Likewise there are many Italian and Spanish directors from the 40s-70s who are either completely forgotten or kept out of the rotation when "classic" films get screened at the gatekeeper venues. Germi did get a retrospective series in the USA in the late 90s; another highly productive Italian director who quite probably paved the way for directors such as Kieslowski is Valerio Zurlini, whose small output (eight features and a handful of youthful shorts) is as varied and adventuresome as any of his more famous contemporaries. He also had a retrospective in the USA in 2001 but has received little if any followup since.
Ed Wood is the kind of American phenomenon that makes sense to a range of cinephiles who recognize the impoverishment of means that existed in America outside the Hollywood system and find a strangely endearing honesty about the low life realties as they existed at the time but were never visible in any other way to filmgoers. Whereas a filmmaker like Fred Sears was infinitely more competent, with an urge to explore the perverse, but ran up against the limitations of the studio system in the 50s even as it was visibly decaying. Theory: bad actors playing over their skill level is somehow more "in the moment" than mediocre actors not quite reaching the "edge" needed to make most 50s "B's" as subversive as we want them to be.