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In its original usage, during the Golden Age of Hollywood, the term more precisely identified films intended for distribution as the less-publicized bottom half of a double feature (akin to B-sides for recorded music). In its post-Golden Age usage, there is ambiguity on both sides of the definition: on the one hand, the primary interest of many inexpensive exploitation films is prurient; on the other, many B movies display a high degree of craft and aesthetic ingenuity.

In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s.

Some actors, such as Bela Lugosi, Eddie Constantine and Pam Grier, worked in B movies for most of their careers.

The term B actor is sometimes used to refer to a performer who finds work primarily or exclusively in B pictures.

The term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics.

Latter-day B movies still sometimes inspire multiple sequels, but series are less common.

With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film.

A new programming scheme developed that would soon become standard practice: a newsreel, a short and/or serial, and a cartoon, followed by a double feature.

The additional movie also gave the program "balance"—the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill.

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