Samuel Zachary Arkoff (June 12 1918-September 16 2001) was an American producer of B-movies.

Born in Fort Dodge, Iowa to a Russian Jewish family, Arkoff first studied to be a lawyer. Along with business partner James H. Nicholson and producer-director Roger Corman, he produced eighteen films. In the 1950s, he and Nicholson founded American Releasing Corporation, which later became known as American International Pictures and produced over 125 films before the company's demise in the 1980s. These films were mostly low-budget, with production completed in a few days, though nearly all of them became profitable.

Arkoff is also credited with starting a few genres, such as the Beach Party and outlaw biker movies, and his company played a substantial part in bringing the horror movie genre to a novel level with successes such as Blacula, I Was a Teenage Werewolf and The Thing with Two Heads. American International Pictures movies starred many established actors in principal or cameo roles, such as Boris Karloff, Elsa Lanchester and Vincent Price, as well as up-and-comers who later became household names, including Don Johnson, Nick Nolte, Diane Ladd, and most notably Jack Nicholson (no relation to James Nicholson). A number of actors shunned or overlooked by most of Hollywood during the 1960s and 1970s, such as Bruce Dern and Dennis Hopper, also found work in one or more of Arkoff's productions. Arkoff's most financially successful film was the 1979 adaptation of Jay Anson's book The Amityville Horror.

Not long after American International Pictures went out of business, Arkoff founded Arkoff International Pictures.

In 2000, Arkoff was featured alongside former collaborators including Roger Corman, Dick Miller and Peter Bogdanovich in the documentary SCHLOCK! The Secret History of American Movies, a film about the rise and fall of American exploitation cinema.

Arkoff died in 2001, within weeks of his wife's own death.

By the early 1950's, Samuel Z. Arkoff was a brash 30-ish lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now-infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. As a shark, Arkoff was physically imposing and capable of scaring the snot out of anyone who opposed him. One of his penny ante clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year old movies, often under new titles conjured up by it's owner, Jack Broder. One such film, Man Made Monster (1941), had just been re-issued as The Atomic Monster, coincidentally the same title of Gordon's screenplay. Zarkoff, smelling blood in the water, paid Mr. Broder a visit and incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson was dumbfounded by Zarkoff's ability to extract a dime out of his congenitally tightfisted boss and proposed a partnership. American Releasing Corporation was founded in 1954 and their first release was a low-budget feature by 29-year old producer Roger Corman. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner. By 1955 the company was renamed American International Pictures, or simply AIP within the industry. Initially focusing on westerns on the premise that locations came cheap, and although profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats. By the mid-1950's, thanks to television, the audience numbers had dwindled considerably with the key demographic now teenagers and young adults, who craved horror movies and drive-ins. AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends. AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock'n'roll, from juvenile delinquency to Italian musclemen, and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than AIP's movies. Arkoff never tolerated egos and his films were more often than not, profitable, thanks to tight budgets and a sharp understanding of the target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures.