second-tier director William Castle), each of which tried to bill itself as scarier than Psycho." Castle's first film in the Psycho vein was Homicidal (1961), an early step in the development of the slasher subgenre that would flourish in the late 1970s and early 1980s. It seemed the less money available for a horror film, the better the chances of being grossed out by it: Blood Feast (1963), a movie about human dismemberment and culinary preparation made for approximately $24,000 by experienced nudie-maker Herschell Gordon Lewis, established a new, more immediately successful subgenre, the gore or splatter film. Lewis's business partner David F. Friedman drummed up publicity by distributing vomit bags to theatergoers ("You May Need This When You See Blood Feast")—the sort of gimmick Castle had become renowned for in the 1950s—and arranging for an injunction against the film in Sarasota, Florida—the sort of problem exploitation films had long run up against, except Friedman had planned it. Lewis and Friedman's efforts typify the emerging sense of "exploitation": the progressive adoption of traditional exploitation and nudie elements into horror, into other classic B genres, and into the low-budget film industry as a whole. Despite Psychos impact and the growing popularity of horror, major Hollywood studios largely continued to disdain the genre, at least for their own production lines. Along with the output of "off-Hollywood" U.S. concerns like Lewis and Friedman's, distributors brought in more foreign movies to fill the demands of rural drive-ins, lower-end urban theaters, and outright grindhouses. Hammer Films' success with The Curse of Frankenstein (1957) and its remake of Dracula (1958) had established the studio as an important supplier of horror movies to the American B market, a positioned it maintained throughout the 1960s. In 1961, American International released a movie clearly influenced by Hammer's characteristically bold visual style and moody pace—Black Sunday was a dubbed horror import from Italy, where it had premiered the previous year as La maschera del demonio. It became the highest grossing film in AIP history. The movie's director was Mario Bava, who would launch the horror subgenre known as giallo with La ragazza che sapeva troppo (The Girl Who Knew Too Much; 1963) and Sei Donne per l’assassino (Blood and Black Lace; 1964). Many gialli, highly stylized films mixing sexploitation and ultraviolence, were picked up for U.S. B-market distribution and would prove influential on American horror films in turn, especially of