Periodicals
Boxoffice, 1951–1980.
Commonweal, 1951–1955, 1962–1963.
Daily Film Renter, 1955–1957.
Daily Variety, 1950–1997.
Film Daily, 1950–1964.
Hollywood Citizen News, 1951–1957.
Hollywood Reporter, 1949–1991.
Kinematograph Weekly, 1949–1957.
Los Angeles Daily News, 1949–1954.
Los Angeles Examiner, 1951–1962.
Los Angeles Herald Examiner, 1980–1981.
Los Angeles Times, 1950–1997.
Los Angeles Weekly, 1990–1997.
Monthly Film Bulletin, 1949–1984.
Motion Picture Herald, 1949–1963.
Movie, 1962–1970.
Newsweek, 1951–1955, 1980, 1984.
New Yorker, 1951–1954, 1991.
New York Times, 1949–1997.
Saturday Review, 1953–1963.
Scenario: The Magazine of Screenwriting Art, 1998.
Theatre Arts, 1952–1953.
Time, 1952–1962, 1980, 1994, 1997.
Variety, 1949–1997.
Village Voice, 1976–1997.
Books and Articles
Agabiti, Thomas. “Samuel Fuller’s Run of the Arrow and the Mythos of Romance: An Archetypical Analysis.” Film Reader 2 (January 1977): 96–110.
Bacher, Lutz. Max Ophuls in the Hollywood Studios. New Brunswick, N.J.: Rutgers University Press, 1996.
Balio, Tino, ed. The American Film Industry. Revised ed. Madison: University of Wisconsin Press, 1985.
———. The Grand Design: Hollywood as a Modern Business Enterprise. Berkeley: University of California Press, 1993.
———. United Artists: The Company That Changed the Film Industry. Madison: University of Wisconsin Press, 1985.
Basinger, Jeanine. The World War II Combat Film: Anatomy of a Genre. New York: Columbia University Press, 1986.
Belton, John. “Are You Waving the Flag at Me? Samuel Fuller and Politics.” Velvet Light Trap 4 (Spring 1972): 10–13.
Björkman, Stig, and Mark Shivas. “Samuel Fuller: Two Interviews.” Movie 17 (Winter 1969/1970): 25–29.
Bogdanovich, Peter. “B-Movies.” In Picture Shows. London: George Allen & Unwin, 1975.
Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985.
Browne, Nick, ed. Refiguring American Film Genres: Theory and History. Berkeley: University of California Press, 1998.
Canham, Kingsley, “Samuel Fuller’s Action Films.” Screen 10, no. 6 (November/December 1969): 80–101.
———. “The World of Samuel Fuller.” Film 55 (Summer 1969): 4–10.
Caughie, John, ed. Theories of Authorship: A Reader. London: Routledge, 1981.
Clark, Randall. At a Theater or Drive-In Near You: The History, Culture, and Politics of the Exploitation Film. New York: Garland Publishing, 1995.
Corman, Roger, with Jim Jerome. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: Da Capo Press, 1990.
Coursodon, Jean-Pierre, and Pierre Sauvage. American Directors: Volume II. New York: McGraw-Hill, 1983.
Crawley, Tony. “In War, as in Movies, There Are No Heroes. Only Survivors.” Films Illustrated 9, no. 107 (August 1980): 434.
Doherty, Thomas. Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s. Boston: Unwin Hyman, 1988.
Farber, Manny. “The Films of Sam Fuller and Don Siegel.” December 12, no. 1/2 (1970): 170–172.
Fuller, Samuel. “The Dog That Didn’t Bark.” The Guardian, 26 April 1984.
———. “Film Fiction: More Factual than Facts.” Projections 1 (1992): 131–132.
———. “News That’s Fit to Film.” American Film 1, no. 1 (October 1975): 20–24.
———. A Third Face: My Tale of Writing, Fighting, and Filmmaking. New York: Knopf, 2002.
———. “War That’s Fit to Shoot.” American Film 2, no. 2 (November 1976):58–62.
———. “What Is a Film?” Cinema 2, no. 2 (July 1964): 22–24.
Gardner, Gerald. The Censorship Papers: Movie Censorship Letters From the Hays Office, 1934 to 1968. New York: Dodd, Mead & Company, 1987.
Garnham, Nicholas. Samuel Fuller. New York: Viking, 1971.
Gehring, Wes D., ed. Handbook of American Film Genres. New York: Greenwood Press, 1988.
Gerstner, David A., and Janet Staiger, eds. Authorship and Film. New York: Routledge, 2003.
Goodman, Ezra. “Low Budget Movies with POW!” New York Times Magazine, 28 February 1965, 42–50.
Gordon, Marsha. “‘What Makes a Girl Who Looks Like That Get Mixed Up in Science?’: Gender in Sam Fuller’s Films of the 1950s.” Quarterly Review of Film and Video 17, no. 1 (2000): 1–17.
Grant, Barry Keith, ed. Film Genre Reader II. Austin: University of Texas Press, 1995.
Hardy, Phil. Samuel Fuller. New York: Praeger, 1970.
Hoberman, J. “American Abstract Sensationalism.” Artforum (January 1981): 42–49.
———. “Sam Fuller: Gate Crasher at the Auteur Limits.” Village Voice, 2 July 1980, 39.
Horton, Robert. “Sam’s Place.” Film Comment 32, no. 3 (May/June 1996): 4–9.
“Interview with Sam Fuller, An.” Framework 19 (1982): 26–28.
Jacobs, Lea. “The B Film and the Problem of Cultural Distinction.” Screen 33, no. 1 (Spring 1992): 1–13.
Jowett, Garth. Film: The Democratic Art. Boston: Little, Brown and Company, 1976.
Klinger, Barbara. Melodrama and Meaning. Bloomington: Indiana University Press, 1994.
Lev, Peter. Transforming the Screen: 1950–1959. Berkeley: University of California Press, 2003.
Macdonald, Dwight. “A Caste, a Culture, a Market.” New Yorker 34, no. 40 (22 November 1958): 57–95.
McCarthy, Todd, and Charles Flynn, eds. Kings of the Bs: Working Within the Hollywood System. New York: E. P. Dutton & Co., 1975.
McConnell, Frank. “Pickup on South Street and the Metamorphosis of the Thriller.” Film Heritage 8, no. 3 (Spring 1973): 9–18.
McGee, Mark Thomas. Fast and Furious: The Story of American International Pictures. Jefferson, N.C.: McFarland & Company, 1984.
Merritt, Russell, and Peter Lehman. “An Interview with Samuel Fuller.” Wide Angle 4, no. 1 (1980): 66–75.
Miller, Frank. Censored Hollywood: Sex, Sin, and Violence on Screen. Atlanta, Ga.: Turner Publishing, 1994.
Monder, Eric. “A Fuller View: An Interview with Sam Fuller.” Filmfax 49 (March/April 1995): 73–76.
Moullet, Luc. “Sam Fuller—Sur les brisées de Marlowe.” Cahiers du Cinéma 93 (March 1959): 11–19.
Neale, Steve. Genre and Hollywood. London: Routledge, 2000.
———. “Melo Talk: On the Meaning and Use of the Term ‘Melodrama’ in the American Trade Press.” The Velvet Light Trap 32 (Fall 1993): 66–89.
Okuda, Ted. Grand National, Producers Releasing Corporation, and Screen Guild/Lippert: Complete Filmographies and Studio Histories. Jefferson, N.C.: McFarland & Company, 1989.
Orgeron, Marsha. “Liberating Images? Samuel Fuller’s Film of Falkenau Concentration Camp.” Film Quarterly 60, no. 2 (Winter 2006/2007): 38–47.
Rhodes, Colin. Primitivism and Modern Art. London: Thames and Hudson, 1994.
Rosenbaum, Jonathan. “His Master’s Vice: Fuller’s White Dog.” In Placing Movies. Berkeley: University of California Press, 1995.
———. “Paris Journal.” Film Comment 8, no. 2 (Summer 1972): 2–4.
Routt, William D. “The Wild Old Men of the Movies.” American Film 1, no. 10 (September 1976): 54–59.
Ryan, Tom. “Sam Fuller: Survivor.” Cinema Papers 30 (December 1980/January 1981): 423–426, 498–500.
Salt, Barry. Film Style and Technology: History and Analysis. 2nd ed. London: Starword, 1992.
“Samuel Fuller.” Film Dope 18 (September 1979): 16–18.
“Samuel Fuller: Two Interviews.” Movie 17 (Winter 1969/1970): 25–31.
Sanjek, David. “‘Torment Street Between Malicious and Crude’: Sophisticated Primitivism in the Films of Samuel Fuller.” Literature/Film Quarterly 22, no. 3 (1994): 187–194.
Sarris, Andrew. The American Cinema: Directors and Directions, 1929–1968. Chicago: University of Chicago Press, 1968.
———. “Fuller Up.” Village Voice, 17 January 1984, 49.
Schaefer, Eric. Bold! Daring! Shocking! True!: A History of Exploitation Films, 1919–1959. Durham, N.C.: Duke University Press, 1999.
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: McGraw-Hill, 1981.
———. Boom and Bust: American Cinema in the 1940s. Berkeley: University of California Press, 1997.
Schickel, Richard. “Sam Fuller: Movie Bozo.” In Philip Lopate, ed. American Movie Critics: An Anthology From the Silents Until Now. New York: Library of America, 2006.
Selznick, Daniel. “An Old Pro on the Go Again.” New York Times Magazine, 4 May 1980, 48–49, 58–70, 74–78.
Server, Lee. Sam Fuller: Film Is a Battleground. Jefferson, N.C.: McFarland & Company, 1994.
Sherman, Eric, and Martin Rubin. The Director’s Event: Interviews with Five American Filmmakers. New York: Atheneum, 1970.
Silver, Alain, and James Ursini. What Ever Happened to Robert Aldrich? His Life and His Films. New York: Limelight Editions, 1995.
Simon, Adam. “Sam Fuller: Perfect Pitch.” Sight and Sound 8, no. 3 (March 1998): 18–22.
Singer, Ben. Melodrama and Modernity: Early Sensational Cinema and Its Contexts. New York: Columbia University Press, 2001.
Solomon, Aubrey. Twentieth Century–Fox: A Corporate and Financial History. Metuchen, N.J.: Scarecrow Press, 1988.
Thompson, Richard. “3X Sam: The Flavor of Ketchup.” Film Comment 13, no. 1 (January/February 1997): 25–31.
Turan, Kenneth. “Portrait of an Auteur.” New West, 11 August 1980.
Wexman, Virginia Wright, ed. Film and Authorship. New Brunswick, N.J.: Rutgers University Press, 2003.
Will, David, and Peter Wollen, eds. Samuel Fuller. Edinburgh: Edinburgh Film Festival, 1969.
Unpublished Materials and Manuscript Collections
Bernstein, Matthew. “Defiant Cooperation: Walter Wanger and Independent Production in Hollywood, 1934–1949.” Ph.D. dissertation, University of Wisconsin–Madison, 1987.
The Big Red One Collection, Warner Bros. Archives, University of Southern California, Los Angeles, California.
Core Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
Columbia Pictures Collection, Arts Library Special Collections, Young Research Library, University of California–Los Angeles, Los Angeles, California.
Jon Davison Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
Giglio, Ernest D. “The Decade of the Miracle, 1952–1962: A Study in the Censorship of the American Motion Picture.” Ph.D. dissertation, Syracuse University, 1965.
Hedda Hopper Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
James Wong Howe Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
Marta Fuller vs. Samuel Fuller. Superior Court of the State of California, County of Los Angeles.
Marty Weiser Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
Merrill’s Marauders Collection, Warner Bros. Archives, University of Southern California, Los Angeles, California.
Press Book Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
Production Code Administration Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.
RKO Pictures Collection, Arts Library Special Collections, Young Research Library, University of California–Los Angeles, Los Angeles, California.
Twentieth Century–Fox Collection, Arts Library Special Collections, Young Research Library, University of California–Los Angeles, Los Angeles, California.
Unrealized Scripts Collection, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, California.