2010-08-02.
Jump up ^ "American International Records – CDs and Vinyl at Discogs". Discogs.com. Retrieved 2010-08-02.
Jump up ^ "Together/AIR Album Discography". Bsnpubs.com. 2000-04-12. Retrieved 2010-08-02.
Jump up ^ American International Pictures Wall Street Journal (1923 - Current file) [New York, N.Y] 03 June 1969: 29
Jump up ^ American International Pictures Wall Street Journal (1923 - Current file) [New York, N.Y] 10 July 1969: 27
Jump up ^ American International Pictures Enters Film Accord Wall Street Journal (1923 - Current file) [New York, N.Y] 10 Apr 1970: 22.
Jump up ^ 30 FEATURES SET: AIP ANNOUNCES PLANS FOR BUSIEST FILM YEAR Warga, Wayne. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 28 Jan 1971: g11.
Jump up ^ X-Rated Movies: On the Downswing? The Washington Post, Times Herald (1959-1973) [Washington, D.C] 31 Mar 1971: B4
Jump up ^ Nicholson to Quit American International Pictures Post Wall Street Journal (1923–Current file) [New York, N.Y] 17 January 1972: 18.
Jump up ^ Nicholson Plans Own Film Firm Los Angeles Times (1923–Current File) [Los Angeles, Calif.] 22 January 1972: b6
Jump up ^ California Film Maker Buys Own Stock From Ex-Officer Wall Street Journal (1923–Current file) [New York, N.Y] 19 September 1972: 43.
Jump up ^ J.H. Nicholson, Film Maker, Dies of Cancer. Los Angeles Times (1923-Current File) [Los Angeles, Calif.] 11 December 1972: 26
Jump up ^ LARRY GORDON ROLLS HIS DICE Taylor, Clarke. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 08 Oct 1978: n35
^ Jump up to: a b The dime-store way to make movies-and money By Aljean Harmetz. New York Times (1923-Current file) [New York, N.Y] 04 Aug 1974: 202.
Jump up ^ Policy Shift Set by American International Pictures Inc. Wall Street Journal (1923 - Current file) [New York, N.Y] 25 May 1972: 7.
Jump up ^ American International Pictures Buys Shares From Sylvia Nicholson Wall Street Journal (1923 - Current file) [New York, N.Y] 19 Apr 1978: 36.
Jump up ^ Filmways Inc. Signs Accord in Principle For Movie Maker Wall Street Journal (1923 - Current file) [New York, N.Y] 10 Oct 1978: 48
Jump up ^ American International Pictures, Filmways Inc. Terminate Merger Plan By a WALL STREET JOURNAL Staff Reporter. Wall Street Journal (1923 - Current file) [New York, N.Y] 11 Dec 1978: 20.
Jump up ^ May Revive Merger Talks With Filmways, AIP Says Jones, John A. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 12 Feb 1979: d12.
Jump up ^ Filmways Says Assets Were Overstated For American International Pictures Inc. By a WALL STREET JOURNAL Staff Reporter. Wall Street Journal (1923 - Current file) [New York, N.Y] 03 Dec 1979: 8.
Jump up ^ AIP BITES DUST AS FILMWAYS RENAMES STUDIO Los Angeles Times (1923-Current File) [Los Angeles, Calif] 13 Mar 1980: f3.
Jump up ^ President of Filmways' American International Pictures Resigns Post Wall Street Journal (1923 - Current file) [New York, N.Y] 06 Dec 1979: 30.
Jump up ^ Filmways Inc. Pays Ex-Aide $1.4 Million Wall Street Journal (1923 - Current file) [New York, N.Y] 08 July 1980: 8
Jump up ^ http://tess2.uspto.gov/bin/gate.exe?f=doc&state=4010:i6p96l.3.5
Jump up ^ How Accountants Helped Orion Pictures Launch Its Financial Comeback Welles, Chris. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 15 May 1983: f1.
Jump up ^ Smith p 97
Jump up ^ Smith p98
Jump up ^ Smith p99
Jump up ^ Smith p 114
^ Jump up to: a b Smith p 118
Jump up ^ Smith p 159
^ Jump up to: a b c d Smith p 249
Jump up ^ Smith p 161
Jump up ^ Smith p 188, 230
Jump up ^ Smith p 188
Jump up ^ Smith p 192
Jump up ^ First Kiss January 1962 Charlton Comics
Jump up ^ pp.219-220 Palmer, Randy Paul Blaisdell, Monster Maker: A Biography of the B Movie Makeup and Special Effects Artist McFarland, 1 Jan 1997
^ Jump up to: a b Grand Guignol Set at Vine St. Cabaret: Huston 'Sells' Kipling Yarn; Sinatra, AIP Think Young Scheuer, Philip K. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 12 July 1963: D11.
^ Jump up to: a b c Smith p 208
^ Jump up to: a b AIP Millions for Poe, Beach Parties: 'Flowers' Oscar Hopeful; Burton Buys, May Direct Scheuer, Philip K. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 02 Jan 1964: C11.
Jump up ^ Hollywood To Make A Big Silent Film." Times [London, England] 3 Mar. 1965: 15. The Times Digital Archive. Web. 15 June 2014.
Jump up ^ Howard Hughes, Aide Part Company Dorothy Kilgallen:. The Washington Post, Times Herald (1959-1973) [Washington, D.C] 11 June 1964: E22.
Jump up ^ Smith p 262
^ Jump up to: a b Smith p 289
Jump up ^ American Film Executive On Study Visit South China Morning Post & the Hongkong Telegraph 15 Sep 1965: 7.
Jump up ^ MOVIE CALL SHEET: Spiegel to Film 'Swimmer' Los Angeles Times (1923-Current File) [Los Angeles, Calif] 19 Mar 1965: D13.
^ Jump up to: a b c American International Expanding Operations Los Angeles Times (1923-Current File) [Los Angeles, Calif] 04 May 1966: e13.
Jump up ^ Smith p 315
Jump up ^ American International Pictures' Profit Steady: Company Says Results for Third Fiscal Quarter Were About the Same as for Year-Ago Period Wall Street Journal (1923 - Current file) [New York, N.Y] 12 Oct 1971: 37.
Jump up ^ American International Pictures Wall Street Journal (1923 - Current file) [New York, N.Y] 09 May 1973: 19.
Jump up ^ Horror or Horrid Films, AIP Quickies Score at Box Office: FILMS Getze, John. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 20 Feb 1974: d10. Turn on hit highlighting for speaking browsers
Jump up ^ Stockholder Meeting Briefs Wall Street Journal (1923 - Current file) [New York, N.Y] 26 June 1973: 35
Jump up ^ American International Will Be 'Happy' if Net Matches Fiscal 1975's Wall Street Journal (1923 - Current file) [New York, N.Y] 27 Oct 1975: 18.
Jump up ^ AMERICAN INTERNATIONAL EPIC: CHINESE BOOK U.S. FILM 'FUTUREWORLD' Bry, Barbara. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 05 Jan 1979: d16.


document_title: Spinal cord

question_text: hole in the tube surrounding the spinal cord

root

text: Spinal cord

text: Structure[edit]

text: The spinal cord is the main pathway for information connecting the brain and peripheral nervous system.[2][3] Much shorter than its protecting spinal column, the human spinal cord originates in the brainstem, passes through the foramen magnum, and continues through to the conus medullaris near the second lumbar vertebra before terminating in a fibrous extension known as the filum terminale.

tag: p

text: It is about 45 cm (18 in) long in men and around 43 cm (17 in) in women, ovoid-shaped, and is enlarged in the cervical and lumbar regions. The cervical enlargement, stretching from the C5 to T1 vertebrae, is where sensory input comes from and motor output goes to the arms and trunk. The lumbar enlargement, located between L1 and S3, handles sensory input and motor output coming from and going to the legs.

text: The spinal cord is continuous with the caudal portion of the medulla, running from the base of the skull to the body of the first lumbar vertebra. It does not run the full length of the vertebral column in adults. It is made of 31 segments from which branch one pair of sensory nerve roots and one pair of motor nerve roots. The nerve roots then merge into bilaterally symmetrical pairs of spinal nerves. The peripheral nervous system is made up of these spinal roots, nerves, and ganglia.

text: The dorsal roots are afferent fascicles, receiving sensory information from the skin, muscles, and visceral organs to be relayed to the brain. The roots terminate in dorsal root ganglia, which are composed of the cell bodies of the corresponding neurons. Ventral roots consist of efferent fibers that arise from motor neurons whose cell bodies are found in the ventral (or anterior) gray horns of the spinal cord.

text: The spinal cord (and brain) are protected by three layers of tissue or membranes called meninges, that surround the canal . The dura mater is the outermost layer, and it forms a tough protective coating. Between the dura mater and the surrounding bone of the vertebrae is a space called the epidural space. The epidural space is filled with adipose tissue, and it contains a network of blood vessels. The arachnoid mater, the middle protective layer, is named for its open, spiderweb-like appearance. The space between the arachnoid and the underlying pia mater is called the subarachnoid space. The subarachnoid space contains cerebrospinal fluid (CSF), which can be sampled with a lumbar puncture, or "spinal tap" procedure. The delicate pia mater, the innermost protective layer, is tightly associated with the surface of the spinal cord. The cord is stabilized within the dura mater by the connecting denticulate ligaments, which extend from the enveloping pia mater laterally between the dorsal and ventral roots. The dural sac ends at the vertebral level of the second sacral vertebra.

text: In cross-section, the peripheral region of the cord contains neuronal white matter tracts containing sensory and motor axons. Internal to this peripheral region is the grey matter, which contains the nerve cell bodies arranged in the three grey columns that give the region its butterfly-shape. This central region surrounds the central canal, which is an extension of the fourth ventricle and contains cerebrospinal fluid.

text: The spinal cord is elliptical in cross section, being compressed dorsolaterally. Two prominent grooves, or sulci, run along its length. The posterior median sulcus is the groove in the dorsal side, and the anterior median fissure is the groove in the ventral side.

text: Spinal cord segments[edit]

text: The human spinal cord is divided into segments where pairs of spinal nerves (mixed; sensory and motor) form. Six to eight motor nerve rootlets branch out of right and left ventro lateral sulci in a very orderly manner. Nerve rootlets combine to form nerve roots. Likewise, sensory nerve rootlets form off right and left dorsal lateral sulci and form sensory nerve roots. The ventral (motor) and dorsal (sensory) roots combine to form spinal nerves (mixed; motor and sensory), one on each side of the spinal cord. Spinal nerves, with the exception of C1 and C2, form inside the intervertebral foramen (IVF). These rootlets form the demarcation between the central and peripheral nervous systems.

text: The grey column, (as three regions of grey columns) in the center of the cord, is shaped like a butterfly and consists of cell bodies of interneurons, motor neurons, neuroglia cells and unmyelinated axons. The anterior and posterior grey column present as projections of the grey matter and are also known as the horns of the spinal cord. Together, the grey columns and the gray commissure form the "grey H."

text: The white matter is located outside of the grey matter and consists almost totally of myelinated motor and sensory axons. "Columns" of white matter carry information either up or down the spinal cord.

text: The spinal cord proper terminates in a region called the conus medullaris, while the pia mater continues as an extension called the filum terminale, which anchors the spinal cord to the coccyx. The cauda equina ("horse's tail") is a collection of nerves inferior to the conus medullaris that continue to travel through the vertebral column to the coccyx. The cauda equina forms because the spinal cord stops growing in length at about age four, even though the vertebral column continues to lengthen until adulthood. This results in sacral spinal nerves originating in the upper lumbar region.

text: Within the CNS, nerve cell bodies are generally organized into functional clusters, called nuclei. Axons within the CNS are grouped into tracts.

text: There are 31 spinal cord nerve segments in a human spinal cord:

text:
8 cervical segments forming 8 pairs of cervical nerves (C1 spinal nerves exit the spinal column between the foramen magnum and the C1 vertebra; C2 nerves exit between the posterior arch of the C1 vertebra and the lamina of C2; C3–C8 spinal nerves pass through the IVF above their corresponding cervical vertebrae, with the exception of the C8 pair which exit between the C7 and T1 vertebrae)
12 thoracic segments forming 12 pairs of thoracic nerves
5 lumbar segments forming 5 pairs of lumbar nerves
5 sacral segments forming 5 pairs of sacral nerves
1 coccygeal segment

text:
Spinal cord segments in some common species [4]

Species
Cervical
Thoracic
Lumbar
Sacral
Caudal/Coccygeal
Total

Dog
8
13
7
3
5
36

Cat
8
13
7
3
5
36

Cow
8
13
6
5
5
37

Horse
8
18
6
5
5
42

Pig
8
15/14
6/7
4
5
38

Human
8
12
5
5
1
31

tag: table

text: In the fetus, vertebral segments correspond with spinal cord segments. However, because the vertebral column grows longer than the spinal cord, spinal cord segments do not correspond to vertebral segments in the adult, particularly in the lower spinal cord. For example, lumbar and sacral spinal cord segments are found between vertebral levels T9 and L2, and the spinal cord ends around the L1/L2 vertebral level, forming a structure known as the conus medullaris.

text: Although the spinal cord cell bodies end around the L1/L2 vertebral level, the spinal nerves for each segment exit at the level of the corresponding vertebra. For the nerves of the lower spinal cord, this means that they exit the vertebral column much lower (more caudally) than their roots. As these nerves travel from their respective roots to their point of exit from the vertebral column, the nerves of the lower spinal segments form a bundle called the cauda equina.

text: There are two regions where the spinal cord enlarges:

text:
Cervical enlargement – corresponds roughly to the brachial plexus nerves, which innervate the upper limb. It includes spinal cord segments from about C4 to T1. The vertebral levels of the enlargement are roughly the same (C4 to T1).
Lumbar enlargement – corresponds to the lumbosacral plexus nerves, which innervate the lower limb. It comprises the spinal cord segments from L2 to S3 and is found about the vertebral levels of T9 to T12.

text: Development[edit]

text: The spinal cord is made from part of the neural tube during development. There are four stages of the spinal cord that arises from the neural tube: The neural plate, neural fold, neural tube, and the spinal cord. Neural differentiation occurs within the spinal cord portion of the tube.[5] As the neural tube begins to develop, the notochord begins to secrete a factor known as Sonic hedgehog or SHH. As a result, the floor plate then also begins to secrete SHH, and this will induce the basal plate to develop motor neurons. During the maturation of the neural tube, its lateral walls thicken and form a longtitudinal groove called the sulcus limitans. This extends the length of the spinal cord into dorsal and ventral portions as well.[6] Meanwhile, the overlying ectoderm secretes bone morphogenetic protein (BMP). This induces the roof plate to begin to secrete BMP, which will induce the alar plate to develop sensory neurons. Opposing gradients of such morphogens as BMP and SHH form different domains of dividing cells along the dorsal ventral axis.[7] Dorsal root ganglion neurons differentiate from neural crest progenitors. As the dorsal and ventral column cells proliferate, the lumen of the neural tube narrows to form the small central canal of the spinal cord.[8] The alar plate and the basal plate are separated by the sulcus limitans. Additionally, the floor plate also secretes netrins. The netrins act as chemoattractants to decussation of pain and temperature sensory neurons in the alar plate across the anterior white commissure, where they then ascend towards the thalamus. Following the closure of the caudal neuropore and formation of the brain's ventricles that contain the choroid plexus tissue, the central canal of the caudal spinal cord is filled with cerebrospinal fluid.

text: Earlier findings by Viktor Hamburger and Rita Levi-Montalcini in the chick embryo have been confirmed by more recent studies which have demonstrated that the elimination of neuronal cells by programmed cell death (PCD) is necessary for the correct assembly of the nervous system.[9]

text: Overall, spontaneous embryonic activity has been shown to play a role in neuron and muscle development but is probably not involved in the initial formation of connections between spinal neurons.

text: Blood supply[edit]

text: The spinal cord is supplied with blood by three arteries that run along its length starting in the brain, and many arteries that approach it through the sides of the spinal column. The three longitudinal arteries are the anterior spinal artery, and the right and left posterior spinal arteries.[10] These travel in the subarachnoid space and send branches into the spinal cord. They form anastamoses (connections) via the anterior and posterior segmental medullary arteries, which enter the spinal cord at various points along its length.[10] The actual blood flow caudally through these arteries, derived from the posterior cerebral circulation, is inadequate to maintain the spinal cord beyond the cervical segments.

text: The major contribution to the arterial blood supply of the spinal cord below the cervical region comes from the radially arranged posterior and anterior radicular arteries, which run into the spinal cord alongside the dorsal and ventral nerve roots, but with one exception do not connect directly with any of the three longitudinal arteries.[10] These intercostal and lumbar radicular arteries arise from the aorta, provide major anastomoses and supplement the blood flow to the spinal cord. In humans the largest of the anterior radicular arteries is known as the artery of Adamkiewicz, or anterior radicularis magna (ARM) artery, which usually arises between L1 and L2, but can arise anywhere from T9 to L5.[11] Impaired blood flow through these critical radicular arteries, especially during surgical procedures that involve abrupt disruption of blood flow through the aorta for example during aortic aneursym repair, can result in spinal cord infarction and paraplegia.

text: Function[edit]

text: Somatosensory organization[edit]

text: Somatosensory organization is divided into the dorsal column-medial lemniscus tract (the touch/proprioception/vibration sensory pathway) and the anterolateral system, or ALS (the pain/temperature sensory pathway). Both sensory pathways use three different neurons to get information from sensory receptors at the periphery to the cerebral cortex. These neurons are designated primary, secondary and tertiary sensory neurons. In both pathways, primary sensory neuron cell bodies are found in the dorsal root ganglia, and their central axons project into the spinal cord.

text: In the dorsal column-medial leminiscus tract, a primary neuron's axon enters the spinal cord and then enters the dorsal column. If the primary axon enters below spinal level T6, the axon travels in the fasciculus gracilis, the medial part of the column. If the axon enters above level T6, then it travels in the fasciculus cuneatus, which is lateral to the fasciculus gracilis. Either way, the primary axon ascends to the lower medulla, where it leaves its fasciculus and synapses with a secondary neuron in one of the dorsal column nuclei: either the nucleus gracilis or the nucleus cuneatus, depending on the pathway it took. At this point, the secondary axon leaves its nucleus and passes anteriorly and medially. The collection of secondary axons that do this are known as internal arcuate fibers. The internal arcuate fibers decussate and continue ascending as the contralateral medial lemniscus. Secondary axons from the medial lemniscus finally terminate in the ventral posterolateral nucleus (VPLN) of the thalamus, where they synapse with tertiary neurons. From there, tertiary neurons ascend via the posterior limb of the internal capsule and end in the primary sensory cortex.

text: The proprioception of the lower limbs differs from the upper limbs and upper trunk. There is a four-neuron pathway for lower limb proprioception. This pathway initially follows the dorsal spino-cerebellar pathway. It is arranged as follows: proprioceptive receptors of lower limb → peripheral process → dorsal root ganglion → central process → Clarke's column → 2nd order neuron → medulla oblogata (Caudate nucleus) → 3rd order neuron → VPLN of thalamus → 4th order neuron → posterior limb of internal capsule → corona radiata → sensory area of cerebrum.

text: The anterolateral system works somewhat differently. Its primary neurons axons enter the spinal cord and then ascend one to two levels before synapsing in the substantia gelatinosa. The tract that ascends before synapsing is known as Lissauer's tract. After synapsing, secondary axons decussate and ascend in the anterior lateral portion of the spinal cord as the spinothalamic tract. This tract ascends all the way to the VPLN, where it synapses on tertiary neurons. Tertiary neuronal axons then travel to the primary sensory cortex via the posterior limb of the internal capsule.

text: Some of the "pain fibers" in the ALS deviate from their pathway towards the VPLN. In one such deviation, axons travel towards the reticular formation in the midbrain. The reticular formation then projects to a number of places including the hippocampus (to create memories about the pain), the centromedian nucleus (to cause diffuse, non-specific pain) and various parts of the cortex. Additionally, some ALS axons project to the periaqueductal gray in the pons, and the axons forming the periaqueductal gray then project to the nucleus raphes magnus, which projects back down to where the pain signal is coming from and inhibits it. This helps control the sensation of pain to some degree.

text: Motor organization[edit]

text:
Actions of the spinal nerves edit

Level
Motor function

C1–C6
Neck flexors

C1–T1
Neck extensors

C3, C4, C5
Supply diaphragm (mostly C4)

C5, C6
Move shoulder, raise arm (deltoid); flex elbow (biceps)

C6
externally rotate (supinate) the arm

C6, C7
Extend elbow and wrist (triceps and wrist extensors); pronate wrist

C7, C8
Flex wrist; supply small muscles of the hand

T1–T6
Intercostals and trunk above the waist

T7–L1
Abdominal muscles

L1–L4
Flex thigh

L2, L3, L4
Adduct thigh; Extend leg at the knee (quadriceps femoris)

L4, L5, S1
abduct thigh; Flex leg at the knee (hamstrings); Dorsiflex foot (tibialis anterior); Extend toes

L5, S1, S2
Extend leg at the hip (gluteus maximus); flex foot and flex toes

text: The corticospinal tract serves as the motor pathway for upper motor neuronal signals coming from the cerebral cortex and from primitive brainstem motor nuclei.

text: Cortical upper motor neurons originate from Brodmann areas 1, 2, 3, 4, and 6 and then descend in the posterior limb of the internal capsule, through the crus cerebri, down through the pons, and to the medullary pyramids, where about 90% of the axons cross to the contralateral side at the decussation of the pyramids. They then descend as the lateral corticospinal tract. These axons synapse with lower motor neurons in the ventral horns of all levels of the spinal cord. The remaining 10% of axons descend on the ipsilateral side as the ventral corticospinal tract. These axons also synapse with lower motor neurons in the ventral horns. Most of them will cross to the contralateral side of the cord (via the anterior white commissure) right before synapsing.

text: The midbrain nuclei include four motor tracts that send upper motor neuronal axons down the spinal cord to lower motor neurons. These are the rubrospinal tract, the vestibulospinal tract, the tectospinal tract and the reticulospinal tract. The rubrospinal tract descends with the lateral corticospinal tract, and the remaining three descend with the anterior corticospinal tract.

text: The function of lower motor neurons can be divided into two different groups: the lateral corticospinal tract and the anterior cortical spinal tract. The lateral tract contains upper motor neuronal axons which synapse on dorsal lateral (DL) lower motor neurons. The DL neurons are involved in distal limb control. Therefore, these DL neurons are found specifically only in the cervical and lumbosacral enlargements within the spinal cord. There is no decussation in the lateral corticospinal tract after the decussation at the medullary pyramids.

text: The anterior corticospinal tract descends ipsilaterally in the anterior column, where the axons emerge and either synapse on lower ventromedial (VM) motor neurons in the ventral horn ipsilaterally or descussate at the anterior white commissure where they synapse on VM lower motor neurons contralaterally . The tectospinal, vestibulospinal and reticulospinal descend ipsilaterally in the anterior column but do not synapse across the anterior white commissure. Rather, they only synapse on VM lower motor neurons ipsilaterally. The VM lower motor neurons control the large, postural muscles of the axial skeleton. These lower motor neurons, unlike those of the DL, are located in the ventral horn all the way throughout the spinal cord.

text: Spinocerebellar tracts[edit]

text: Proprioceptive information in the body travels up the spinal cord via three tracks. Below L2, the proprioceptive information travels up the spinal cord in the ventral spinocerebellar tract. Also known as the anterior spinocerebellar tract, sensory receptors take in the information and travel into the spinal cord. The cell bodies of these primary neurons are located in the dorsal root ganglia. In the spinal cord, the axons synapse and the secondary neuronal axons decussates and then travel up to the superior cerebellar peduncle where they decussate again. From here, the information is brought to deep nuclei of the cerebellum including the fastigial and interposed nuclei.

text: From the levels of L2 to T1, proprioceptive information enters the spinal cord and ascends ipsilaterally, where it synapses in Clarke's nucleus. The secondary neuronal axons continue to ascend ipsilaterally and then pass into the cerebellum via the inferior cerebellar peduncle. This tract is known as the dorsal spinocerebellar tract.

text: From above T1, proprioceptive primary axons enter the spinal cord and ascend ipsilaterally until reaching the accessory cuneate nucleus, where they synapse. The secondary axons pass into the cerebellum via the inferior cerebellar peduncle where again, these axons synapse on cerebellar deep nuclei. This tract is known as the cuneocerebellar tract.

text: Motor information travels from the brain down the spinal cord via descending spinal cord tracts. Descending tracts involve two neurons: the upper motor neuron (UMN) and lower motor neuron (LMN).[12] A nerve signal travels down the upper motor neuron until it synapses with the lower motor neuron in the spinal cord. Then, the lower motor neuron conducts the nerve signal to the spinal root where efferent nerve fibers carry the motor signal toward the target muscle. The descending tracts are composed of white matter. There are several descending tracts serving different functions. The corticospinal tracts (lateral and anterior) are responsible for coordinated limb movements.[12]

text: Clinical significance[edit]

text: A congenital disorder is diastematomyelia in which part of the spinal cord is split usually at the level of the upper lumbar vertebrae. Sometimes the split can be along the length of the spinal cord.

text: Injury[edit]

text: Spinal cord injuries can be caused by trauma to the spinal column (stretching, bruising, applying pressure, severing, laceration, etc.). The vertebral bones or intervertebral disks can shatter, causing the spinal cord to be punctured by a sharp fragment of bone. Usually, victims of spinal cord injuries will suffer loss of feeling in certain parts of their body. In milder cases, a victim might only suffer loss of hand or foot function. More severe injuries may result in paraplegia, tetraplegia (also known as quadriplegia), or full body paralysis below the site of injury to the spinal cord.

text: Damage to upper motor neuron axons in the spinal cord results in a characteristic pattern of ipsilateral deficits. These include hyperreflexia, hypertonia and muscle weakness. Lower motor neuronal damage results in its own characteristic pattern of deficits. Rather than an entire side of deficits, there is a pattern relating to the myotome affected by the damage. Additionally, lower motor neurons are characterized by muscle weakness, hypotonia, hyporeflexia and muscle atrophy.

text: Spinal shock and neurogenic shock can occur from a spinal injury. Spinal shock is usually temporary, lasting only for 24–48 hours, and is a temporary absence of sensory and motor functions. Neurogenic shock lasts for weeks and can lead to a loss of muscle tone due to disuse of the muscles below the injured site.

text: The two areas of the spinal cord most commonly injured are the cervical spine (C1–C7) and the lumbar spine (L1–L5). (The notation C1, C7, L1, L5 refer to the location of a specific vertebra in either the cervical, thoracic, or lumbar region of the spine.) Spinal cord injury can also be non-traumatic and caused by disease (transverse myelitis, polio, spina bifida, Friedreich's ataxia, spinal cord tumor, spinal stenosis etc.)[13]

text: In the U.S., 10,000–12,000 people become paralyzed annually as a result of various injuries to the spinal cord.[citation needed]

text: Treatment[edit]

text: Real or suspected spinal cord injuries need immediate immobilisation including that of the head. Scans will be needed to assess the injury. A steroid, methylprednisolone, can be of help as can physical therapy and possibly antioxidants.[citation needed] Treatments need to focus on limiting post-injury cell death, promoting cell regeneration, and replacing lost cells. Regeneration is facilitated by maintaining electric transmission in neural elements.

text: Lumbar puncture[edit]

text: The spinal cord ends at the level of vertebrae L1–L2, while the subarachnoid space —the compartment that contains cerebrospinal fluid— extends down to the lower border of S2.[13] Lumbar punctures in adults are usually performed between L3–L5 (cauda equina level) in order to avoid damage to the spinal cord.[13] In the fetus, the spinal cord extends the full length of the spine and regresses as the body grows.

text: Tumours[edit]

text: Spinal tumours can occur in the spinal cord and these can be either inside (intradural) or outside (extradural) the dura mater.

text: Additional images[edit]

text:
Spinal Cord Sectional Anatomy. Animation in the reference.

Diagrams of the spinal cord.

Cross-section through the spinal cord at the mid-thoracic level.

Cross-sections of the spinal cord at varying levels.

Cervical vertebra

A portion of the spinal cord, showing its right lateral surface. The dura is opened and arranged to show the nerve roots.

The spinal cord with dura cut open, showing the exits of the spinal nerves.

The spinal cord showing how the anterior and posterior roots join in the spinal nerves.

The spinal cord showing how the anterior and posterior roots join in the spinal nerves.

A longer view of the spinal cord.

Projections of the spinal cord into the nerves (red motor, blue sensory).

Projections of the spinal cord into the nerves (red motor, blue sensory).

Cross-section of rabbit spinal cord.

Cross-section of adult mouse spinal cord: astrocytes (red) and neurons (green)

Cross section of adult rat spinal cord stained using Cajal method.

text:
[show]Dissection images

An overview of the spinal cord.

Sagittal section of pig vertebrae showing a section of the spinal cord.

The base of the brain and the top of the spinal cord

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Spinal cord. Spinal membranes and nerve roots.Deep dissection. Posterior view.

Cerebrum.Inferior view.Deep dissection

Cerebrum.Inferior view.Deep dissection

Spinal cord. Brachial plexus. Cerebrum.Inferior view.Deep dissection.

Spinal cord. Brachial plexus. Cerebrum.Inferior view.Deep dissection.

Spinal cord

Medulla spinalis of 8-week-old human embryo