The Rocky Horror Picture Show | |
---|---|
Directed by | Jim Sharman |
Screenplay by |
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Produced by | Michael White |
Starring | |
Cinematography | Peter Suschitzky |
Edited by | Graeme Clifford |
Music by |
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Distributed by | 20th Century Fox |
Release date |
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Running time | 100 minutes [1](UK cut) 98 minutes (US cut) |
Countries | United States United Kingdom |
Language | English |
Budget | $1.4 million[2] |
Box office | Domestic: $139,876,417[3] Worldwide: $175,000,000 |
The Rocky Horror Picture Show is a 1975 musical comedy horror film adaptation of the musical stage production, The Rocky Horror Show, originally conceived by Richard O'Brien who co-wrote the film's screenplay with director, Jim Sharman. The production is a humorous tribute to the science fiction and horror B movies of the late 1930s through early 1970s. It stars Tim Curry, Susan Sarandon and Barry Bostwick along with cast members from the original Royal Court Theatre, Roxy Theatre and Belasco Theatre productions.
It gained notoriety as a midnight movie when audiences began participating with the film at the Waverly Theater in New York City in 1976. Fans there began to return each weekend where audience participation to the film began to become ritualized. Audience members talked back to the screen and began dressing as the characters, spawning similar performance groups across the United States. Still in limited release nearly four decades after its premiere, it has the longest-running theatrical release in film history. The film has a large international cult following and is one of the most well-known and financially successful midnight movies of all time. The film was selected for preservation in the United States National Film Registry by the Library of Congress in 2005. The film's creative team also produced Shock Treatment, a stand alone movie using the characters of Brad and Janet and featuring many of the same cast.
Plot
A criminologist narrates the tale of the newly engaged couple Brad Majors and Janet Weiss who find themselves lost and with a flat tire on a cold and rainy late November evening. Seeking a telephone, the couple walk to a nearby castle where they discover a group of strange and outlandish people who are holding an Annual Transylvanian Convention. They are soon swept into the world of Dr. Frank N. Furter, a self-proclaimed transvestite from Transsexual, Transylvania. The ensemble of convention attendees also includes servants Riff Raff, his sister Magenta, and a groupie named Columbia.
In his lab, Frank claims to have discovered the "secret to life itself". His creation, Rocky, is brought to life. The ensuing celebration is soon interrupted by Eddie, an ex-delivery boy, partial brain donor to Rocky, and Columbia's lover, who rides out of a deep freeze on a motorcycle. In a jealous rage, Frank corners him and kills him with an ice axe. He then departs with Rocky to a bridal suite.
Brad and Janet are shown to separate bedrooms where each is visited and seduced by Frank, who poses as Brad (when visiting Janet) and then as Janet (when visiting Brad). Janet, upset and emotional, wanders off to look for Brad, whom she discovers, via a television monitor, is in bed with Frank. She then discovers Rocky, cowering in his birth tank, hiding from Riff Raff, who has been tormenting him. While tending to his wounds, Janet becomes intimate with Rocky, as Magenta and Columbia watch from their bedroom monitor.
After discovering that his creation is missing, Frank returns to the lab with Brad and Riff Raff, where Frank learns that an intruder has entered the building. Brad and Janet's old high school science teacher, Dr. Everett Scott, has come looking for his nephew, Eddie. Frank suspects that Dr. Scott investigates UFOs for the government. Upon learning of Brad and Janet's connection to Dr. Scott, Frank suspects them of working for him. Frank, Dr. Scott, Brad, and Riff Raff then discover Janet and Rocky together under the sheets in Rocky's birth tank, upsetting Frank and Brad. Magenta interrupts the reunion by sounding a massive gong and stating that dinner is prepared.
Rocky and the guests are served dinner, which they soon realize has been prepared from Eddie's mutilated remains. Janet runs screaming into Rocky's arms and is slapped and chased through the halls of the castle by a jealous Frank. Janet, Brad, Dr. Scott, Rocky, and Columbia all meet in Frank's lab, where Frank captures them with the Medusa Transducer, transforming them into statues. They are then forced to perform a live cabaret floor show with Frank as the leader.
Riff Raff and Magenta interrupt the performance, revealing themselves and Frank to be aliens from the planet Transsexual in the galaxy of Transylvania. They stage a coup and announce a plan to return to their home world. In the process, they kill Columbia, Rocky and Frank, who has "failed his mission". They release Brad, Janet, and Dr. Scott, then depart by lifting off in the castle itself. The survivors are then left crawling in the dirt, and the narrator concludes that the human race is equivalent to insects crawling on the planet's surface.
Cast
- Tim Curry as Dr. Frank N. Furter, a scientist
- Susan Sarandon as Janet Weiss, a heroine
- Barry Bostwick as Brad Majors, a hero.
- Richard O'Brien as Riff Raff, a handyman
- Patricia Quinn as Magenta, a domestic
- Nell Campbell as Columbia, a groupie
- Jonathan Adams as Dr. Everett V. Scott, a rival scientist
- Peter Hinwood as Rocky Horror, a creation
- Meat Loaf as Eddie, an ex-delivery boy
- Charles Gray as The Criminologist, an expert
- Jeremy Newson as Ralph Hapschatt
- Hilary Farr as Betty Munroe Hapschatt (as Hilary Labow)
Music
- "Science Fiction/Double Feature" - The Lips (those of Patricia Quinn; voice of Richard O'Brien)
- "Dammit Janet" - Brad, Janet, and Chorus
- "There's a Light (Over at the Frankenstein Place)" - Janet, Brad, Riff Raff, and Chorus
- "The Time Warp" - Riff Raff, Magenta, The Criminologist, Columbia, and Transylvanians
- "Sweet Transvestite" - Frank
- "The Sword of Damocles" - Rocky and Transylvanians
- "I Can Make You a Man" - Frank with Brad, Janet, Riff Raff, Magenta, and Columbia
- "Whatever Happened to Saturday Night" - Eddie and Transylvanians
- "I Can Make You a Man" (reprise) - Frank, Janet, and Transylvanians
- "Touch-a, Touch-a, Touch-a, Touch Me" - Janet with Magenta, Columbia, Rocky, Brad, Frank, and Riff Raff
- "Once in a While" (deleted scene) - Brad
- "Eddie" - Dr. Scott, Janet, Frank, Rocky, Brad, Riff Raff, and Magenta
- "Planet Schmanet Janet (Wise Up Janet Weiss)" - Frank, Janet, Brad, and Dr. Scott
- "Rose Tint My World" - Columbia, Rocky, Janet, and Brad
- "Fanfare/Don't Dream It, Be It" - Frank with Brad, Janet, Rocky, and Columbia
- "Wild and Untamed Thing" - Frank with Brad, Janet, Rocky, Columbia, and Riff Raff
- "I'm Going Home" - Frank and Chorus
- "The Time Warp" (reprise) - Riff Raff and Magenta
- "Super Heroes" (only present in the original UK release) - Brad, Janet, and Chorus
- "Science Fiction/Double Feature" (reprise) - The Lips
The soundtrack was released in 1975 by Ode Records and produced by Richard Hartley. The album peaked at #49 on the Billboard 200 in 1978.[4] It reached #40 on the Australian albums chart[5] and No. 11 on the New Zealand albums chart.[6] The album is described as the "definitive version of the [Rocky Horror] score."[7]
Production
Concept and development
Richard O'Brien was a British actor raised in New Zealand and living in London as an unemployed actor in the early 1970s. He wrote most of The Rocky Horror Show one winter just to give him something to do.[8][9] Since his youth, O'Brien had loved science fiction and B horror movies. O'Brien wanted to combine elements of the unintentional humour of B horror movies, portentous dialogue of schlock-horror, Steve Reeves muscle flicks and fifties rock and roll into his musical.[10]
O'Brien took a small amount of his unfinished script to Australian director Jim Sharman, who decided to direct it at the small experimental space Upstairs at the Royal Court Theatre, Sloane Square, Chelsea which was used as a project space for new work.[8] O'Brien had appeared briefly in Andrew Loyd Webber's Jesus Christ Superstar, directed by Sharman and the two also worked together in Sam Shepard's The Unseen Hand. Sharman would bring in production designer Brian Thomson.[11] The original creative team was then rounded out by costume designer Sue Blane and musical director Richard Hartley. Stage producer Michael White was also brought in to produce. As the musical went into rehearsal, the working title, It Came from Denton High, was changed just before previews at the suggestion of Sharman to The Rocky Horror Show.[8][12] Originally presented in a small sixty-seat theatre, it quickly moved to larger venues.[13]
The Rocky Horror Show would eventually play in the United States in Los Angeles and New York City as well as other cities.[11] Producer and Ode Records owner, Lou Adler happened to see the London production in the winter of 1973, taken by friend, Britt Ekland. He immediately decided to purchase the U.S. theatrical rights. His production would be staged at his Roxy Theatre in L.A.[14] In 1975, The Rocky Horror Show premiered on Broadway at the 1,000-seat Belasco Theatre.[15]
Filming and locations
The film was shot at Bray Studios, and Oakley Court, a country house in Berkshire, England and Elstree Studios[16] for post production,[17] from 21 October to 19 December 1974. Filming of the laboratory scene and the title character's creation occurred on 30 October 1974.[18] Twentieth Century Fox insisted on casting the two characters of Brad and Janet with American actors, Barry Bostwick and Susan Sarandon.[11] The movie is a send-up of, and tribute to, many of the science fiction and horror movies from the 1930s up to the 1970s.[8]The film production retains many aspects from the stage version such as production design and music and new scenes added not in the stage play.[11] The film's plot, setting, and style echoes that of the Hammer Horror films, which had their own instantly recognizable style (just as Universal Studios' horror films did).[19] The original proposal for the opening sequence was to be in black and white with clips of various films mentioned as well as the first few sequences. This was deemed to expensive and scrapped.[11]
Oakley Court is known for a number of Hammer films.[20] It was originally built in 1857 in the Victorian Gothic style. Built by an English noble for his French wife, it would headquarter Charles de Gaulle during World War II.[21] A great deal of location shooting took place there. At the time, the manor was not in good condition.[22] Filming took place during autumn, which made conditions harsh. During filming, Susan Sarandon fell ill with pneumonia.[10] In 1997 Oakley Court had its latest renovation and the building is now a luxury hotel.[23]
Costumes, make-up and props
In the stage productions, actors generally did their own makeup, but for the film, the producers chose Pierre La Roche to redesign the makeup for each character (he had previously designed makeup for Mick Jagger).[24] Production stills were taken by rock photographer, Mick Rock who has published a number of books from his work.[25] In "Rocky Horror; From Concept to Cult", designer Sue Blane discusses the Rocky Horror costumes' influence on punk music style. "[It was a] big part of the build up [to punk]." She states that ripped fishnet stockings, glitter and coloured hair were directly attributable to Rocky Horror.[8]
Many of the costumes from the film were originally used in the stage production. Props, set pieces locations were reused from old Hammer productions. The tank and dummy from "The Revenge of Frankenstein" were used for the Character of Rocky's birth. Many of the props and set pieces were reused from other productions. These steps, while cost cutting, also enhanced the status of the film with so many references to older productions.[26]
Originally, costume designer Sue Blane didn't think she would enjoy the job of doing the shows costumes until she realized old friend, Tim Curry was doing the show and met director, Jim Sharman. Tim and Blane had worked together in Glasglow's Citizen Theatre in a production of "The Maids" where Curry had worn a woman's corset in the production. Blane got the Citizen to loan her the corset from the other production for Rocky Horror.[27] Blane admits she did not research and had never seen a science fiction film. She just used intuition and knows her costumes for Brad and Janet may have been generalizations.
"When I designed Rocky I never looked at any science fiction movies or comic books. One just automatically knows what spacesuits look like, the same way one intuitively knows how Americans dress. I had never been to the United States, but I had this fixed idea of how people looked there. Americans wore polyester so their clothes wouldn't crease and their trousers were a bit too short. Since they're very keen on sports, white socks and white T-shirts played an integral part in their wardrobe. Of course, since doing Rocky I have been to the United States and admit it was a bit of a generalization, but my ideas worked perfectly for Brad and Janet."[27]
The budget for the film's costumes was $1600.[27] The amount was far more than the stage production budget but having to double up on costumes for filming was expensive. For filming, corsets for the finale had to be doubled for the pool scene with one version drying while the other was worn on set. While many of the costumes are exact replicas from the stage productions, other costumes were new to filming such as Columbia's gold sequined tuxedo and top hat and Magenta's maid's uniform.[27]
Costume designer Sue Blane was amazed by the recreation of her designs by fans. When she first heard that people were dressing up she thought it would be tacky but was very surprised to see the depth at which the fans went to recreate her designs. She felt they really understood the costumes.[27] Rocky Horror fan, Mina Credeur designs costumes and performs as Columbia for Houston’s performance group. She says “The best part is when everyone leaves with a big smile on their face” and “[T]here’s such a kitschiness and campiness that it seems to be winking at you”.[28]
Title sequence
The film starts with the screen fading to black and over-sized, disembodied female lips appear overdubbed with a male voice,[29][26] creating the androgynous theme to be repeated as the film unfolds.[30] The opening scene and song, "Science Fiction, Double Feature" consists of the lips of Patricia Quinn (who appears in the film later as the character Magenta), but has the vocals of actor and Rocky Horror creator, Richard O'Brien (who appears as Magenta's brother Riff Raff). The lyrics reference science fiction and horror films of the past and list several film titles from the 1930s to the 1970s, including, The Day the Earth Stood Still, Flash Gordon, The Invisible Man, King Kong, It Came from Outer Space, Doctor X, Forbidden Planet, Tarantula, The Day of the Triffids, Curse of the Demon, When Worlds Collide and The Bride of Frankenstein.[8] The disembodied lips are featured on posters and other merchandise for the film, with the tag line "A Different Set of Jaws", a spoof of the poster for the film Jaws which was also produced in 1975.[26]
Release
Film
The film opened in the United Kingdom on August 14 and in the United States on September 26, 1975. Its U.S. opening was at the UA Westwood in Los Angeles, California. It did well at that location, but not elsewhere.[31] Prior to the midnight screenings' success, the film was withdrawn from its eight opening cities due to very small audiences, and its planned New York opening (on Halloween night) was cancelled.[32] Fox re-released it around college campuses on a double-bill with another rock music film parody, Brian De Palma's Phantom of the Paradise, but again it drew small audiences.[32] With Pink Flamingos (1972) and Reefer Madness (1936) making money in midnight showings nationwide. An executive at Fox, Tim Deegan, was able to talk distributors into midnight screenings,[30] starting in New York City on April Fools' Day of 1976.[32] The cult following started shortly after the film began its midnight run at the Waverly Theater in New York City.[31] Rocky Horror was not only found in the larger cities but throughout the United States where many attendees would get in free if they arrived in costume. The western division of the film's release included The U.A. Cinema in Fresno and Merced, The Cinema J in Sacramento and the Covell in Modesto. In New Orleans, an early organized performance group was active with the release there as well as in such cities as Pittsburgh, Pennsylvania, and Chicago (at the Biograph Theater). Before long nearly ever screening of the film was accompanied by a live fan cast.[31] The film is considered to be the longest-running release in film history.[33] It has never been pulled by 20th Century Fox from its original 1975 release, and it continues to play in cinemas.[34][35] The film had its US broadcast premiere on the Fox Broadcasting Company, including audience participation edited into the film, on October 25, 1993.[36]
Broadcast and home video
A Super 8 version of selected scenes of the film was made available.[37] In 1983 Ode Records released "The Rocky Horror Picture Show, Audience Par-Tic-I-Pation Album", recorded at the 8TH Street Playhouse. The recording consisted of the film's audio and the standardized audience call-backs from the audience.[38] It was released on VHS in 1990, retailing for $89.95.[39] The film had its US broadcast premiere on the Fox Broadcasting Company, including audience participation edited into the film, on October 25, 1993.[36] A 35th Anniversary edition Blu-ray was released in the US on October 19, 2010. The disc includes a newly created 7.1 surround sound mix, the original theatrical mono sound mix, and a 4K/2K image transfer from the original camera negative. In addition, new content featuring karaoke and fan performance were included.[40]
Reception and reaction
Critical reception
Bill Henkin writes about Rocky Horror's initial release in 1975 noting the critical responses: "Variety thought the movies 'Campy hijinks....only [seem] labored". The San Francisco Chronicle's John Wasserman, who had like the stage play in London, found the film "Lacking both charm and dramatic impact". Newsweek called the movie "Tasteless, plotless and pointless" in 1978.[41]
In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[42][43]
Cult phenomenon
New York City origins
One process of audience reception is the ability to perform or recreate. This is how the fandom of Rocky Horror developed into a standardized, ritual. The performances of the audience was scripted and actively discouraged improvising, being conformist in a similar way to the repressed characters.[44] Rocky Horror helped shape conditions of cult film's transition from art-house to grind-house style.[45] Early participation with the film took place at the original Westwood location of the film's first run with fans heard singing along. Waverly Theatre fans in New York are credited with the talk back lines.[31] Performance groups became a staple at Rocky Horror screenings due in large part to the prominent New York City fan cast. The cast was originally run by former schoolteacher and stand-up comic, Sal Piro and Dori Hartley one of several performers in a flexible, rotating cast to portray the character of Frank N. Furter, shadowing the film above.[46][31] According to J. Hoberman, author of "Midnight Movies", it was after five months into the film's midnight run when lines began to be yelled by the audience.[9] The first person to yell out an audience participation line during a screening was Louis Farese Jr., a normally quiet teacher who, upon seeing the Character Janet place a newspaper over her head to protect herself from rain yelled, "Buy an umbrella you cheap bitch". This self-proclaimed "counter point dialogue" was soon helped into standardization by Piro and repeated nearly verbatim at each screening.[9] By that Halloween, people were attending in costume and talking back to the screen. By mid-1978, Rocky Horror was playing in over 50 locations on Fridays and Saturdays at midnight, newsletters were published by local performance groups, and fans gathered for Rocky Horror conventions.[32] By the end of 1979, there were twice-weekly showings at over 230 theatres.[32]
In 1977 the National Fan Club was begun and would merge with the International Fan Club and a publication, "The Transylavanian" printed a number of issues. A semi-regular poster magazine was published as well as an official magazine.[45]
Los Angeles, Hollywood
The Los Angeles area performance groups originated in 1977 at the Fox Theatre, where Michael Wolfson portraying Frank, won a look-alike contest, as well as another at the Tiffany Theater on Sunset Blvd. Wolfson's group would perform in all of the LA area theaters screening Rocky Horror including the Balboa Theater in Balboa, The Cove at Hermosa Beach and The Sands in Glendale, and was invited to perform at the Sombrero Playhouse in Phoenix, Arizona. At the Tiffany Theatre, the audience performance cast had the theater's full cooperation; the local performers entered early and without charge. The Frank N. Furter for this theatre was performed by a transgender performer. [31] D. Garret Gafford, was out of work in 1978, trying to raise enough funds for a sex change operation while spending the weekends performing at the Tiffany.[47]
San Francisco
In San Francisco Rocky Horror would move from one location to the Strand Theatre located near the Tenderloin on Market Street.[48] The performance group there would act out and perform almost the entire film, unlike the New York cast at that time. The Strand cast was put together from former members of the Berkeley group, disbanded due to less than enthusiastic management. Their Frank N. Furter was portrayed by Marni Scofidio who, in 1979 got many of the older group from Berkeley, over to San Francisco. Other members included Mishell Erickson and her twin sister Denise Erickson who portrayed Columbia and Magenta, Kathy Dolan playing Janet and Linda Woods as Riff Raff. The Strand group had performed at two large science fiction conventions, in Los Angeles and San Francisco and were offered a spot at The Mobuhay, A local punk club and even performed for children's television in Argentina.[31]
Fan following
Rocky Horror is one of the last few western rites left that pertain to the carnivalesque.[49] Annual Rock Horror conventions are held in varying locations lasting days. Tucson, Arizona has hosted a few times including 1999 with “El Fishnet Fiesta”, and “Queens of the Desert” held in 2006.[50] To the fans, Rocky Horror is a repeated cycle, of going home and coming back to see the film each weekend, making the practice a ritual of compulsive, re-affirmation of community that has been compared to a "religious event".[9] The audience call backs are similar to responses in church during a mass.[9] The Rocky Horror Picture Show has a global following and remains popular well into the 21st century.[51] Sub cultures such as Rocky Horror have also found a place on the internet.[52] Audience participation scripts for many cities are available to download from the world wide web.[26] The internet has a number of Rocky Horror fan run websites with various quizzes and information specializing in different content allowing fans to participate at a unique level.[30] New technologies are allowing for more personal access to all the things surrounding the cult. What would have been printed in a magazine are now available off the net.[53]
Cultural impact
The Rocky Horror Picture Show has been featured in a number of other feature films and television series' over the years. Rocky Horror themed episodes of Glee, The Drew Carey Show, and That 70s Show were broadcast and films like Vice Squad (1982 film), The Perks of Being a Wallflower [39] and the 1980 film Fame and featured the audience and in some cases reciting their call back lines to the screen and dancing the Time Warp,[54] the dance from the stage show and film that has become part of the light-hearted and fun novelty dances common at parties.[55]
In 1981, Sharman reunited with O'Brien to do Shock Treatment. This stand-alone feature was not a direct sequel to the original film.[56] This film reunites character Brad and Janet and was originally conceived and written to depict the characters filmed in normal settings until the production changed to work around a Screen Actor's Guild strike. The eventual production would now entail the entire film being shot entirely within a sound stage and purposely blending that into the story line. Shock Treatment has a cult following but not nearly as strong as the first film.[57]
Ten years later, O'Brien wrote another script intended as a direct sequel to the cult classic entitled Revenge of the Old Queen. Producer Michael White had hoped to begin work on the production and described the script as being "... in the same style as the other one. It has reflections of the past in it."[58] Although the script has not been published, bootleg copies can be read on the Internet. The script is currently owned by 20th Century Fox which produced the two original films. Most individuals associated with the project, including O'Brien, agree that the film will probably never be made, owing to the failure of Shock Treatment and the aging of the cast.[59]
"The Rocky Horror Glee Show" aired on October 26, 2010 as part of the second season of the TV series Glee, which recreated several scenes from the film, including the opening credits, and featured Barry Bostwick and Meat Loaf in cameo roles.[60] Rocky Horror continues as a cultural heritage in both the U.S. and U.K..[53] Cult film participants are, many times, the fringe of society that find connection and community at the screenings[61] however, the film attracts fans of differing backgrounds all over the world.[62] The film is a part of the adolescent experience[63] and has become a cultural phenomenon.[64]
See also
References
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- ^ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Scarecrow Press. p. 258.
- ^ Box Office Information for The Rocky Horror Picture Show. The Numbers. Retrieved August 25, 2013.
- ^ "The Rocky Horror Picture Show > Charts & Awards", Allmusic, Rovi Corporation, retrieved 3 October 2010
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- ^ a b c d e f Scott Miller (2011). Sex, Drugs, Rock & Roll, and Musicals. UPNE. pp. 127–. ISBN 978-1-55553-761-6.
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- ^ a b Knapp, Raymond (2 March 2009). The American Musical and the Performance of Personal Identity. Princeton University Press. pp. 240'. ISBN 0-691-14105-3.
- ^ a b c d e Daniel Eagan (26 November 2009). America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. Continuum International Publishing Group, Limited. pp. 2086–. ISBN 978-1-4411-7541-0.
- ^ Thomson, Brian, ed. (1979) The Rocky Horror Scrapbook. New York: Star Fleet Productions, Inc. 6.
- ^ Shuker, Roy (1 November 1994). Understanding popular music. Routledge; annotated edition. p. 160. ISBN 978-0-415-10722-8.
- ^ Erik Quisling; Austin Lowry Williams (2003). Straight Whisky: A Living History of Sex, Drugs, and Rock 'n' Roll on the Sunset Strip. Bonus Books. pp. 245–. ISBN 978-1-56625-197-6.
- ^ Louis Botto; Robert Viagas (2002). At this Theatre: 100 Years of Broadway Shows, Stories and Stars. Applause/Playbill. pp. 33–. ISBN 978-1-55783-566-6.
- ^ Paul Newland (2010). Don't Look Now: British Cinema in the 1970s. Intellect Books. pp. 138–. ISBN 978-1-84150-320-2.
- ^ Williams, sally. "Elstree Studios". The Free Library. Farlex, Inc. Retrieved 16 March 2014.
- ^ Henkin (1979), p. 16
- ^ Harpole, Charles (5 November 1999). History of the American cinema. Charles Scribner's Sons; 1 edi. pp. 212–213. ISBN 978-0-684-80463-7.
- ^ Huckvale, David (28 May 2008). Hammer Film Scores and the Musical Avant-Garde. McFarland. p. 150. ISBN 978-0-7864-3456-5. Retrieved 30 September 2012.
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{{cite book}}
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- ^ "Mick Rock". Official web site. 921 Associates, LLC. 2011. Retrieved 4 October 2012.
- ^ a b c d Samantha Michele Riley (2008). Becoming the Wig: Mis/identifications and Citationality in Queer Rock Musicals. ProQuest. pp. 22–. ISBN 978-0-549-53382-5. Cite error: The named reference "Riley2008" was defined multiple times with different content (see the help page).
- ^ a b c d e Siegel, Robert. "Making The Rocky Horror Picture Show". Blu-ray.com. Retrieved 27 March 2014.
- ^ Keppler, Nick (Thursday, Jun 7 2007). "The Beautiful Creatures". Houston Press. Retrieved 28 March 2014.
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(help) - ^ David Laderman (1 March 2010). Punk Slash! Musicals: Tracking Slip-Sync on Film. University of Texas Press. pp. 32–. ISBN 978-0-292-77791-0.
- ^ a b c Kurt Lancaster; Thomas J. Mikotowicz (1 January 2001). Performing the Force: Essays on Immersion Into Science Fiction, Fantasy, and Horror Environments. McFarland. pp. 128–. ISBN 978-0-7864-0895-5. Cite error: The named reference "LancasterMikotowicz2001" was defined multiple times with different content (see the help page).
- ^ a b c d e f g William A. Henkin; Bill Henkin (1 August 1979). The Rocky Horror Picture Show Book. PENGUIN Group (USA) Incorporated. ISBN 978-0-452-26654-4. Cite error: The named reference "HenkinHenkin1979" was defined multiple times with different content (see the help page).
- ^ a b c d e Samuels (1983), p. 11
- ^ "Fox Celebrates 25 Years of Absolute Pleasure, Pop Culture Phenomenon and Midnight Classic" (Press release). RHPS Official Fan Site. 24 August 2000. Retrieved 13 June 2007.
- ^ "RHPS regular showtimes". Retrieved 13 April 2013.
- ^ Smith, Zach. "What keeps The Rocky Horror Picture Show flame burning for more than two decades in Raleigh?". Indy Week. Retrieved 13 April 2013.
- ^ a b "Official Website". The Rocky Horror Picture Show. Twentieth Century Fox Film Corporation. 2003. Retrieved 11 January 2013.
- ^ Piro & Hess (1991), p. 77
- ^ Judith A. Peraino (2005). Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. University of California Press. pp. 234–. ISBN 978-0-520-92174-0.
- ^ a b Champion, Lindsay (14 August 2013). "Happy Birthday, Dear Rocky! 38 Freaky Facts About The Rocky Horror Picture Show". http://www.broadway.com/buzz/171159/happy-birthday-dear-rocky-38-freaky-facts-about-the-rocky-horror-picture-show/. Retrieved 27 March 2014.
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- ^ "RHPS Official Fan Site: News: Press Release". Retrieved 2 August 2010.
- ^ Caroline Joan Picart (2 July 2003). Remaking the Frankenstein Myth on Film: Between Laughter and Horror. SUNY Press. pp. 62–. ISBN 978-0-7914-5770-2.
- ^ "National Film Registry Titles 1989–2013". loc.gov. Library of Congress. 20 November 2013. Retrieved 18 February 2014.
- ^ L.C. Information Bulletin. Library of Congress. 2006. p. 43.
- ^ Ernest Mathijs; Jamie Sexton (30 March 2012). Cult Cinema. John Wiley & Sons. pp. 101–. ISBN 978-1-4443-9642-3.
- ^ a b Mathijs, Ernest; Mendik, Xavier (1 December 2007). The Cult Film Reader. McGraw-Hill International. pp. 395–. ISBN 978-0-335-21923-0.
- ^ Susan Tyler Hitchcock (2007). Frankenstein: A Cultural History. W.W. Norton. pp. 251–. ISBN 978-0-393-06144-4.
- ^ Overand, William (July 19,1978). ""Saturday Night Fervor at the Tiffany Theater"". Los Angeles Times.
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(help) - ^ Jim Stewart (2011). Folsom Street Blues: A Memoir of 1970s SoMa and Leatherfolk in Gay San Francisco. Palm Drive Publishing. pp. 109–. ISBN 978-1-890834-03-6.
- ^ Jack Santino (1994). Halloween and Other Festivals of Death and Life. Univ. of Tennessee Press. pp. 105–. ISBN 978-0-87049-813-8.
- ^ Gay, Gerald M. (March 13, 2014 12:00 am). "'Rocky Horror' shines at El Fishnet Fiesta". Arizona Daily Star. Retrieved 18 March 2014.
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(help) - ^ Bob Batchelor (December 2011). Cult Pop Culture: How the Fringe Became Mainstream. ABC-CLIO. pp. 52–. ISBN 978-0-313-35780-0.
- ^ Sharon Marie Ross (23 September 2011). Beyond the Box: Television and the Internet. John Wiley & Sons. pp. 31–. ISBN 978-1-4443-5865-0.
- ^ a b Justin Smith (28 February 2010). Withnail and Us: Cult Films and Film Cults in British Cinema. I.B.Tauris. pp. 32–. ISBN 978-0-85771-793-1.
- ^ Lori Ortiz (31 March 2011). Disco Dance. ABC-CLIO. pp. 147–. ISBN 978-0-313-37747-1.
- ^ Delia Silvester (21 December 2013). Dance and Movement Sessions for Older People: A Handbook for Activity Coordinators and Carers. Jessica Kingsley Publishers. pp. 47–. ISBN 978-0-85700-846-6.
- ^ Winters, Hughs, Jessica, Loyd. The Rough Guide to Film. Penguin publishing. p. 506. ISBN 978-1-4053-8498-8.
{{cite book}}
: CS1 maint: multiple names: authors list (link) - ^ Robert Cettl (12 December 2010). Film Tales. Wider Screenings TM. pp. 94–. ISBN 978-0-9870500-0-7.
- ^ Van Gelder, Lawrence (13 September 1991). "'Rocky Horror' to 'Queen'". The New York Times. The New York Times Company. Retrieved 3 October 2010.
- ^ Drees, Rich (27 September 2010). "Script Review: Revenge of the Old Queen". Film Buff Online. Retrieved 30 July 2013.
- ^ Caulfield, Keith (27 October 2010). "Sugarland Tops Kings of Leon on Billboard 200". Billboard. Nielsen Business Media, Inc. Retrieved 27 October 2010.
- ^ Charles H. Lippy (1 January 2006). Faith in America: Changes, Challenges, New Directions. Greenwood Publishing Group. pp. 2–. ISBN 978-0-275-98605-6.
- ^ Tony Blackshaw (18 July 2013). Routledge Handbook of Leisure Studies. Routledge. pp. 117–. ISBN 978-1-136-49559-5.
- ^ Acacia C. Parks (21 January 2014). Positive Psychology in Higher Education. Routledge. pp. 39–. ISBN 978-1-317-85064-9.
- ^ Betty Jo Tucker (2004). Susan Sarandon: A True Maverick. Wheatmark, Inc. pp. 139–. ISBN 978-1-58736-300-9.
Bibliography
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- Batchelor, Bob (2012). Cult pop culture : how the fringe became mainstream. Santa Barbara, Calif: Praeger. ISBN 978-0-313-35780-0.
- Blackshaw, Tony (2013). Routledge Handbook of Leisure Studies. Hoboken: Taylor and Francis. ISBN 978-1-136-49559-5.
- Dika, Vera (2003). Recycled culture in contemporary art and film : the uses of nostalgia. Cambridge New York: Cambridge University Press. ISBN 978-0-521-01631-5.
- Hallenbeck, Bruce (2009). Comedy-Horror Films. Jefferson: McFarland. ISBN 978-0-7864-3332-2.
- Harpole, Charles (1990). History of the American Cinema. New York: Scribner. ISBN 978-0-684-80463-7.
- Henkin, Bill (1979). The Rocky Horror Picture Show Book. New York: Hawthorn Books. ISBN 978-0-8015-6436-9.
- Hitchcock, Susan (2007). Frankenstein : a cultural history. New York: W.W. Norton. ISBN 978-0-393-06144-4.
- Lancaster, Kurt (2001). Performing the force : essays on immersion into science fiction, fantasy, and horror environments. Jefferson, N.C: McFarland. ISBN 978-0-7864-0895-5.
- Lippy, Charles (2006). Faith in America changes, challenges, new directions. Westport, Conn: Praeger. ISBN 978-0-275-98605-6.
- Leitch, Thomas (2002). Crime Films. Cambridge: Cambridge University Press. ISBN 978-0-521-64671-0.
- Mathijs, Ernest (2011). Cult cinema an introduction. Malden, Mass: John Wiley & Sons Ltd. ISBN 978-1-4443-9642-3.
- Mathijs, Ernest (2008). The cult film reader. Maidenhead, Berkshire, England New York: Open University Press/McGraw-Hill Education. ISBN 978-0-335-21923-0.
- Miller, Scott (2011). Sex, drugs, rock & roll, and musicals. Boston: Northeastern University Press. ISBN 978-1-55553-761-6.
- Peraino, Judith (2006). Listening to the sirens musical technologies of queer identity from Homer to Hedwig. Berkeley: University of California Press. ISBN 978-0-520-92174-0.
- Picart, Caroline (2003). Remaking the Frankenstein myth on film : between laughter and horror. Albany: State University of New York Press. ISBN 978-0-7914-5770-2.
- Piro, Sal; Hess, Michael (1991). The Official Rocky Horror Picture Show Audience Par-tic-i-pation Guide. London: Stabur Press. ISBN 0-941613-16-X.
- Samuels, Stuart (1983). Midnight Movies. New York: Collier Books. ISBN 0-02-081450-X.
- Sandys, Jon (2007). Movie Mistakes Take 5. London: Virgin Books. ISBN 978-0-7535-1113-8.
- Santino, Jack (1994). Halloween and other festivals of death and life. Knoxville: University of Tennessee Press. ISBN 978-0-87049-813-8.
- Smith, Justin (2010). Withnail and us cult films and film cults in British cinema. London New York: I.B. Tauris Distributed in the United States and Canada exclusively by Palgrave Macmillan. ISBN 978-0-85771-793-1.
- Stewart, Jim (2011). Folsom Street blues : a memoir of 1970s SoMa and leatherfolk in gay San Francisco. San Francisco, CA: Palm Drive Pub. ISBN 978-1-890834-03-6.
- Silvester, Delia (2013). Dance and Movement Sessions for Older People A Handbook for Activity Coordinators and Carers. City: Jessica Kingsley Publishers. ISBN 978-0-85700-846-6.
- Tucker, Betty (2004). Susan Sarandon : a true maverick. Tucson, Ariz: Hats Off. ISBN 978-1-58736-300-9.
- Ross, Sharon (2011). Beyond the Box Television and the Internet. Chicester: Wiley. ISBN 978-1-4443-5865-0.
External links
- The Rocky Horror Picture Show at IMDb
- The Rocky Horror Picture Show at Box Office Mojo
- The Rocky Horror Picture Show at Rotten Tomatoes
- The Rocky Horror Picture Show at Metacritic
- The Rocky Horror Picture Show official trailer at YouTube
- The Rocky Horror Picture Show official website