Bronson Canyon - Partial List of Motion Pictures Filmed in Bronson Canyon

Partial List of Motion Pictures Filmed in Bronson Canyon

This list includes films with one or more scenes filmed in Bronson Canyon, including many serials filmed on location.

  • Lightning Bryce (1919)
  • Riders of the Purple Sage (1925)
  • The Lightning Warrior (1931)
  • Hurricane Express (1932)
  • I Am a Fugitive from a Chain Gang (1932)
  • White Zombie (1932)
  • The Three Musketeers (1933)
  • The Vampire Bat (1933)
  • Mystery Mountain (1934)
  • The Phantom Empire (1935)
  • Robinson Crusoe of Clipper Island (1936)
  • Zorro Rides Again (1937)
  • Dick Tracy Returns (1938)
  • Hawk of the Wilderness (1938)
  • The Lone Ranger Rides Again (1939)
  • The Adventures of Captain Marvel (1941)
  • Call of the Canyon (1942)
  • Leather Burners (1943)
  • Pirates of Monterey (1947)
  • Silver River (1948)
  • Atom Man vs. Superman (1949)
  • Jungle Jim: Mark of the Gorilla (1950)
  • The Magic Sword (1962)
  • Flame of Araby (1951)
  • Unknown World (1951)
  • Carson City (1952)
  • Robot Monster (1953)
  • Captain John Smith and Pocahontas (1953)
  • Killers from Space (1954)
  • The Day the World Ended (1955)
  • Invasion of the Body Snatchers (1956)
  • It Conquered the World (1956)
  • The Searchers (1956)
  • Men in War (1957)
  • Night of the Blood Beast (1957)
  • The Brain from Planet Arous (1957)
  • The Cyclops (1957)
  • Earth vs. the Spider (1958)
  • Monster from Green Hell (1958)
  • The Return of Dracula (1958)
  • Teenage Caveman (1958)
  • The Jayhawkers! (1959)
  • Invisible Invaders (1959)
  • Teenagers from Outer Space (1959)
  • The Cape Canaveral Monsters (1960)
  • Eegah (1962)
  • Invasion of the Star Creatures (1962)
  • Ride the High Country (1962)
  • The Gun Hawk (1963)
  • They Saved Hitler's Brain (Madmen of Mandoras) (1963)
  • The Human Duplicators (1965)
  • Batman: The Movie (1966)
  • Mondo Bizarro (1966)
  • Flaming Frontier (1968)
  • Head (1968)
  • The Mighty Gorga (1969)
  • Equinox (1970)
  • Octaman (1971)
  • Lost Horizon (1973)
  • Mrs. Sundance (1974)
  • Flesh Gordon (1974)
  • The Choirboys (1977)
  • Last Ride of the Dalton Gang (1979)
  • The Return (1980)
  • The Legend of the Lone Ranger (1981)
  • The Sword and the Sorcerer (1982)
  • The Evil That Men Do (1984)
  • Thrashin' (1986)
  • The Wizard of Speed and Time (1989)
  • Star Trek VI: The Undiscovered Country (1991)
  • The Roller Blade Seven (1991)
  • Army of Darkness (1992)
  • Guns of El Chupacabra (1997)
  • George of the Jungle (1997)
  • The End of Violence (1997)
  • The Lost Skeleton of Cadavra (2001)
  • Cabin Fever (2002)
  • Fangs (2002)
  • The Scorpion King (2002)
  • Return to the Batcave: The Misadventures of Adam and Burt (2003)
  • Tremors 4: The Legend Begins (2004)
  • Vampire Blvd. (2004)
  • Diabolical Tales (2007)
  • D-War (2007)
  • Princess of Mars (2009)
  • Mega Python vs. Gatoroid (2010)
  • Mega Shark vs. Crocosaurus (2010)

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    America is hard to see.
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    Modern tourist guides have helped raised tourist expectations. And they have provided the natives—from Kaiser Wilhelm down to the villagers of Chichacestenango—with a detailed and itemized list of what is expected of them and when. These are the up-to- date scripts for actors on the tourists’ stage.
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    As for pictures and museums, that don’t trouble me. The worst of going abroad is that you’ve always got to look at things of that sort. To have to do it at home would be beyond a joke.
    Margaret Oliphant (1828–1897)

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    In a world that holds books and babies and canyon trails, why should one condemn oneself to live day-in, day-out with people one does not like, and sell oneself to chaperone and correct them?
    Ruth Benedict (1887–1948)