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href="#Briskin_and_Berman"> <div class="vector-toc-text"> 2.4 Briskin and Berman </div> </a> <ul id="toc-Briskin_and_Berman-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Kane_and_Schaefer's_troubles" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Kane_and_Schaefer's_troubles"> <div class="vector-toc-text"> 2.5 Kane and Schaefer's troubles </div> </a> <ul id="toc-Kane_and_Schaefer's_troubles-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Rebound_under_Koerner" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Rebound_under_Koerner"> <div class="vector-toc-text"> 2.6 Rebound under Koerner </div> </a> <ul id="toc-Rebound_under_Koerner-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Focus_on_B_movies" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Focus_on_B_movies"> <div class="vector-toc-text"> 2.7 Focus on B movies </div> </a> <ul id="toc-Focus_on_B_movies-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-HUAC_and_Howard_Hughes" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#HUAC_and_Howard_Hughes"> <div class="vector-toc-text"> 2.8 HUAC and Howard Hughes </div> </a> <ul id="toc-HUAC_and_Howard_Hughes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Turmoil_under_Hughes" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Turmoil_under_Hughes"> <div class="vector-toc-text"> 2.9 Turmoil under Hughes </div> </a> <ul id="toc-Turmoil_under_Hughes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-General_Tire_and_demise" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#General_Tire_and_demise"> <div class="vector-toc-text"> 2.10 General Tire and demise </div> </a> <ul id="toc-General_Tire_and_demise-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Later_incarnations" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Later_incarnations"> <div class="vector-toc-text"> 3 Later incarnations </div> </a> <ul id="toc-Later_incarnations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Library" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Library"> <div class="vector-toc-text"> 4 Library </div> </a> <button aria-controls="toc-Library-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Library subsection </button> <ul id="toc-Library-sublist" class="vector-toc-list"> <li id="toc-European_rights" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#European_rights"> <div class="vector-toc-text"> 4.1 European rights </div> </a> <ul id="toc-European_rights-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Logos" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Logos"> <div class="vector-toc-text"> 5 Logos </div> </a> <ul id="toc-Logos-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 6 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 7 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 8 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> 9 Sources </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 10 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">RKO Pictures</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 40 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-40" aria-hidden="true" > 40 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%A2%D8%B1_%D9%83%D9%8A_%D8%A3%D9%88_%D8%A8%D9%8A%D9%83%D8%AA%D8%B4%D8%B1%D8%B2" title="آر كي أو بيكتشرز – Arabic" lang="ar" hreflang="ar" data-title="آر كي أو بيكتشرز" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Asturian" lang="ast" hreflang="ast" data-title="RKO Pictures" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Azerbaijani" lang="az" hreflang="az" data-title="RKO Pictures" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target">Azərbaycanca</a></li><li class="interlanguage-link interwiki-azb mw-list-item"><a href="https://azb.wikipedia.org/wiki/%D8%A2%D8%B1.%DA%A9.%D8%A6%D9%88" title="آر.ک.ئو – South Azerbaijani" lang="azb" hreflang="azb" data-title="آر.ک.ئو" data-language-autonym="تۆرکجه" data-language-local-name="South Azerbaijani" class="interlanguage-link-target">تۆرکجه</a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%86%E0%A6%B0%E0%A6%95%E0%A7%87%E0%A6%93_%E0%A6%AA%E0%A6%BF%E0%A6%95%E0%A6%9A%E0%A6%BE%E0%A6%B0%E0%A7%8D%E0%A6%B8" title="আরকেও পিকচার্স – Bangla" lang="bn" hreflang="bn" data-title="আরকেও পিকচার্স" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target">বাংলা</a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/RKO_Radio_Pictures" title="RKO Radio Pictures – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="RKO Radio Pictures" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target">Беларуская (тарашкевіца)</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Catalan" lang="ca" hreflang="ca" data-title="RKO Pictures" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Czech" lang="cs" hreflang="cs" data-title="RKO Pictures" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – German" lang="de" hreflang="de" data-title="RKO Pictures" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Estonian" lang="et" hreflang="et" data-title="RKO Pictures" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Greek" lang="el" hreflang="el" data-title="RKO Pictures" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Spanish" lang="es" hreflang="es" data-title="RKO Pictures" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Esperanto" lang="eo" hreflang="eo" data-title="RKO Pictures" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Basque" lang="eu" hreflang="eu" data-title="RKO Pictures" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%A2%D8%B1%DA%A9%DB%8C%E2%80%8C%D8%A7%D9%88_%D9%BE%DB%8C%DA%A9%DA%86%D8%B1%D8%B2" title="آرکی‌او پیکچرز – Persian" lang="fa" hreflang="fa" data-title="آرکی‌او پیکچرز" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – French" lang="fr" hreflang="fr" data-title="RKO Pictures" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Western Frisian" lang="fy" hreflang="fy" data-title="RKO Pictures" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target">Frysk</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/RKO_%ED%94%BD%EC%B2%98%EC%8A%A4" title="RKO 픽처스 – Korean" lang="ko" hreflang="ko" data-title="RKO 픽처스" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Italian" lang="it" hreflang="it" data-title="RKO Pictures" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/RKO" title="RKO – Hebrew" lang="he" hreflang="he" data-title="RKO" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Latvian" lang="lv" hreflang="lv" data-title="RKO Pictures" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Lithuanian" lang="lt" hreflang="lt" data-title="RKO Pictures" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Hungarian" lang="hu" hreflang="hu" data-title="RKO Pictures" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%A7%D8%B1_%D9%83%D9%89_%D8%A7%D9%88_%D9%BE%D9%8A%D9%83%D8%AA%D8%B4%D8%A7%D8%B1%D8%B2" title="ار كى او پيكتشارز – Egyptian Arabic" lang="arz" hreflang="arz" data-title="ار كى او پيكتشارز" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target">مصرى</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Malay" lang="ms" hreflang="ms" data-title="RKO Pictures" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Dutch" lang="nl" hreflang="nl" data-title="RKO Pictures" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/RKO" title="RKO – Japanese" lang="ja" hreflang="ja" data-title="RKO" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="RKO Pictures" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Polish" lang="pl" hreflang="pl" data-title="RKO Pictures" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Portuguese" lang="pt" hreflang="pt" data-title="RKO Pictures" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Romanian" lang="ro" hreflang="ro" data-title="RKO Pictures" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Russian" lang="ru" hreflang="ru" data-title="RKO Pictures" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Simple English" lang="en-simple" hreflang="en-simple" data-title="RKO Pictures" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%A6%D8%A7%DA%95_%DA%A9%DB%95%DB%8C_%D8%A6%DB%86_%D9%BE%DB%8C%DA%A9%DA%86%DB%95%D8%B1%D8%B2" title="ئاڕ کەی ئۆ پیکچەرز – Central Kurdish" lang="ckb" hreflang="ckb" data-title="ئاڕ کەی ئۆ پیکچەرز" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Finnish" lang="fi" hreflang="fi" data-title="RKO Pictures" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Swedish" lang="sv" hreflang="sv" data-title="RKO Pictures" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tg mw-list-item"><a href="https://tg.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Tajik" lang="tg" hreflang="tg" data-title="RKO Pictures" data-language-autonym="Тоҷикӣ" data-language-local-name="Tajik" class="interlanguage-link-target">Тоҷикӣ</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Turkish" lang="tr" hreflang="tr" data-title="RKO Pictures" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/RKO_Pictures" title="RKO Pictures – Ukrainian" lang="uk" hreflang="uk" data-title="RKO Pictures" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E9%9B%B7%E7%94%B5%E5%8D%8E%E7%94%B5%E5%BD%B1" title="雷电华电影 – Chinese" lang="zh" hreflang="zh" data-title="雷电华电影" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li> </ul> <div class="after-portlet after-portlet-lang"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q267282#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> 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class="mw-indicator"><div class="mw-parser-output"><a href="/wiki/Wikipedia:Featured_articles*" title="This is a featured article. Click here for more information."><img alt="Featured article" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/20px-Cscr-featured.svg.png" decoding="async" width="20" height="19" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/30px-Cscr-featured.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/40px-Cscr-featured.svg.png 2x" data-file-width="466" data-file-height="443" /></a></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Former American film and distribution company</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">"RKO" redirects here. For the filmography, see <a href="/wiki/List_of_RKO_Pictures_films" title="List of RKO Pictures films">List of RKO Pictures films</a>. For other uses, see <a href="/wiki/RKO_(disambiguation)" class="mw-disambig" title="RKO (disambiguation)">RKO (disambiguation)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><style data-mw-deduplicate="TemplateStyles:r1242257876">.mw-parser-output .ib-company .infobox-label{padding-right:0.5em}.mw-parser-output .ib-company .infobox-data,.mw-parser-output .ib-company .infobox-below{line-height:1.35em}.mw-parser-output .ib-company-logo img{background-color:#f8f9fa}.mw-parser-output .ib-company-locality,.mw-parser-output .ib-company-country{display:inline}</style><table class="infobox ib-company vcard"><caption class="infobox-title fn org" style="font-size: 125%;">RKO Radio Pictures Inc.</caption><tbody><tr><td colspan="2" class="infobox-image ib-company-logo logo"><a href="/wiki/File:RKO_Radio_Pictures_transmitter_ident.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d4/RKO_Radio_Pictures_transmitter_ident.jpg/220px-RKO_Radio_Pictures_transmitter_ident.jpg" decoding="async" width="220" height="166" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d4/RKO_Radio_Pictures_transmitter_ident.jpg/330px-RKO_Radio_Pictures_transmitter_ident.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d4/RKO_Radio_Pictures_transmitter_ident.jpg/440px-RKO_Radio_Pictures_transmitter_ident.jpg 2x" data-file-width="1432" data-file-height="1080" /></a><div class="infobox-caption"><a href="/wiki/Production_logo" title="Production logo">Opening logo</a></div></td></tr><tr><th scope="row" class="infobox-label">Company type</th><td class="infobox-data category"><a href="/wiki/Subsidiary" title="Subsidiary">Subsidiary</a></td></tr><tr><th scope="row" class="infobox-label">Industry</th><td class="infobox-data category"><a href="/wiki/Motion_picture" class="mw-redirect" title="Motion picture">Motion pictures</a></td></tr><tr><th scope="row" class="infobox-label">Predecessors</th><td class="infobox-data"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style><div class="plainlist"> <ul><li><a href="/wiki/Keith-Albee-Orpheum" title="Keith-Albee-Orpheum">Keith-Albee-Orpheum Corporation</a></li> <li><a href="/wiki/Film_Booking_Offices_of_America" title="Film Booking Offices of America">Film Booking Offices of America</a></li></ul> </div></td></tr><tr><th scope="row" class="infobox-label">Founded</th><td class="infobox-data">January 25, 1929; 96 years ago (1929-01-25) (as RKO Productions Inc.)</td></tr><tr><th scope="row" class="infobox-label">Founder</th><td class="infobox-data agent"><a href="/wiki/David_Sarnoff" title="David Sarnoff">David Sarnoff</a></td></tr><tr><th scope="row" class="infobox-label">Defunct</th><td class="infobox-data">1959; 66 years ago (1959)</td></tr><tr><th scope="row" class="infobox-label">Fate</th><td class="infobox-data">Dissolved</td></tr><tr><th scope="row" class="infobox-label">Headquarters</th><td class="infobox-data label">1270 <a href="/wiki/Avenue_of_the_Americas" class="mw-redirect" title="Avenue of the Americas">Avenue of the Americas</a>, <div class="ib-company-locality locality">New York City, New York</div></td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Parent_company" class="mw-redirect" title="Parent company">Parent</a></th><td class="infobox-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"><div class="plainlist"> <ul><li>Radio-Keith-Orpheum Corp. (1929–50)</li> <li>RKO Pictures Corp. (1950–55)</li> <li><a href="/wiki/RKO_General" title="RKO General">RKO Teleradio Pictures Inc.</a> (1955–59)</li></ul> </div></td></tr></tbody></table> RKO Radio Pictures Inc., commonly known as RKO Pictures or simply RKO, was an American film production and distribution company, one of the <a href="/wiki/Major_film_studios" title="Major film studios">"Big Five" film studios</a> of <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a>'s <a href="/wiki/Classical_Hollywood_cinema#1927–1960:_Sound_era_and_the_Golden_Age_of_Hollywood" title="Classical Hollywood cinema">Golden Age</a>. The business was formed after the <a href="/wiki/Keith-Albee-Orpheum" title="Keith-Albee-Orpheum">Keith-Albee-Orpheum</a> theater chain and <a href="/wiki/Joseph_P._Kennedy" class="mw-redirect" title="Joseph P. Kennedy">Joseph P. Kennedy's</a> <a href="/wiki/Film_Booking_Offices_of_America" title="Film Booking Offices of America">Film Booking Offices of America</a> studio were <a href="/wiki/Studio_system" title="Studio system">brought together</a> under the control of the <a href="/wiki/Radio_Corporation_of_America" class="mw-redirect" title="Radio Corporation of America">Radio Corporation of America</a> (RCA) in October 1928. RCA executive <a href="/wiki/David_Sarnoff" title="David Sarnoff">David Sarnoff</a> engineered the merger to create a market for the company's <a href="/wiki/Sound-on-film" title="Sound-on-film">sound-on-film</a> technology, <a href="/wiki/RCA_Photophone" title="RCA Photophone">RCA Photophone</a>, and in early 1929 production began under the RKO name (an initialism of Radio-Keith-Orpheum). Two years later, another Kennedy concern, the <a href="/wiki/Path%C3%A9_Exchange" title="Pathé Exchange">Pathé</a> studio, was folded into the operation. By the mid-1940s, RKO was controlled by investor <a href="/wiki/Floyd_Odlum" title="Floyd Odlum">Floyd Odlum</a>. RKO has long been renowned for its cycle of musicals starring <a href="/wiki/Fred_Astaire" title="Fred Astaire">Fred Astaire</a> and <a href="/wiki/Ginger_Rogers" title="Ginger Rogers">Ginger Rogers</a> in the mid- to late 1930s. Actors <a href="/wiki/Katharine_Hepburn" title="Katharine Hepburn">Katharine Hepburn</a> and, later, <a href="/wiki/Robert_Mitchum" title="Robert Mitchum">Robert Mitchum</a> had their first major successes at the studio. <a href="/wiki/Cary_Grant" title="Cary Grant">Cary Grant</a> was a mainstay for years, with credits including touchstones of the <a href="/wiki/Screwball_comedy" title="Screwball comedy">screwball comedy</a> genre with which RKO was identified. The work of producer <a href="/wiki/Val_Lewton" title="Val Lewton">Val Lewton</a>'s low-budget horror unit and RKO's many ventures into the field now known as <a href="/wiki/Film_noir" title="Film noir">film noir</a> have been acclaimed, largely after the fact, by film critics and historians. The studio produced two of the most famous films in motion picture history: <a href="/wiki/King_Kong_(1933_film)" title="King Kong (1933 film)">King Kong</a> and producer/director/star <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a>'s <a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a>. RKO was also responsible for notable coproductions such as <a href="/wiki/It%27s_a_Wonderful_Life" title="It's a Wonderful Life">It's a Wonderful Life</a> and <a href="/wiki/Notorious_(1946_film)" title="Notorious (1946 film)">Notorious</a>, and it distributed many celebrated films by animation pioneer <a href="/wiki/Walt_Disney" title="Walt Disney">Walt Disney</a> and leading independent producer <a href="/wiki/Samuel_Goldwyn_Productions" title="Samuel Goldwyn Productions">Samuel Goldwyn</a>. Though it often could not compete financially for top star and director contracts, RKO's <a href="/wiki/Below-the-line_(filmmaking)" title="Below-the-line (filmmaking)">below-the-line</a> personnel were among the finest, including composer <a href="/wiki/Max_Steiner" title="Max Steiner">Max Steiner</a>, cinematographer <a href="/wiki/Nicholas_Musuraca" title="Nicholas Musuraca">Nicholas Musuraca</a>, and designer <a href="/wiki/Van_Nest_Polglase" title="Van Nest Polglase">Van Nest Polglase</a>. Maverick industrialist <a href="/wiki/Howard_Hughes" title="Howard Hughes">Howard Hughes</a> took over RKO in 1948. After years of disarray and decline under his control, the studio was acquired by the <a href="/wiki/General_Tire_and_Rubber_Company" class="mw-redirect" title="General Tire and Rubber Company">General Tire and Rubber Company</a> in 1955. It soon broke new business ground as the first major studio to sell the bulk of its film library's TV rights. The original RKO Pictures ceased production in 1957 and was effectively dissolved two years later. In 1978, broadcaster <a href="/wiki/RKO_General" title="RKO General">RKO General</a>, the corporate heir, launched a production subsidiary, RKO Pictures Inc., which revived the theatrical brand with its first releases three years later. In 1989, this business, with its remaining assets, including the studio <a href="/wiki/Trademark" title="Trademark">trademarks</a> and the <a href="/wiki/Remake" title="Remake">remake</a> rights to many classic RKO films, was sold to new owners, who established the small independent company RKO Pictures LLC. The original studio's film library is now largely controlled by <a href="/wiki/Warner_Bros._Discovery" title="Warner Bros. Discovery">Warner Bros. Discovery</a>. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Origin">Origin</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=1" title="Edit section: Origin">edit</a>]</div> In October 1927, <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> released <a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a>, the first feature-length talking picture. Its success prompted <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a> to convert from silent to <a href="/wiki/Sound_film" title="Sound film">sound film</a> production en masse. The <a href="/wiki/Radio_Corporation_of_America" class="mw-redirect" title="Radio Corporation of America">Radio Corporation of America</a> (RCA) controlled an advanced optical <a href="/wiki/Sound-on-film" title="Sound-on-film">sound-on-film</a> system, <a href="/wiki/RCA_Photophone" title="RCA Photophone">Photophone</a>, recently developed by <a href="/wiki/General_Electric" title="General Electric">General Electric</a>, RCA's parent company. Its path to joining the anticipated boom in sound movies had a major hurdle: Warner Bros. and <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">Fox</a>, Hollywood's other vanguard sound studio, were already financially and technologically aligned with ERPI, a subsidiary of <a href="/wiki/AT%26T_(1885-2005)" class="mw-redirect" title="AT&T (1885-2005)">AT&T</a>'s <a href="/wiki/Western_Electric" title="Western Electric">Western Electric</a> division. The industry's two largest companies, <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount</a> and <a href="/wiki/Loews_Cineplex_Entertainment" title="Loews Cineplex Entertainment">Loew's</a>/<a href="/wiki/MGM" class="mw-redirect" title="MGM">MGM</a>, along with <a href="/wiki/First_National_Pictures" title="First National Pictures">First National Pictures</a>—third of the silent era "Big Three" <a href="/wiki/Major_film_studio" class="mw-redirect" title="Major film studio">major studios</a>, but by then in marked decline—and <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Pictures</a>, were poised to contract with ERPI and its <a href="/wiki/Vitaphone" title="Vitaphone">Vitaphone</a> and <a href="/wiki/Movietone_sound_system" title="Movietone sound system">Movietone</a> systems for sound conversion as well.<a href="#cite_note-1">[1]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:David_Sarnoff_by_Samuel_Johnson_Woolf,_1929,_charcoal_and_chalk_on_paper,_from_the_National_Portrait_Gallery_as_a_gift_of_Time_magazine_-_NPG-NPG_78_TC724Sarnoff-000001.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d5/David_Sarnoff_by_Samuel_Johnson_Woolf%2C_1929%2C_charcoal_and_chalk_on_paper%2C_from_the_National_Portrait_Gallery_as_a_gift_of_Time_magazine_-_NPG-NPG_78_TC724Sarnoff-000001.jpg/170px-thumbnail.jpg" decoding="async" width="170" height="212" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d5/David_Sarnoff_by_Samuel_Johnson_Woolf%2C_1929%2C_charcoal_and_chalk_on_paper%2C_from_the_National_Portrait_Gallery_as_a_gift_of_Time_magazine_-_NPG-NPG_78_TC724Sarnoff-000001.jpg/255px-thumbnail.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d5/David_Sarnoff_by_Samuel_Johnson_Woolf%2C_1929%2C_charcoal_and_chalk_on_paper%2C_from_the_National_Portrait_Gallery_as_a_gift_of_Time_magazine_-_NPG-NPG_78_TC724Sarnoff-000001.jpg/340px-thumbnail.jpg 2x" data-file-width="5953" data-file-height="7429" /></a><figcaption>David Sarnoff (1929), by Samuel Johnson Woolf, <a href="/wiki/National_Portrait_Gallery_(United_States)" title="National Portrait Gallery (United States)">National Portrait Gallery</a></figcaption></figure> Seeking a customer for Photophone, then general manager of RCA <a href="/wiki/David_Sarnoff" title="David Sarnoff">David Sarnoff</a> approached financier <a href="/wiki/Joseph_P._Kennedy" class="mw-redirect" title="Joseph P. Kennedy">Joseph P. Kennedy</a> in late 1927 about using the system for his <a href="/wiki/Film_Booking_Offices_of_America" title="Film Booking Offices of America">Film Booking Offices of America</a> (FBO). A Kennedy-led investment group had acquired the modest-sized, low-budget-focused studio the previous year, and he had turned it into a steady profit maker. Negotiations resulted in RCA acquiring a substantial interest in FBO; Sarnoff had apparently already conceived of a plan for the studio to attain a central position in the film industry, maximizing Photophone revenue. Next was securing a string of exhibition venues like those the leading Hollywood production companies owned. Kennedy began investigating the possibility of such a purchase.<a href="#cite_note-2">[2]</a> At that same time, the allied Keith-Albee and Orpheum theater circuits, built around the then fading medium of live <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a>, were pursuing a transition into the movie business. In 1926 the exhibitors had acquired a 50 percent stake in the holding company of <a href="/wiki/Producers_Distributing_Corporation" title="Producers Distributing Corporation">Producers Distributing Corporation</a> (PDC), a smaller studio than FBO but more prestigious. Famed director <a href="/wiki/Cecil_B._De_Mille" class="mw-redirect" title="Cecil B. De Mille">Cecil B. De Mille</a>—PDC studio chief and owner of its <a href="/wiki/Culver_City,_California" title="Culver City, California">Culver City</a> production facility—had been draining the company's resources for his well-appointed productions, and it had been finding little success in getting its films into <a href="/wiki/First_run_(filmmaking)" title="First run (filmmaking)">first-run theaters</a>, which were largely tied up by the majors. In early 1927, despite months of DeMille's strenuous objections, an agreement was reached to merge PDC into <a href="/wiki/Path%C3%A9_Exchange" title="Pathé Exchange">Pathé</a>, a lower-level studio known for its <a href="/wiki/Newsreel" title="Newsreel">newsreel</a> and churn out of cheap <a href="/wiki/Short_film" title="Short film">shorts</a>. Investment banker <a href="/wiki/Elisha_Walker" title="Elisha Walker">Elisha Walker</a>, whose Blair & Co. firm owned the controlling interest in Pathé, brought on Keith-Albee general manager John J. Murdock as studio president. In January 1928, a less tense merger, engineered by Murdock, was finalized, establishing the <a href="/wiki/Keith-Albee-Orpheum" title="Keith-Albee-Orpheum">Keith-Albee-Orpheum</a> (KAO) theater chain. With Pathé's finances in a ditch, Murdock, at Walker's prodding, turned to Kennedy for help in reorganizing the studio and consolidating it with PDC. The two men found that they had mutual interests, in particular, removing <a href="/wiki/E._F._Albee" title="E. F. Albee">Edward Albee</a>, the "Czar of Vaudeville" and Murdock's nominal boss, from the picture. Sarnoff's vision of a new big-league studio was coming into focus—and both Kennedy and Walker had similar notions.<a href="#cite_note-Start-3">[3]</a><style data-mw-deduplicate="TemplateStyles:r1041539562">.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}</style><a href="#endnote_Anone">[a]</a> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:RadioKeithOrpheum.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/2/22/RadioKeithOrpheum.jpg/175px-RadioKeithOrpheum.jpg" decoding="async" width="175" height="137" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/2/22/RadioKeithOrpheum.jpg/263px-RadioKeithOrpheum.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/2/22/RadioKeithOrpheum.jpg 2x" data-file-width="325" data-file-height="254" /></a><figcaption>Radio-Keith-Orpheum logo, 1929</figcaption></figure> Assisted by Murdock and with Blair & Co.'s backing, Kennedy quickly maneuvered to interlock KAO and FBO, selling the exhibitor a substantial stake in his studio while buying up copious amounts of KAO stock. Within months, he had installed himself as chairman of the theater chain's new board of directors. When Albee, still KAO president, visited his office, Kennedy reportedly asked, "Didn't you know, Ed? You're washed up. You're through." DeMille departed with a large payout in April and later in the year signed a three-picture deal with MGM. Sarnoff and Kennedy began talks about setting up a holding company funded by RCA cash and KAO securities, but plans stalled as Sarnoff grew frustrated with Kennedy's reluctance to pay for the Photophone work proceeding, if slowly, at FBO and Pathé. An attempt by Kennedy to reorganize yet another studio that had turned to him for help, now ERPI-aligned First National, further strained his relationship with Sarnoff and raised the threat that Photophone would be locked out of the industry entirely. Though Kennedy's deal with First National collapsed within weeks, the RCA executive saw that it was time to make his move.<a href="#cite_note-4">[4]</a> In September, while Kennedy was traveling in Europe, Sarnoff began negotiations with Walker, whose firm was now heavily invested in KAO, to merge the exhibition circuit with Film Booking Offices under RCA control. Soon after Kennedy's return at the end of the month, he closed the deal, arranging to sell off his FBO and KAO shares, options, and convertibles at enormous profit. On October 23, 1928, RCA announced the creation of the Radio-Keith-Orpheum Corp. holding company, with Sarnoff as board chairman. The new administration made clear that Kennedy's services were no longer needed and he stepped down from his board and executive positions in the merged businesses, leaving him with co-ownership and management of Pathé and the PDC assets that it had absorbed.<a href="#cite_note-5">[5]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Bnone">[b]</a> RCA owned the governing stock interest in RKO, 22 percent (in the early 1930s, its stake rose as high as 60 percent).<a href="#cite_note-Crafton_1997,_p._210-6">[6]</a> On January 25, 1929, the new company's production arm, presided over by former FBO vice-president Joseph I. Schnitzer, was unveiled as RKO Productions Inc.<a href="#cite_note-7">[7]</a> A week later, it filed for the trademark "Radio Pictures".<a href="#cite_note-8">[8]</a> <div class="mw-heading mw-heading2"><h2 id="Golden_Age_studio">Golden Age studio</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=2" title="Edit section: Golden Age studio">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Early_years">Early years</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=3" title="Edit section: Early years">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:RioRitaPoster.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fd/RioRitaPoster.jpg/190px-RioRitaPoster.jpg" decoding="async" width="190" height="285" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fd/RioRitaPoster.jpg/285px-RioRitaPoster.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fd/RioRitaPoster.jpg/380px-RioRitaPoster.jpg 2x" data-file-width="864" data-file-height="1298" /></a><figcaption><a href="/wiki/Rio_Rita_(1929_film)" title="Rio Rita (1929 film)">Rio Rita</a> (1929), first smash hit for RKO (then releasing films under the "Radio Pictures" banner)</figcaption></figure> While the main FBO studio in Hollywood was refitted for sound, production of shorts began in New York at the RKO Gramercy studio Sarnoff had just opened.<a href="#cite_note-9">[9]</a> RCA's radio network, <a href="/wiki/NBC" title="NBC">NBC</a>, began broadcasting a weekly <a href="/wiki/Variety_show" title="Variety show">variety show</a>, The RKO Hour, that became a prime promotional vehicle for the studio's films.<a href="#cite_note-10">[10]</a> The first two features released by the new company were musicals: The melodramatic <a href="/wiki/Syncopation_(1929_film)" title="Syncopation (1929 film)">Syncopation</a>, which actually completed shooting before FBO was reincorporated as RKO, premiered on March 29, 1929.<a href="#cite_note-11">[11]</a> The comedic <a href="/wiki/Street_Girl" title="Street Girl">Street Girl</a> debuted July 30. This was billed as RKO's first "official" production and its first to be shot in Hollywood.<a href="#cite_note-12">[12]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Cnone">[c]</a> As with many early RKO films, the producer was studio chief <a href="/wiki/William_LeBaron" title="William LeBaron">William LeBaron</a>, who had held the same position at FBO.<a href="#cite_note-13">[13]</a> A few nonsinging pictures followed, but RKO's first major hit was again a musical. The studio spent heavily on the lavish <a href="/wiki/Rio_Rita_(1929_film)" title="Rio Rita (1929 film)">Rio Rita</a>, including a number of <a href="/wiki/Technicolor" title="Technicolor">Technicolor</a> sequences. Opening in September to rave reviews, it was named one of the ten best pictures of the year by Film Daily.<a href="#cite_note-14">[14]</a> Cinema historian Richard Barrios credits it with initiating the "first age of the filmed Broadway musical".<a href="#cite_note-15">[15]</a> By the end of the year, RKO was making use of an additional production facility—five hundred acres had been acquired near <a href="/wiki/Encino,_Los_Angeles" title="Encino, Los Angeles">Encino</a> in the <a href="/wiki/San_Fernando_Valley" title="San Fernando Valley">San Fernando Valley</a> as a <a href="/wiki/Movie_ranch" title="Movie ranch">movie ranch</a> for exteriors and large-scale standing sets.<a href="#cite_note-16">[16]</a> With RKO Productions' films handled by sibling subsidiary RKO Distributing Corp., the studio released a limited slate of twelve features in its first year; in 1930, the figure more than doubled to twenty-nine.<a href="#cite_note-17">[17]</a> That July, RKO Productions Inc. was renamed RKO Radio Pictures Inc.<a href="#cite_note-18">[18]</a> RKO Pictures Ltd. was set up to handle British distribution.<a href="#cite_note-19">[19]</a> Encouraged by Rio Rita's success, RKO produced several costly musicals incorporating Technicolor sequences, among them <a href="/wiki/Dixiana_(film)" title="Dixiana (film)">Dixiana</a> and <a href="/wiki/Hit_the_Deck_(1930_film)" title="Hit the Deck (1930 film)">Hit the Deck</a>, both scripted and directed, like Rio Rita, by <a href="/wiki/Luther_Reed" title="Luther Reed">Luther Reed</a>.<a href="#cite_note-20">[20]</a> Following the example of the other major studios, RKO had planned to create its own musical <a href="/wiki/Revue" title="Revue">revue</a>, Radio Revels. Promoted as the studio's most extravagant production to date, it was to be photographed entirely in Technicolor.<a href="#cite_note-21">[21]</a> The project was abandoned, as the public's taste for musicals temporarily subsided. From more than sixty Hollywood musicals in 1929 and over eighty the following year, the number dropped to eleven in 1931.<a href="#cite_note-22">[22]</a> Rio Rita star <a href="/wiki/Bebe_Daniels" title="Bebe Daniels">Bebe Daniels</a>, who had joined the new studio as its top female name after the final months of her contract at Paramount were bought out, fell victim to the shifting market. Her big musical follow-up, Dixiana, had been a big money loser, and in January 1931 her contract was sold to Warner Bros.<a href="#cite_note-23">[23]</a> RKO, meanwhile, was in a contractual bind that it could not get out of: it was committed to producing two more features with Technicolor's system, even as audiences had come to associate color with the momentarily out-of-favor musical genre. Fulfilling its obligations, RKO produced two all-Technicolor pictures, <a href="/wiki/The_Runaround_(1931_film)" title="The Runaround (1931 film)">The Runaround</a> and <a href="/wiki/Fanny_Foley_Herself" title="Fanny Foley Herself">Fanny Foley Herself</a> (both 1931), containing no musical sequences. Neither was a success.<a href="#cite_note-24">[24]</a> Despite these issues—and the foundering US economy—RKO had gone on a spending spree, buying up theater after theater to add to its exhibition chain. In October 1930, the company purchased a 50 percent stake in the New York <a href="/wiki/Van_Beuren_Studios" class="mw-redirect" title="Van Beuren Studios">Van Beuren</a> studio, which specialized in cartoons and live shorts.<a href="#cite_note-25">[25]</a> Looking to get out of the film business, Kennedy arranged for RKO to purchase Pathé, in a deal that protected his associates' bond investments while it crushed many small stockholders who had bought in at artificially high prices. (Indeed, Kennedy, who had previously sold all of his Pathé holdings, started buying back bonds, which he turned around for substantial gains.) The deal was secured on January 29, 1931, and the studio, with its contract players, well-regarded newsreel operation, and DeMille's old <a href="/wiki/Culver_Studios" title="Culver Studios">Culver City studio and backlot</a>, became the semiautonomous RKO Pathé Pictures Inc.<a href="#cite_note-26">[26]</a> The acquisition, though a defensible investment in the long term for Pathé's physical facilities, was yet another major expense borne by the fledgling RKO, particularly as the reliably avaricious Kennedy had masked Pathé's considerable financial woes, just as he had with FBO and KAO.<a href="#cite_note-27">[27]</a> There was an undeniable plus side to the merger: when Pathé's <a href="/wiki/Constance_Bennett" title="Constance Bennett">Constance Bennett</a>, <a href="/wiki/Ann_Harding" title="Ann Harding">Ann Harding</a>, and <a href="/wiki/Helen_Twelvetrees" title="Helen Twelvetrees">Helen Twelvetrees</a> joined the Radio family in early 1931, they were bigger box office draws than anyone on the RKO roster.<a href="#cite_note-28">[28]</a> The studio's production schedule surpassed forty features a year, released under the names "Radio Pictures" and, until late 1932, "RKO Pathé".<a href="#cite_note-29">[29]</a> <a href="/wiki/Cimarron_(1931_film)" title="Cimarron (1931 film)">Cimarron</a> (1931) became the only RKO production to win the <a href="/wiki/Academy_Award_for_Best_Picture" title="Academy Award for Best Picture">Academy Award for Best Picture</a>; it cost a profligate $1.4 million, however, and lost nearly half that on its first release.<a href="#cite_note-30">[30]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Dnone">[d]</a> Cimmaron's female principal, <a href="/wiki/Irene_Dunne" title="Irene Dunne">Irene Dunne</a>, was the studio's one major homegrown star of this early <a href="/wiki/Pre-Code_Hollywood" title="Pre-Code Hollywood">pre-Code</a> era; having made her screen debut as the lead in the 1930 musical <a href="/wiki/Leathernecking" title="Leathernecking">Leathernecking</a>, she would headline at the studio for the entire decade, under contracts that gave her an unusual amount of power.<a href="#cite_note-31">[31]</a> Other significant actors of the period included <a href="/wiki/Joel_McCrea" title="Joel McCrea">Joel McCrea</a>, <a href="/wiki/Ricardo_Cortez" title="Ricardo Cortez">Ricardo Cortez</a>, <a href="/wiki/Dolores_del_R%C3%ADo" title="Dolores del Río">Dolores del Río</a>, and <a href="/wiki/Mary_Astor" title="Mary Astor">Mary Astor</a>. <a href="/wiki/Richard_Dix_(actor)" class="mw-redirect" title="Richard Dix (actor)">Richard Dix</a>, <a href="/wiki/Academy_Award_for_Best_Actor" title="Academy Award for Best Actor">Oscar-nominated</a> for his performance in Cimarron, would serve as RKO's standby <a href="/wiki/B-movie" class="mw-redirect" title="B-movie">B-movie</a> leading man until the early 1940s,<a href="#cite_note-32">[32]</a> while <a href="/wiki/Tom_Keene_(actor)" title="Tom Keene (actor)">Tom Keene</a> was top-billed in twelve low-budget <a href="/wiki/Western_(genre)" title="Western (genre)">Westerns</a> between 1931 and 1933.<a href="#cite_note-33">[33]</a> The comedy team of <a href="/wiki/Wheeler_%26_Woolsey" title="Wheeler & Woolsey">Bert Wheeler and Robert Woolsey</a>, often wrangling over ingenue <a href="/wiki/Dorothy_Lee_(actress)" title="Dorothy Lee (actress)">Dorothy Lee</a>, was a bankable constant for almost a decade.<a href="#cite_note-34">[34]</a> <div class="mw-heading mw-heading3"><h3 id="Success_under_Selznick">Success under Selznick</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=4" title="Edit section: Success under Selznick">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Kingkongposter.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Kingkongposter.jpg/170px-Kingkongposter.jpg" decoding="async" width="170" height="349" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Kingkongposter.jpg/255px-Kingkongposter.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Kingkongposter.jpg/340px-Kingkongposter.jpg 2x" data-file-width="843" data-file-height="1731" /></a><figcaption><a href="/wiki/King_Kong_(1933_film)" title="King Kong (1933 film)">King Kong</a> (1933), one of Hollywood's great spectacles</figcaption></figure> Exceptions like Cimarron and Rio Rita aside, RKO's product was largely regarded as mediocre, so in October 1931 Sarnoff hired twenty-nine-year-old <a href="/wiki/David_O._Selznick" title="David O. Selznick">David O. Selznick</a> to replace LeBaron as production chief.<a href="#cite_note-35">[35]</a> In addition to implementing rigorous cost-control measures, Selznick championed the unit production system, which gave the <a href="/wiki/Film_producer" title="Film producer">producers</a> of individual movies much greater independence than they had under the prevailing central producer system. "Under the factory system of production you rob the director of his individualism", said Selznick, "and this being a creative industry that is harmful to the quality of the product made."<a href="#cite_note-Bord321-36">[36]</a> Instituting unit production, he predicted, would also result in cost savings of 30–40 percent.<a href="#cite_note-Bord321-36">[36]</a> To make films under the new system, Selznick recruited prize behind-the-camera personnel, such as <a href="/wiki/Film_director" title="Film director">director</a> <a href="/wiki/George_Cukor" title="George Cukor">George Cukor</a> and producer/director <a href="/wiki/Merian_C._Cooper" title="Merian C. Cooper">Merian C. Cooper</a>, and gave producer <a href="/wiki/Pandro_S._Berman" title="Pandro S. Berman">Pandro S. Berman</a>, aged twenty-six, increasingly important projects.<a href="#cite_note-37">[37]</a> Selznick discovered and signed a young actress who would quickly become one of the studio's big stars, <a href="/wiki/Katharine_Hepburn" title="Katharine Hepburn">Katharine Hepburn</a>. <a href="/wiki/John_Barrymore" title="John Barrymore">John Barrymore</a> was also enlisted for a few memorable performances.<a href="#cite_note-38">[38]</a> In November 1931, just as Selznick was assuming his new post, the separate Pathé distribution network was folded into RKO's. After less than a year of largely independent operation out of Culver City, the Pathé feature film division soon followed (due to exhibition contracts, features from the division continued to come out under the combined brand until the following November). RKO Pathé was now effectively the studio's newsreel-and-shorts subsidiary.<a href="#cite_note-39">[39]</a> In January 1932, Variety named Constance Bennett as one of the industry's top six female "money stars".<a href="#cite_note-40">[40]</a> From September, the start of the industry's exhibition season, print advertising for the company's features displayed the revised name "RKO Radio Pictures".<a href="#cite_note-41">[41]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Enone">[e]</a> The New York City–based corporate headquarters moved into the new <a href="/wiki/RKO_Building" class="mw-redirect" title="RKO Building">RKO Building</a>, an <a href="/wiki/Art_Deco" title="Art Deco">Art Deco</a> skyscraper that was one of the first <a href="/wiki/Rockefeller_Center" title="Rockefeller Center">Rockefeller Center</a> structures to open.<a href="#cite_note-42">[42]</a> Hollywood on the Air, an RKO-produced program for NBC radio that promoted films from multiple studios, sparked independent exhibitors' ire at the free access to cinema stars it gave listeners—especially in the middle of prime moviegoing Friday night. Toward the end of 1932, all of the Hollywood studios except for RKO seemingly bowed to the theater owners and prohibited radio appearances by their contract actors. The ban soon crumbled.<a href="#cite_note-43">[43]</a> Selznick spent a mere fifteen months as RKO production chief, resigning over a dispute with new corporate president Merlin Aylesworth concerning creative control.<a href="#cite_note-44">[44]</a> One of his last acts at RKO was to approve a <a href="/wiki/Screen_test" title="Screen test">screen test</a> for a thirty-three-year-old, balding <a href="/wiki/Broadway_theatre" title="Broadway theatre">Broadway</a> song-and-dance man named <a href="/wiki/Fred_Astaire" title="Fred Astaire">Fred Astaire</a>.<a href="#cite_note-45">[45]</a> In a memo, Selznick wrote, "I feel, in spite of his enormous ears and bad chin line, that his charm is ... tremendous".<a href="#cite_note-46">[46]</a> Selznick's tenure was widely considered masterful: In 1931, before he arrived, the studio had produced forty-two features for $16 million in total budgets. In 1932, under Selznick, forty-one features were made for $10.2 million, with clear improvement in quality and popularity.<a href="#cite_note-47">[47]</a> He backed several major successes, including <a href="/wiki/A_Bill_of_Divorcement_(1932_film)" title="A Bill of Divorcement (1932 film)">A Bill of Divorcement</a> (1932), with Cukor directing Hepburn's debut, and the monumental <a href="/wiki/King_Kong_(1933_film)" title="King Kong (1933 film)">King Kong</a> (1933)—largely Merian Cooper's brainchild, brought to life by the astonishing <a href="/wiki/Special_effects" class="mw-redirect" title="Special effects">special effects</a> work of <a href="/wiki/Willis_O%27Brien" class="mw-redirect" title="Willis O'Brien">Willis O'Brien</a>.<a href="#cite_note-48">[48]</a> Still, the shaky finances and excesses that marked the company's pre-Selznick days had not left RKO in shape to withstand the <a href="/wiki/Great_Depression" title="Great Depression">Depression</a>. Most of the other major studios were in similar straits. In January 1933, both RKO and Paramount were forced into <a href="/wiki/Receivership" title="Receivership">receivership</a>, from which the latter would emerge in mid-1935; RKO would not until 1940.<a href="#cite_note-49">[49]</a> <div class="mw-heading mw-heading3"><h3 id="Cooper_at_the_helm">Cooper at the helm</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=5" title="Edit section: Cooper at the helm">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Top_Hat_(1935).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/Top_Hat_%281935%29.jpg/190px-Top_Hat_%281935%29.jpg" decoding="async" width="190" height="288" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/Top_Hat_%281935%29.jpg/285px-Top_Hat_%281935%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/23/Top_Hat_%281935%29.jpg/380px-Top_Hat_%281935%29.jpg 2x" data-file-width="1768" data-file-height="2679" /></a><figcaption><a href="/wiki/Fred_Astaire" title="Fred Astaire">Fred Astaire</a> and <a href="/wiki/Ginger_Rogers" title="Ginger Rogers">Ginger Rogers</a> made the annual list of top ten box office stars from 1935 to 1937.<a href="#cite_note-50">[50]</a> <a href="/wiki/Top_Hat" title="Top Hat">Top Hat</a> (1935) was the third of the eight RKO films featuring the duo as co-leads.</figcaption></figure> Cooper took over as production head after Selznick's departure and oversaw two hits starring Hepburn: <a href="/wiki/Morning_Glory_(1933_film)" title="Morning Glory (1933 film)">Morning Glory</a> (1933), for which she won her <a href="/wiki/Academy_Award_for_Best_Actress" title="Academy Award for Best Actress">first Oscar</a>, and <a href="/wiki/Little_Women_(1933_film)" title="Little Women (1933 film)">Little Women</a> (1933), director Cukor's second collaboration with the actress.<a href="#cite_note-51">[51]</a> Among the studio's in-house productions, the latter was the biggest box-office success of the decade.<a href="#cite_note-F219-52">[52]</a> Cooper sought to more tightly align costs and prospective grosses, impacting the budgets for "<a href="/wiki/B_movies_(Hollywood_Golden_Age)#Rise_of_the_double_feature:_1930s" title="B movies (Hollywood Golden Age)">programmers</a>" such as the Wheeler and Woolsey comedies: under Selznick, <a href="/wiki/Hold_%27Em_Jail" title="Hold 'Em Jail">Hold 'Em Jail</a> and <a href="/wiki/Girl_Crazy_(1932_film)" title="Girl Crazy (1932 film)">Girl Crazy</a> (both 1932) had cost an average of $470,000; under Cooper, <a href="/wiki/Diplomaniacs" title="Diplomaniacs">Diplomaniacs</a> (1933) was shot for just $242,000.<a href="#cite_note-53">[53]</a> <a href="/wiki/Ginger_Rogers" title="Ginger Rogers">Ginger Rogers</a> had already made several minor films for RKO when Cooper signed her to a seven-year contract and cast her in the big-budget musical <a href="/wiki/Flying_Down_to_Rio" title="Flying Down to Rio">Flying Down to Rio</a> (1933).<a href="#cite_note-54">[54]</a> Rogers was paired with <a href="/wiki/Fred_Astaire" title="Fred Astaire">Fred Astaire</a>, making his second film. Billed fourth and fifth respectively, the picture turned them into stars.<a href="#cite_note-55">[55]</a> <a href="/wiki/Hermes_Pan_(choreographer)" class="mw-redirect" title="Hermes Pan (choreographer)">Hermes Pan</a>, assistant to the film's dance director, became one of Hollywood's leading choreographers through his subsequent work with Astaire.<a href="#cite_note-56">[56]</a> Along with <a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia Pictures</a>, RKO became one of the primary homes of the <a href="/wiki/Screwball_comedy_film" class="mw-redirect" title="Screwball comedy film">screwball comedy</a>. As film historian James Harvey describes, compared to their richer competition, the two studios were "more receptive to experiment, more tolerant of chaos on the set. It was at these two lesser 'majors' ... that nearly all the preeminent screwball directors did their important films—<a href="/wiki/Howard_Hawks" title="Howard Hawks">[Howard] Hawks</a> and <a href="/wiki/Gregory_La_Cava" title="Gregory La Cava">[Gregory] La Cava</a> and <a href="/wiki/Leo_McCarey" title="Leo McCarey">[Leo] McCarey</a> and <a href="/wiki/George_Stevens" title="George Stevens">[George] Stevens</a>."<a href="#cite_note-57">[57]</a> The relatively unheralded <a href="/wiki/William_A._Seiter" title="William A. Seiter">William A. Seiter</a> directed the studio's first significant contribution to the genre, <a href="/wiki/The_Richest_Girl_in_the_World_(1934_film)" title="The Richest Girl in the World (1934 film)">The Richest Girl in the World</a> (1934).<a href="#cite_note-58">[58]</a> The drama <a href="/wiki/Of_Human_Bondage_(1934_film)" title="Of Human Bondage (1934 film)">Of Human Bondage</a> (1934), directed by <a href="/wiki/John_Cromwell_(director)" title="John Cromwell (director)">John Cromwell</a>, was <a href="/wiki/Bette_Davis" title="Bette Davis">Bette Davis</a>'s first great success.<a href="#cite_note-59">[59]</a> Stevens's <a href="/wiki/Alice_Adams_(1935_film)" title="Alice Adams (1935 film)">Alice Adams</a> and director <a href="/wiki/John_Ford" title="John Ford">John Ford</a>'s <a href="/wiki/The_Informer_(1935_film)" title="The Informer (1935 film)">The Informer</a> were each nominated for the 1935 Best Picture Oscar—the <a href="/wiki/Academy_Award_for_Best_Director" title="Academy Award for Best Director">Best Director</a> statuette won by Ford was the only one ever given for an RKO production.<a href="#cite_note-60">[60]</a> The Informer's star, <a href="/wiki/Victor_McLaglen" title="Victor McLaglen">Victor McLaglen</a>, also took home an Academy Award; he would appear in a dozen movies for the studio over two decades.<a href="#cite_note-61">[61]</a> From soon after its debut in early 1935 until July 1942, <a href="/wiki/Louis_de_Rochemont" title="Louis de Rochemont">Louis de Rochemont</a>'s innovative documentary series <a href="/wiki/The_March_of_Time" title="The March of Time">The March of Time</a> was distributed by RKO; at its peak in the late 1930s and early 1940s, over twenty million filmgoers saw its two-reelers each month in eleven thousand US and foreign theaters.<a href="#cite_note-62">[62]</a> Lacking the financial resources of industry leaders <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a>, <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount</a>, and <a href="/wiki/20th_Century_Fox" class="mw-redirect" title="20th Century Fox">Fox</a>, RKO turned out many pictures during the era that belied their economies with high style in an Art Deco mode, exemplified by such Astaire–Rogers musicals as <a href="/wiki/The_Gay_Divorcee" title="The Gay Divorcee">The Gay Divorcee</a> (1934), their first pairing as leads, and <a href="/wiki/Top_Hat" title="Top Hat">Top Hat</a> (1935).<a href="#cite_note-63">[63]</a> One of the figures most responsible for that style was another Selznick recruit: <a href="/wiki/Van_Nest_Polglase" title="Van Nest Polglase">Van Nest Polglase</a>, supervisor of RKO's highly regarded <a href="/wiki/Production_designer" title="Production designer">design department</a> for almost a decade.<a href="#cite_note-F227-64">[64]</a><a href="#cite_note-65">[65]</a> Film historian <a href="/wiki/James_Naremore" title="James Naremore">James Naremore</a> has described RKO as "chiefly a designer's studio. It never had a stable of important actors, writers, or directors, but ... it was rich in artists and special-effects technicians. As a result, its most distinctive pictures contained a strong element of fantasy—not so much the fantasy of horror, which during the thirties was the province of <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal</a>, but the fantasy of the marvelous and adventurous."<a href="#cite_note-66">[66]</a> As a group, the studio's craft divisions were among the strongest in the industry.<a href="#cite_note-F227-64">[64]</a><a href="#cite_note-67">[67]</a> <a href="/wiki/Costume_design" title="Costume design">Costumer</a> <a href="/wiki/Walter_Plunkett" title="Walter Plunkett">Walter Plunkett</a>, who worked with the company from the close of the FBO era through the end of 1939, was known as the top <a href="/wiki/Period_piece" class="mw-redirect" title="Period piece">period</a> wardrobist in the business.<a href="#cite_note-68">[68]</a> Sidney Saunders, innovative head of the studio's paint department, was responsible for significant progress in <a href="/wiki/Rear_projection_effect" class="mw-redirect" title="Rear projection effect">rear projection</a> quality.<a href="#cite_note-69">[69]</a> On June 13, 1935, RKO premiered the first feature film shot entirely in advanced <a href="/wiki/Technicolor#Three-strip_Technicolor" title="Technicolor">three-strip Technicolor</a>, <a href="/wiki/Becky_Sharp_(film)" title="Becky Sharp (film)">Becky Sharp</a>. The movie was coproduced with Pioneer Pictures, founded by Cooper—who departed RKO after two years helming production—and <a href="/wiki/John_Hay_Whitney" title="John Hay Whitney">John Hay "Jock" Whitney</a>, who brought in his cousin <a href="/wiki/Cornelius_Vanderbilt_Whitney" title="Cornelius Vanderbilt Whitney">Cornelius Vanderbilt Whitney</a>; Cooper had successfully encouraged the Whitneys to purchase a major share of the Technicolor business as well.<a href="#cite_note-70">[70]</a> Although judged by critics a failure as drama, Becky Sharp was widely lauded for its visual brilliance and technical expertise.<a href="#cite_note-71">[71]</a> RKO also employed some of the industry's leading artists and craftsmen whose work was never seen. From the studio's earliest days through late 1935, <a href="/wiki/Max_Steiner" title="Max Steiner">Max Steiner</a>, regarded by many historians as the most influential composer of the early years of sound cinema, made music for over 100 RKO films.<a href="#cite_note-72">[72]</a> His score for The Informer brought Steiner his third Oscar nomination and first win.<a href="#cite_note-73">[73]</a> <a href="/wiki/Murray_Spivack" title="Murray Spivack">Murray Spivack</a>, head of the studio's audio special effects department, made important advances in the use of rerecording technology first heard in King Kong.<a href="#cite_note-74">[74]</a> <div class="mw-heading mw-heading3"><h3 id="Briskin_and_Berman">Briskin and Berman</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=6" title="Edit section: Briskin and Berman">edit</a>]</div> In October 1935 the ownership team expanded, with financier <a href="/wiki/Floyd_Odlum" title="Floyd Odlum">Floyd Odlum</a> leading a syndicate that bought 50 percent of RCA's stake in the company; the <a href="/wiki/Rockefeller_family" title="Rockefeller family">Rockefeller brothers</a>, also major stockholders, increasingly became involved in the business.<a href="#cite_note-75">[75]</a> While RKO kept missing the mark in building Hepburn's career, other actors became regular headliners for the studio. <a href="/wiki/Ann_Sothern" title="Ann Sothern">Ann Sothern</a> played the lead in seven RKO films between 1935 and 1937, paired five times with <a href="/wiki/Gene_Raymond" title="Gene Raymond">Gene Raymond</a>.<a href="#cite_note-Fi215-76">[76]</a> Stars <a href="/wiki/Barbara_Stanwyck" title="Barbara Stanwyck">Barbara Stanwyck</a> and <a href="/wiki/Cary_Grant" title="Cary Grant">Cary Grant</a> each signed on for several pictures. Both were sound-era trendsetters, working as freelancers under nonexclusive studio deals. Stanwyck had appeared in major studio films since 1929 without a binding long-term contract, as subsequently would several other top-billed women, including Dunne, Bennett, and Harding.<a href="#cite_note-77">[77]</a> When Grant went freelance after wrapping up his Paramount contract in late 1936, it was still rare for a leading man to do so while his star was on the rise.<a href="#cite_note-78">[78]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Fnone">[f]</a> He ultimately appeared in fourteen RKO releases between 1937 and 1948.<a href="#cite_note-79">[79]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:BabyPoster2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/57/BabyPoster2.jpg/220px-BabyPoster2.jpg" decoding="async" width="220" height="173" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/57/BabyPoster2.jpg/330px-BabyPoster2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/57/BabyPoster2.jpg/440px-BabyPoster2.jpg 2x" data-file-width="1400" data-file-height="1100" /></a><figcaption><a href="/wiki/Katharine_Hepburn" title="Katharine Hepburn">Katharine Hepburn</a>'s last film for RKO, <a href="/wiki/Bringing_Up_Baby" title="Bringing Up Baby">Bringing Up Baby</a> (1938), was a bomb. Today it is regarded as one of Hollywood's finest <a href="/wiki/Screwball_comedies" class="mw-redirect" title="Screwball comedies">screwball comedies</a>.<a href="#cite_note-80">[80]</a></figcaption></figure> Soon after the appointment of a new production chief, Samuel Briskin, in late 1936, RKO entered into an important distribution deal with animator <a href="/wiki/Walt_Disney" title="Walt Disney">Walt Disney</a> (Van Beuren consequently folded its cartoon operations).<a href="#cite_note-81">[81]</a> For nearly two decades, the studio released his company's features and shorts; <a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)" title="Snow White and the Seven Dwarfs (1937 film)">Snow White and the Seven Dwarfs</a> (1937) was the highest-grossing movie in the period between <a href="/wiki/The_Birth_of_a_Nation" title="The Birth of a Nation">The Birth of a Nation</a> (1915) and <a href="/wiki/Gone_with_the_Wind_(film)" title="Gone with the Wind (film)">Gone with the Wind</a> (1939).<a href="#cite_note-82">[82]</a> The theater operation excepted, on December 31, 1936, most of the domestic RKO subsidiaries, including RKO Distributing Corp. and its exchanges, were folded into RKO Radio Pictures Inc.<a href="#cite_note-83">[83]</a> Following the shift in print advertising a few years earlier, the screen brand on RKO's output, aside from the RKO Pathé line of newsreels and shorts, was likewise changed from "Radio Pictures" to "RKO Radio Pictures".<a href="#cite_note-84">[84]</a> In February 1937, Selznick, now a leading independent producer, took over RKO's Culver City studio and <a href="/wiki/RKO_Forty_Acres" title="RKO Forty Acres">Forty Acres</a>, as the backlot was known, under a long-term lease. Gone with the Wind, his coproduction with <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a>, was largely shot there.<a href="#cite_note-85">[85]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Gnone">[g]</a> In addition to its central Hollywood studio, RKO production now revolved around its <a href="/wiki/Movie_ranch#RKO_Encino_Ranch" title="Movie ranch">Encino ranch</a>. While the Disney association was beneficial, RKO's own product was widely seen as declining in quality and Briskin was gone by the end of the year.<a href="#cite_note-86">[86]</a><a href="#cite_note-87">[87]</a> Pandro Berman—who had filled in on three previous occasions—accepted the position of production chief on a noninterim basis. He left the job before the decade's turn, but his brief tenure resulted in some of the most notable films in studio history, including <a href="/wiki/Gunga_Din_(film)" title="Gunga Din (film)">Gunga Din</a>, with Grant and McLaglen; <a href="/wiki/Love_Affair_(1939_film)" title="Love Affair (1939 film)">Love Affair</a>, starring Dunne and <a href="/wiki/Charles_Boyer" title="Charles Boyer">Charles Boyer</a>; and <a href="/wiki/The_Hunchback_of_Notre_Dame_(1939_film)" title="The Hunchback of Notre Dame (1939 film)">The Hunchback of Notre Dame</a> (all 1939).<a href="#cite_note-88">[88]</a> <a href="/wiki/Charles_Laughton" title="Charles Laughton">Charles Laughton</a>, who gave a now fabled performance as <a href="/wiki/Quasimodo" title="Quasimodo">Quasimodo</a> in the latter, returned periodically to the studio, headlining six more RKO features.<a href="#cite_note-89">[89]</a> For <a href="/wiki/Maureen_O%27Hara" title="Maureen O'Hara">Maureen O'Hara</a>, who made her American screen debut in the film, it was the first of ten pictures she made for RKO through 1952.<a href="#cite_note-90">[90]</a> <a href="/wiki/Carole_Lombard" title="Carole Lombard">Carole Lombard</a> signed freelance deals for headlining roles in four films between 1939 and 1941—the last of her pictures to come out before her death in a plane crash.<a href="#cite_note-91">[91]</a> After costarring with Ginger Rogers for the eighth time in <a href="/wiki/The_Story_of_Vernon_and_Irene_Castle" title="The Story of Vernon and Irene Castle">The Story of Vernon and Irene Castle</a> (1939), Fred Astaire departed the studio.<a href="#cite_note-92">[92]</a> The studio's B Western star of the period was <a href="/wiki/George_O%27Brien_(actor)" title="George O'Brien (actor)">George O'Brien</a>, who made eighteen RKO pictures, sixteen between 1938 and 1940. <a href="/wiki/The_Saint_in_New_York_(film)" title="The Saint in New York (film)">The Saint in New York</a> (1938) successfully launched a B detective series featuring the character <a href="/wiki/Simon_Templar" class="mw-redirect" title="Simon Templar">Simon Templar</a> that ran through 1943.<a href="#cite_note-F214-93">[93]</a> The Wheeler and Woolsey comedy series ended in 1937 when Woolsey became ill (he died the following year). RKO filled the void by releasing independently produced features such as the <a href="/wiki/Dr._Christian" title="Dr. Christian">Dr. Christian</a> series and the <a href="/wiki/Laurel_and_Hardy" title="Laurel and Hardy">Laurel and Hardy</a> comedy <a href="/wiki/The_Flying_Deuces" title="The Flying Deuces">The Flying Deuces</a> (1939).<a href="#cite_note-94">[94]</a> The studio soon had its own new B comedy stars in <a href="/wiki/Lupe_V%C3%A9lez" title="Lupe Vélez">Lupe Vélez</a> and <a href="/wiki/Leon_Errol" title="Leon Errol">Leon Errol</a>: <a href="/wiki/The_Girl_from_Mexico" title="The Girl from Mexico">The Girl from Mexico</a> (1939) was followed by seven frantic installments of the <a href="/wiki/Mexican_Spitfire" class="mw-redirect" title="Mexican Spitfire">Mexican Spitfire</a> series between 1940 and 1943.<a href="#cite_note-F214-93">[93]</a> The studio's technical departments maintained their reputation as industry leaders; Vernon Walker's special effects unit became famous for its sophisticated use of the <a href="/wiki/Optical_printer" title="Optical printer">optical printer</a> and lifelike <a href="/wiki/Matte_(filmmaking)" title="Matte (filmmaking)">matte</a> work, an art that reached its apex with 1941's <a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a>.<a href="#cite_note-95">[95]</a> <div class="mw-heading mw-heading3"><h3 id="Kane_and_Schaefer's_troubles">Kane and Schaefer's troubles</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=7" title="Edit section: Kane and Schaefer's troubles">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Citizen-Kane-Welles-Podium.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/34/Citizen-Kane-Welles-Podium.jpg/220px-Citizen-Kane-Welles-Podium.jpg" decoding="async" width="220" height="275" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/34/Citizen-Kane-Welles-Podium.jpg/330px-Citizen-Kane-Welles-Podium.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/34/Citizen-Kane-Welles-Podium.jpg/440px-Citizen-Kane-Welles-Podium.jpg 2x" data-file-width="984" data-file-height="1230" /></a><figcaption><a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a> in the title role of <a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a> (1941), often cited as the greatest film of all time.<a href="#cite_note-96">[96]</a></figcaption></figure> Pan Berman had received his first screen credit in 1925 as a nineteen-year-old <a href="/wiki/Assistant_director" title="Assistant director">assistant director</a> on FBO's <a href="/wiki/Midnight_Molly" title="Midnight Molly">Midnight Molly</a>.<a href="#cite_note-97">[97]</a> He departed RKO in December 1939 after policy clashes with studio president <a href="/wiki/George_J._Schaefer" title="George J. Schaefer">George J. Schaefer</a>, handpicked the previous year by the Rockefellers and backed by Sarnoff.<a href="#cite_note-98">[98]</a> With Berman gone, Schaefer became in effect production chief, though other men—including the former head of the <a href="/wiki/Production_Code" class="mw-redirect" title="Production Code">industry censorship board</a>, Joseph I. Breen—nominally filled the role.<a href="#cite_note-99">[99]</a> Schaefer, announcing his philosophy with a new studio slogan, "Quality Pictures at a Premium Price", was keen on signing up independent producers whose films RKO would distribute.<a href="#cite_note-100">[100]</a> In 1941, the studio landed one of the most prestigious independents in Hollywood when it arranged to handle <a href="/wiki/Samuel_Goldwyn" title="Samuel Goldwyn">Samuel Goldwyn</a>'s productions. The first two Goldwyn pictures released by the studio did excellent box office: <a href="/wiki/The_Little_Foxes_(film)" title="The Little Foxes (film)">The Little Foxes</a>, directed by <a href="/wiki/William_Wyler" title="William Wyler">William Wyler</a> and starring Bette Davis, and the Howard Hawks–directed <a href="/wiki/Ball_of_Fire" title="Ball of Fire">Ball of Fire</a> also garnered four Oscar nominations apiece; the latter was Barbara Stanwyck's biggest hit under the RKO banner. However, Schaefer agreed to terms so favorable to Goldwyn that it was next to impossible for the studio to make money with his films.<a href="#cite_note-101">[101]</a> David O. Selznick loaned out his leading contracted director for two RKO pictures in 1941: Alfred Hitchcock's <a href="/wiki/Mr._%26_Mrs._Smith_(1941_film)" title="Mr. & Mrs. Smith (1941 film)">Mr. and Mrs. Smith</a>, the final release of Carole Lombard's lifetime, was a modest success and <a href="/wiki/Suspicion_(1941_film)" title="Suspicion (1941 film)">Suspicion</a> a substantial one, with an Oscar-winning turn by <a href="/wiki/Joan_Fontaine" title="Joan Fontaine">Joan Fontaine</a>.<a href="#cite_note-102">[102]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Hnone">[h]</a> That May, having granted twenty-five-year-old star and director <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a> virtually complete creative control over the film, RKO released Citizen Kane.<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Inone">[i]</a> While it opened to strong reviews and went on to be hailed as one of the greatest movies ever made, it lost money at the time and brought down the wrath of the <a href="/wiki/William_Randolph_Hearst" title="William Randolph Hearst">Hearst</a> newspaper chain on RKO.<a href="#cite_note-103">[103]</a> The next year saw the commercial failure of Welles's <a href="/wiki/The_Magnificent_Ambersons_(film)" title="The Magnificent Ambersons (film)">The Magnificent Ambersons</a>—like Kane, critically lauded and overbudget—and the expensive embarrassment of his aborted documentary <a href="/wiki/It%27s_All_True_(1942_film)" class="mw-redirect" title="It's All True (1942 film)">It's All True</a>.<a href="#cite_note-104">[104]</a> The three Welles productions combined to drain $2 million from the RKO coffers, major money for a corporation that had reported an overall deficit of $1 million in 1940 and a nominal profit of a bit more than $500,000 in 1941.<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Jnone">[j]</a> Many of RKO's other artistically ambitious pictures were also dying at the box office and it was losing its last exclusive deal with a major star as well. Rogers, after winning an Oscar in 1941 for her performance in the previous year's <a href="/wiki/Kitty_Foyle_(film)" title="Kitty Foyle (film)">Kitty Foyle</a>, held out for a freelance contract like Lombard's or Grant's. No star appeared in more RKO films than Rogers: thirty between 1931 and 1943, then one-offs in 1946 and 1956.<a href="#cite_note-105">[105]</a> On June 17, 1942, Schaefer tendered his resignation.<a href="#cite_note-106">[106]</a> He departed a weakened and troubled studio, but RKO was about to turn the corner. Propelled by the box-office boom of World War II and guided by new management, RKO made a strong comeback over the next half-decade.<a href="#cite_note-J142-107">[107]</a> <div class="mw-heading mw-heading3"><h3 id="Rebound_under_Koerner">Rebound under Koerner</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=8" title="Edit section: Rebound under Koerner">edit</a>]</div> By the end of June 1942, Floyd Odlum had taken over a controlling interest in the company via his <a href="/wiki/Atlas_Corporation" title="Atlas Corporation">Atlas Corporation</a>, edging aside the Rockefellers and Sarnoff. <a href="/wiki/Charles_Koerner" title="Charles Koerner">Charles Koerner</a>, former head of the RKO theater chain and allied with Odlum, had assumed the title of production chief some time prior to Schaefer's departure.<a href="#cite_note-108">[108]</a> With Schaefer gone, Koerner could actually do the job. Announcing a new corporate motto, "Showmanship in Place of Genius: A New Deal at RKO", a snipe at Schaefer's artistic ambitions in general and his sponsorship of Welles in particular,<a href="#cite_note-109">[109]</a> Koerner brought the studio much-needed stability until his death in February 1946.<a href="#cite_note-110">[110]</a> The change in RKO's fortunes was virtually immediate: corporate profits rose from $736,241 in 1942 (the theatrical division compensating for the studio's $2.34 million deficit) to $6.96 million the following year.<a href="#cite_note-111">[111]</a> The Rockefellers sold off their stock and, early in 1943, RCA dispensed with the last of its holdings in the company as well, cutting David Sarnoff's ties to the studio that was largely his conception.<a href="#cite_note-112">[112]</a> A new RKO Pathé "news magazine" series, This Is America, had been launched the previous October to take the place of The March of Time after <a href="/wiki/Time_Inc." title="Time Inc.">Time Inc.</a> switched its distribution to Twentieth Century-Fox.<a href="#cite_note-113">[113]</a> In June 1944, a subsidiary, RKO Television Corporation, was established to produce content for the fledgling medium. Talk Fast, Mister, an hour-long drama shot at the RKO Pathé studio in Manhattan and broadcast by the <a href="/wiki/DuMont_Laboratories" title="DuMont Laboratories">DuMont Laboratories</a>–owned New York station <a href="/wiki/WNYW" title="WNYW">WABD</a> on December 18, 1944, was the first <a href="/wiki/Television_film" title="Television film">made-for-TV movie</a>.<a href="#cite_note-114">[114]</a> In collaboration with Mexican businessman <a href="/wiki/Emilio_Azc%C3%A1rraga_Vidaurreta" title="Emilio Azcárraga Vidaurreta">Emilio Azcárraga Vidaurreta</a>, RKO established <a href="/wiki/Estudios_Churubusco" title="Estudios Churubusco">Estudios Churubusco</a> in <a href="/wiki/Mexico_City" title="Mexico City">Mexico City</a> in 1945.<a href="#cite_note-115">[115]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Notorious1946.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/76/Notorious1946.jpg/220px-Notorious1946.jpg" decoding="async" width="220" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/76/Notorious1946.jpg/330px-Notorious1946.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/7/76/Notorious1946.jpg 2x" data-file-width="364" data-file-height="282" /></a><figcaption><a href="/wiki/Cary_Grant" title="Cary Grant">Cary Grant</a> and <a href="/wiki/Ingrid_Bergman" title="Ingrid Bergman">Ingrid Bergman</a> in <a href="/wiki/Notorious_(1946_film)" title="Notorious (1946 film)">Notorious</a> (1946). RKO made over $1 million profit on the coproduction with <a href="/wiki/David_O._Selznick" title="David O. Selznick">David O. Selznick</a>'s Vanguard Films.<a href="#cite_note-116">[116]</a></figcaption></figure> With RKO on increasingly secure ground, Koerner sought to increase its output of handsomely budgeted, star-driven features. However, the studio's only remaining major stars with anything like extended deals were Grant, whose services were shared with Columbia Pictures, and O'Hara, shared with Fox.<a href="#cite_note-117">[117]</a> Lacking in-house stars, Koerner and his successors under Odlum arranged with the other studios to loan out their biggest names or signed one of the growing number of freelance performers to short-term, "<a href="/wiki/Guarantee_(filmmaking)" title="Guarantee (filmmaking)">pay or play</a>" deals. Thus RKO pictures of the mid- and late forties offered <a href="/wiki/Bing_Crosby" title="Bing Crosby">Bing Crosby</a>, <a href="/wiki/Henry_Fonda" title="Henry Fonda">Henry Fonda</a>, and others who were out of the studio's price range for extended contracts.<a href="#cite_note-118">[118]</a> <a href="/wiki/John_Wayne" title="John Wayne">John Wayne</a> appeared in 1943's <a href="/wiki/A_Lady_Takes_a_Chance" title="A Lady Takes a Chance">A Lady Takes a Chance</a> while on loan from <a href="/wiki/Republic_Pictures" title="Republic Pictures">Republic Pictures</a>; he was soon working regularly with RKO, making nine more movies for the studio.<a href="#cite_note-119">[119]</a> <a href="/wiki/Gary_Cooper" title="Gary Cooper">Gary Cooper</a> appeared in RKO releases produced by Goldwyn and, later, the startup International Pictures,<a href="#cite_note-120">[120]</a> and <a href="/wiki/Claudette_Colbert" title="Claudette Colbert">Claudette Colbert</a> starred in a number of RKO coproductions.<a href="#cite_note-121">[121]</a> <a href="/wiki/Ingrid_Bergman" title="Ingrid Bergman">Ingrid Bergman</a>, on loan out from Selznick, starred opposite <a href="/wiki/Bing_Crosby" title="Bing Crosby">Bing Crosby</a> in <a href="/wiki/The_Bells_of_St._Mary%27s" title="The Bells of St. Mary's">The Bells of St. Mary's</a> (1945), a coproduction with director <a href="/wiki/Leo_McCarey" title="Leo McCarey">Leo McCarey</a>. The top box-office film of the year, it turned a $3.7 million profit for RKO, the most in the company's history.<a href="#cite_note-122">[122]</a> Bergman returned in the coproductions <a href="/wiki/Notorious_(1946_film)" title="Notorious (1946 film)">Notorious</a> (1946) and <a href="/wiki/Stromboli_(1950_film)" title="Stromboli (1950 film)">Stromboli</a> (1950), and in the independently produced <a href="/wiki/Joan_of_Arc_(1948_film)" title="Joan of Arc (1948 film)">Joan of Arc</a> (1948).<a href="#cite_note-123">[123]</a> Freelancing <a href="/wiki/Randolph_Scott" title="Randolph Scott">Randolph Scott</a> appeared in one major RKO release annually from 1943 through 1948.<a href="#cite_note-124">[124]</a> In similar fashion, many leading directors made one or more films for RKO during this era, including Alfred Hitchcock once more, with Notorious, and <a href="/wiki/Jean_Renoir" title="Jean Renoir">Jean Renoir</a>, with <a href="/wiki/This_Land_Is_Mine_(film)" title="This Land Is Mine (film)">This Land Is Mine</a> (1943), reuniting Laughton and O'Hara, and <a href="/wiki/The_Woman_on_the_Beach" title="The Woman on the Beach">The Woman on the Beach</a> (1947).<a href="#cite_note-125">[125]</a> RKO and Orson Welles had an arm's-length reunion via <a href="/wiki/The_Stranger_(1946_film)" title="The Stranger (1946 film)">The Stranger</a> (1946), an independent production he starred in as well as directed. Welles later called it his worst film, but it was the only one he ever made that turned a profit in its first run.<a href="#cite_note-126">[126]</a> In December 1946, the studio released <a href="/wiki/Frank_Capra" title="Frank Capra">Frank Capra</a>'s <a href="/wiki/It%27s_a_Wonderful_Life" title="It's a Wonderful Life">It's a Wonderful Life</a>; while it would eventually be recognized as one of the greatest films of Hollywood's Golden Age, at the time it lost more than half a million dollars for RKO.<a href="#cite_note-127">[127]</a> John Ford's <a href="/wiki/The_Fugitive_(1947_film)" title="The Fugitive (1947 film)">The Fugitive</a> (1947) and <a href="/wiki/Fort_Apache_(film)" title="Fort Apache (film)">Fort Apache</a> (1948), which appeared right before studio ownership changed hands again, were followed by <a href="/wiki/She_Wore_a_Yellow_Ribbon" title="She Wore a Yellow Ribbon">She Wore a Yellow Ribbon</a> (1949) and <a href="/wiki/Wagon_Master" title="Wagon Master">Wagon Master</a> (1950); all four were coproductions between RKO and Argosy, the company run by Ford and RKO alumnus Merian C. Cooper.<a href="#cite_note-128">[128]</a> Of the directors under long-term contract to RKO in the 1940s, the best known was <a href="/wiki/Edward_Dmytryk" title="Edward Dmytryk">Edward Dmytryk</a>, who first came to notice with the remarkably profitable <a href="/wiki/Hitler%27s_Children_(1943_film)" title="Hitler's Children (1943 film)">Hitler's Children</a> (1943). Shot on a $205,000 budget, placing it in the bottom quartile of Big Five studio productions, it was one of the ten biggest Hollywood hits of the year.<a href="#cite_note-129">[129]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Knone">[k]</a> Another low-cost war-themed film directed by Dmytryk, <a href="/wiki/Behind_the_Rising_Sun_(film)" title="Behind the Rising Sun (film)">Behind the Rising Sun</a>, released a few months later, was similarly profitable.<a href="#cite_note-F219-52">[52]</a><a href="#cite_note-130">[130]</a> <div class="mw-heading mw-heading3"><h3 id="Focus_on_B_movies">Focus on B movies</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=9" title="Edit section: Focus on B movies">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:IWalkedZombieTrailer.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/4/47/IWalkedZombieTrailer.jpg/220px-IWalkedZombieTrailer.jpg" decoding="async" width="220" height="157" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/4/47/IWalkedZombieTrailer.jpg 1.5x" data-file-width="260" data-file-height="185" /></a><figcaption>Film art at low budget: <a href="/wiki/I_Walked_with_a_Zombie" title="I Walked with a Zombie">I Walked with a Zombie</a> (1943), produced by <a href="/wiki/Val_Lewton" title="Val Lewton">Val Lewton</a> and directed by <a href="/wiki/Jacques_Tourneur" title="Jacques Tourneur">Jacques Tourneur</a>.</figcaption></figure> Much more than the other Big Five studios, RKO relied on <a href="/wiki/B_movies_(Hollywood_Golden_Age)#Bs_from_major_to_minor:_1940s" title="B movies (Hollywood Golden Age)">B pictures</a> to fill up its schedule. Of the thirty-one features released by RKO in 1944, for instance, ten were budgeted below $200,000, twelve were in the $200,000 to $500,000 range, and only nine cost more. In contrast, a clear majority of the features put out by the other top four studios were budgeted at over half a million dollars.<a href="#cite_note-131">[131]</a> A focus on B pictures limited the studio's financial risk; while it also limited the potential for reward (Dmytryk's extraordinary coups aside), RKO had a history of making better profits with its run-of-the-mill and low-cost product than with its A movies.<a href="#cite_note-Crafton_1997,_p._210-6">[6]</a> The studio's low-budget films offered training opportunities for new directors, as well, among them <a href="/wiki/Mark_Robson_(film_director)" title="Mark Robson (film director)">Mark Robson</a>, <a href="/wiki/Robert_Wise" title="Robert Wise">Robert Wise</a>, and <a href="/wiki/Anthony_Mann" title="Anthony Mann">Anthony Mann</a>.<a href="#cite_note-SBG-132">[132]</a><a href="#cite_note-133">[133]</a> Film editors Robson and Wise received their first directing assignments with producer <a href="/wiki/Val_Lewton" title="Val Lewton">Val Lewton</a>, whose specialized B horror unit also included the more experienced director <a href="/wiki/Jacques_Tourneur" title="Jacques Tourneur">Jacques Tourneur</a>. The Lewton unit's moody, atmospheric work—represented by films such as <a href="/wiki/Cat_People_(1942_film)" title="Cat People (1942 film)">Cat People</a> (1942), <a href="/wiki/I_Walked_with_a_Zombie" title="I Walked with a Zombie">I Walked with a Zombie</a> (1943), and <a href="/wiki/The_Body_Snatcher_(1945_film)" title="The Body Snatcher (1945 film)">The Body Snatcher</a> (1945)—is now highly regarded.<a href="#cite_note-SBG-132">[132]</a><a href="#cite_note-134">[134]</a> Richard Dix concluded his lengthy RKO career with the 1943 Lewton production <a href="/wiki/The_Ghost_Ship" title="The Ghost Ship">The Ghost Ship</a>.<a href="#cite_note-135">[135]</a> <a href="/wiki/Tim_Holt" title="Tim Holt">Tim Holt</a>, who succeeded George O'Brien as RKO's cowboy star, appeared in forty-six B Westerns and more than fifty movies altogether for the studio, beginning in 1940.<a href="#cite_note-136">[136]</a> That same year, <a href="/wiki/Chester_Lauck" title="Chester Lauck">Chester Lauck</a> and <a href="/wiki/Norris_Goff" title="Norris Goff">Norris Goff</a> brought their famous comic characters <a href="/wiki/Lum_and_Abner" title="Lum and Abner">Lum and Abner</a> from radio to the screen for the first of six independently produced RKO releases.<a href="#cite_note-137">[137]</a> Between 1943 and 1946, the studio teamed contract actors <a href="/wiki/Wally_Brown" title="Wally Brown">Wally Brown</a> and <a href="/wiki/Alan_Carney" title="Alan Carney">Alan Carney</a> for comedies that openly mimicked the work of the wildly popular <a href="/wiki/Abbott_and_Costello" title="Abbott and Costello">Abbott and Costello</a>; <a href="/wiki/Brown_and_Carney" title="Brown and Carney">Brown and Carney</a>'s eight pairings did not approach their prototypes' success.<a href="#cite_note-138">[138]</a> The <a href="/wiki/The_Falcon_(literary_character)" class="mw-redirect" title="The Falcon (literary character)">Falcon</a> detective series began in 1941; the Saint and the Falcon were so similar that Saint creator <a href="/wiki/Leslie_Charteris" title="Leslie Charteris">Leslie Charteris</a> sued RKO.<a href="#cite_note-139">[139]</a> The Falcon was first played by <a href="/wiki/George_Sanders" title="George Sanders">George Sanders</a>, who had appeared five times as the Saint. He bowed out after four Falcon films and was replaced by his brother, <a href="/wiki/Tom_Conway" title="Tom Conway">Tom Conway</a>. Conway had a nine-film run in the part before the series ended in 1946. <a href="/wiki/Johnny_Weissmuller" title="Johnny Weissmuller">Johnny Weissmuller</a> starred in six RKO <a href="/wiki/Tarzan_in_film,_television_and_other_non-print_media" title="Tarzan in film, television and other non-print media">Tarzan</a> pictures for producer <a href="/wiki/Sol_Lesser" title="Sol Lesser">Sol Lesser</a> between 1943 and 1948 before being replaced by <a href="/wiki/Lex_Barker" title="Lex Barker">Lex Barker</a> for five more.<a href="#cite_note-Fi215-76">[76]</a> Producer <a href="/wiki/Herman_Schlom" title="Herman Schlom">Herman Schlom</a> oversaw a pair of four-film series, the comedic <a href="/wiki/The_Great_Gildersleeve#Films" title="The Great Gildersleeve">Great Gildersleeve</a> (1943–44) and noirish <a href="/wiki/Dick_Tracy#Early_feature_films" title="Dick Tracy">Dick Tracy</a> (1945–47).<a href="#cite_note-140">[140]</a> <a href="/wiki/Film_noir" title="Film noir">Film noir</a>, to which lower budgets lent themselves, became something of a house style at the studio; indeed, the RKO B <a href="/wiki/Stranger_on_the_Third_Floor" title="Stranger on the Third Floor">Stranger on the Third Floor</a> (1940) is widely seen as initiating noir's classic period.<a href="#cite_note-141">[141]</a> Its <a href="/wiki/Cinematography" title="Cinematography">cinematographer</a>, <a href="/wiki/Nicholas_Musuraca" title="Nicholas Musuraca">Nicholas Musuraca</a>, who began at FBO in the 1920s and stayed with RKO through 1954, is a central figure in creating the look of classic noir.<a href="#cite_note-142">[142]</a> Design chief <a href="/wiki/Albert_S._D%27Agostino" title="Albert S. D'Agostino">Albert D'Agostino</a>—another long-termer, who succeeded Van Nest Polglase in 1941—and <a href="/wiki/Art_director#Film" title="Art director">art director</a> Walter Keller, along with others in the department, such as art directors <a href="/wiki/Carroll_Clark" title="Carroll Clark">Carroll Clark</a> and <a href="/wiki/Jack_Okey" title="Jack Okey">Jack Okey</a> and <a href="/wiki/Set_decorator" title="Set decorator">set decorator</a> <a href="/wiki/Darrell_Silvera" title="Darrell Silvera">Darrell Silvera</a>, are similarly credited.<a href="#cite_note-143">[143]</a> The studio's 1940s list of contract players was filled with noir regulars: <a href="/wiki/Robert_Mitchum" title="Robert Mitchum">Robert Mitchum</a> (who graduated to major star status) and <a href="/wiki/Robert_Ryan" title="Robert Ryan">Robert Ryan</a> each made no fewer than ten film noirs for RKO.<a href="#cite_note-144">[144]</a> <a href="/wiki/Gloria_Grahame" title="Gloria Grahame">Gloria Grahame</a>, <a href="/wiki/Jane_Greer" title="Jane Greer">Jane Greer</a>, and <a href="/wiki/Lawrence_Tierney" title="Lawrence Tierney">Lawrence Tierney</a> were also notable studio players in the field.<a href="#cite_note-145">[145]</a> Freelancer <a href="/wiki/George_Raft" title="George Raft">George Raft</a> starred in two noir hits: <a href="/wiki/Johnny_Angel" title="Johnny Angel">Johnny Angel</a> (1945) and <a href="/wiki/Nocturne_(1946_film)" title="Nocturne (1946 film)">Nocturne</a> (1946).<a href="#cite_note-146">[146]</a> Tourneur, Musuraca, Mitchum, and Greer, along with D'Agostino's design group, joined to make the A-budgeted <a href="/wiki/Out_of_the_Past" title="Out of the Past">Out of the Past</a> (1947), now considered one of the greatest of all film noirs.<a href="#cite_note-147">[147]</a> <a href="/wiki/Nicholas_Ray" title="Nicholas Ray">Nicholas Ray</a> began his directing career with the noir <a href="/wiki/They_Live_by_Night" title="They Live by Night">They Live by Night</a> (1948), the first of a number of well-received films he made for RKO.<a href="#cite_note-148">[148]</a> <div class="mw-heading mw-heading3"><h3 id="HUAC_and_Howard_Hughes">HUAC and Howard Hughes</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=10" title="Edit section: HUAC and Howard Hughes">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:CrossfirePoster2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/CrossfirePoster2.jpg/220px-CrossfirePoster2.jpg" decoding="async" width="220" height="171" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/CrossfirePoster2.jpg/330px-CrossfirePoster2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/5/54/CrossfirePoster2.jpg 2x" data-file-width="417" data-file-height="325" /></a><figcaption><a href="/wiki/Crossfire_(film)" title="Crossfire (film)">Crossfire</a> (1947) was a hit, but no American studio would hire <a href="/wiki/Hollywood_blacklist" title="Hollywood blacklist">blacklisted</a> director <a href="/wiki/Edward_Dmytryk" title="Edward Dmytryk">Edward Dmytryk</a> again until he named names to <a href="/wiki/House_Un-American_Activities_Committee" title="House Un-American Activities Committee">HUAC</a> in 1951.<a href="#cite_note-149">[149]</a> Producer <a href="/wiki/Adrian_Scott" title="Adrian Scott">Adrian Scott</a> did not get another screen credit for two decades. He died before he could see it.<a href="#cite_note-150">[150]</a></figcaption></figure> RKO, and the movie industry as a whole, had its most profitable year ever in 1946. A Goldwyn production released by RKO, <a href="/wiki/The_Best_Years_of_Our_Lives" title="The Best Years of Our Lives">The Best Years of Our Lives</a>, was the most successful Hollywood film of the decade and won the Academy Award for Best Picture.<a href="#cite_note-151">[151]</a> But the legal status of the industry's reigning business model was increasingly being called into doubt: the <a href="/wiki/Supreme_Court_of_the_United_States" title="Supreme Court of the United States">U.S. Supreme Court</a> ruled in <a href="/wiki/Bigelow_v._RKO_Radio_Pictures,_Inc." title="Bigelow v. RKO Radio Pictures, Inc.">Bigelow v. RKO</a> that the company was liable for damages under <a href="/wiki/United_States_antitrust_law" title="United States antitrust law">antitrust statutes</a> for having denied an independent movie house access to <a href="/wiki/First_run_(filmmaking)" title="First run (filmmaking)">first-run films</a>—a common practice among all of the Big Five.<a href="#cite_note-152">[152]</a> With profits at a high point, Floyd Odlum cashed in by selling off about 40 percent of his shares in the company to a group of investment firms.<a href="#cite_note-153">[153]</a> After Koerner's death, Radio-Keith-Orpheum president N. Peter Rathvon and RKO Radio Pictures president Ned E. Depinet had exchanged positions, with Depinet moving to the corporate offices in New York and Rathvon relocating to Hollywood and doubling as production chief while a permanent replacement was sought for Koerner. On the first day of 1947, producer and Oscar-winning screenwriter <a href="/wiki/Dore_Schary" title="Dore Schary">Dore Schary</a>, who had been working at the studio on loan from Selznick, took over the role.<a href="#cite_note-154">[154]</a> RKO appeared in good shape to build on its recent successes, but the year brought a number of unpleasant harbingers for all of Hollywood. The British government imposed a 75 percent tax on films produced abroad; along with similarly confiscatory taxes and quota laws enacted by other countries, this led to a sharp decline in foreign revenues.<a href="#cite_note-155">[155]</a> The postwar attendance boom peaked sooner than expected and television emerged as a competitor for audience interest. Across the board, profits fell—a 27 percent drop for the Hollywood studios from 1946 to 1947.<a href="#cite_note-156">[156]</a> In July, RKO Pathé's signature newsreel was sold to Warner Bros. for a reported $4 million.<a href="#cite_note-157">[157]</a> The phenomenon later called <a href="/wiki/McCarthyism" title="McCarthyism">McCarthyism</a> was building strength, and in October, the <a href="/wiki/House_Un-American_Activities_Committee" title="House Un-American Activities Committee">House Un-American Activities Committee</a> (HUAC) began hearings into Communism in the motion picture industry. Two of RKO's top talents, Dmytryk and producer <a href="/wiki/Adrian_Scott" title="Adrian Scott">Adrian Scott</a>, refused to cooperate. As a consequence, they were fired by RKO per the terms of the <a href="/wiki/Waldorf_Statement" title="Waldorf Statement">Waldorf Statement</a>, the major studios' pledge to "eliminate any subversives". Scott, Dmytryk, and eight others who also defied HUAC—dubbed the <a href="/wiki/Hollywood_blacklist#The_Hollywood_Ten" title="Hollywood blacklist">Hollywood Ten</a>—were <a href="/wiki/Hollywood_blacklist" title="Hollywood blacklist">blacklisted</a> across the industry.<a href="#cite_note-158">[158]</a> Ironically, the studio's major success of the year was <a href="/wiki/Crossfire_(film)" title="Crossfire (film)">Crossfire</a>, a Scott–Dmytryk film.<a href="#cite_note-159">[159]</a> Odlum concluded it was time to exit the film business, and he put Atlas's remaining RKO shares—approximately 25 percent of the outstanding stock—on the market.<a href="#cite_note-160">[160]</a> For her performance in <a href="/wiki/The_Farmer%27s_Daughter_(1947_film)" title="The Farmer's Daughter (1947 film)">The Farmer's Daughter</a> (1947), a coproduction with Selznick's Vanguard Films, <a href="/wiki/Loretta_Young" title="Loretta Young">Loretta Young</a> won the <a href="/wiki/Academy_Award_for_Best_Actress" title="Academy Award for Best Actress">Best Actress Oscar</a> the following March. It was the last major Academy Award for an RKO picture.<a href="#cite_note-161">[161]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Howard-Hughes-Illustration-TIME-1948.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Howard-Hughes-Illustration-TIME-1948.jpg/220px-Howard-Hughes-Illustration-TIME-1948.jpg" decoding="async" width="220" height="246" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Howard-Hughes-Illustration-TIME-1948.jpg/330px-Howard-Hughes-Illustration-TIME-1948.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Howard-Hughes-Illustration-TIME-1948.jpg/440px-Howard-Hughes-Illustration-TIME-1948.jpg 2x" data-file-width="1512" data-file-height="1690" /></a><figcaption><a href="/wiki/Howard_Hughes" title="Howard Hughes">Howard Hughes</a>, as depicted by <a href="/wiki/Ernest_Hamlin_Baker" title="Ernest Hamlin Baker">Ernest Hamlin Baker</a> for the cover of the July 19, 1948, issue of <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>.</figcaption></figure> In May 1948, eccentric aviation tycoon and occasional movie producer <a href="/wiki/Howard_Hughes" title="Howard Hughes">Howard Hughes</a> spent $8.8 million to gain control of the company, beating out British film magnate <a href="/wiki/J._Arthur_Rank" title="J. Arthur Rank">J. Arthur Rank</a> for Odlum's stake.<a href="#cite_note-162">[162]</a> During Hughes's tenure, RKO suffered its worst years since the early 1930s, as his capricious management style took a heavy toll. Production chief Schary quit almost immediately due to his new boss's interference and Rathvon soon followed.<a href="#cite_note-163">[163]</a> Within weeks of taking over, Hughes had dismissed three-fourths of the work force; production was virtually shut down for six months as the conservative Hughes shelved or canceled several of the "<a href="/wiki/Message_picture" title="Message picture">message pictures</a>" that Schary had backed.<a href="#cite_note-164">[164]</a> All of the Big Five saw their profits dwindle in 1948—from Fox, down 11 percent, to Loew's/MGM, down 62 percent—but at RKO they virtually vanished: from $5.1 million in 1947 to $0.5 million, a drop of 90 percent.<a href="#cite_note-165">[165]</a> The production-distribution end of the RKO business, now deep in the red, would never make a profit again.<a href="#cite_note-166">[166]</a> Offscreen, Robert Mitchum's arrest and conviction for marijuana possession—he served two months in jail—was widely assumed to mean career death for RKO's most promising young star, but Hughes surprised the industry by announcing that his contract was not endangered.<a href="#cite_note-167">[167]</a> Of much broader significance, Hughes decided to get the jump on his Big Five competitors by being the first to settle the federal government's antitrust suit against the major studios, which had won a crucial Supreme Court ruling in <a href="/wiki/United_States_v._Paramount_Pictures,_Inc." title="United States v. Paramount Pictures, Inc.">United States v. Paramount Pictures, Inc.</a> Under the <a href="/wiki/Consent_decree" title="Consent decree">consent decree</a> he signed, Hughes agreed to dissolve the old parent company, Radio-Keith-Orpheum Corp., and split RKO's production-distribution business and its exhibition chain into two entirely separate corporations—RKO Pictures Corp. and RKO Theatres Corp.—with the obligation to promptly sell off one or the other. While Hughes delayed the divorcement procedure until December 1950 and did not actually sell his stock in the theater company for another three years, his decision to acquiesce was one of the crucial steps in the collapse of classical Hollywood's <a href="/wiki/Studio_system" title="Studio system">studio system</a>.<a href="#cite_note-168">[168]</a> <div class="mw-heading mw-heading3"><h3 id="Turmoil_under_Hughes">Turmoil under Hughes</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=11" title="Edit section: Turmoil under Hughes">edit</a>]</div> Shooting at RKO picked up again in early 1949, but from an average of around thirty films annually before Hughes's takeover, production fell to just twelve that year. Sporting the new title of managing director of production, Hughes quickly became notorious for meddling in minute filmmaking matters and promoting actresses he favored—including two under personal contract to him, <a href="/wiki/Jane_Russell" title="Jane Russell">Jane Russell</a> and <a href="/wiki/Faith_Domergue" title="Faith Domergue">Faith Domergue</a>.<a href="#cite_note-169">[169]</a> While his time at RKO was marked by both diminished production and a slew of expensive flops, the studio continued to turn out some well-received films under production chiefs <a href="/wiki/Sid_Rogell" title="Sid Rogell">Sid Rogell</a> and <a href="/wiki/Samuel_Bischoff" title="Samuel Bischoff">Sam Bischoff</a>, though both became fed up with Hughes's interloping and each in turn quit after less than two years. Bischoff was the last man to hold the job under Hughes.<a href="#cite_note-170">[170]</a> There were B noirs such as <a href="/wiki/The_Window_(1949_film)" title="The Window (1949 film)">The Window</a> (1949), which turned into a hit,<a href="#cite_note-171">[171]</a> and <a href="/wiki/The_Set-Up_(1949_film)" title="The Set-Up (1949 film)">The Set-Up</a> (1949), directed by <a href="/wiki/Robert_Wise" title="Robert Wise">Robert Wise</a> and starring <a href="/wiki/Robert_Ryan" title="Robert Ryan">Robert Ryan</a>, which won the Critic's Prize at the <a href="/wiki/Cannes_Film_Festival" title="Cannes Film Festival">Cannes Film Festival</a>.<a href="#cite_note-172">[172]</a> <a href="/wiki/The_Thing_from_Another_World" title="The Thing from Another World">The Thing from Another World</a> (1951), a science-fiction drama coproduced with Howard Hawks's Winchester Pictures, is seen as a classic of the genre.<a href="#cite_note-173">[173]</a> In 1952, RKO put out two films directed by <a href="/wiki/Fritz_Lang" title="Fritz Lang">Fritz Lang</a>, <a href="/wiki/Rancho_Notorious" title="Rancho Notorious">Rancho Notorious</a> and <a href="/wiki/Clash_by_Night" title="Clash by Night">Clash by Night</a>. The latter was a project of the renowned <a href="/wiki/Jerry_Wald" title="Jerry Wald">Jerry Wald</a>–<a href="/wiki/Norman_Krasna" title="Norman Krasna">Norman Krasna</a> production team, lured by Hughes from Warner Bros. with great fanfare in August 1950.<a href="#cite_note-174">[174]</a> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:MacaoPoster.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/49/MacaoPoster.jpg/200px-MacaoPoster.jpg" decoding="async" width="200" height="310" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/4/49/MacaoPoster.jpg 1.5x" data-file-width="298" data-file-height="462" /></a><figcaption><a href="/wiki/Robert_Mitchum" title="Robert Mitchum">Robert Mitchum</a>, RKO's most prolific lead of the late 1940s and early 1950s,<a href="#cite_note-175">[175]</a> costarred in <a href="/wiki/Macao_(film)" title="Macao (film)">Macao</a> (1952) with <a href="/wiki/Jane_Russell" title="Jane Russell">Jane Russell</a>, who was personally contracted to Howard Hughes.<a href="#cite_note-176">[176]</a> Director <a href="/wiki/Josef_von_Sternberg" title="Josef von Sternberg">Josef von Sternberg</a>'s work was combined with scenes shot by <a href="/wiki/Nicholas_Ray" title="Nicholas Ray">Nicholas Ray</a> and <a href="/wiki/Mel_Ferrer" title="Mel Ferrer">Mel Ferrer</a>.<a href="#cite_note-177">[177]</a></figcaption></figure> The company also began a close working relationship with <a href="/wiki/Ida_Lupino" title="Ida Lupino">Ida Lupino</a>. She starred in two suspense films with Robert Ryan—Nicholas Ray's <a href="/wiki/On_Dangerous_Ground" title="On Dangerous Ground">On Dangerous Ground</a> (1952, though shooting had been completed two years earlier) and <a href="/wiki/Beware,_My_Lovely" title="Beware, My Lovely">Beware, My Lovely</a> (1952), a coproduction between RKO and Lupino's company, The Filmakers.<a href="#cite_note-178">[178]</a> Of more historic note, Lupino was Hollywood's only female director during the period; of the five pictures The Filmakers made with RKO, Lupino directed three, including her now celebrated <a href="/wiki/The_Hitch-Hiker_(1953_film)" class="mw-redirect" title="The Hitch-Hiker (1953 film)">The Hitch-Hiker</a> (1953).<a href="#cite_note-179">[179]</a> Exposing many moviegoers to Asian cinema for the first time, RKO distributed <a href="/wiki/Akira_Kurosawa" title="Akira Kurosawa">Akira Kurosawa</a>'s epochal <a href="/wiki/Rashomon_(film)" class="mw-redirect" title="Rashomon (film)">Rashomon</a> in the United States, sixteen months after its original 1950 Japanese release.<a href="#cite_note-180">[180]</a> The only smash hits released by RKO in the 1950s came out during this period, but neither was an in-house production: Goldwyn's <a href="/wiki/Hans_Christian_Andersen_(film)" title="Hans Christian Andersen (film)">Hans Christian Andersen</a> (1952) was followed by Disney's <a href="/wiki/Peter_Pan_(1953_film)" title="Peter Pan (1953 film)">Peter Pan</a> (1953).<a href="#cite_note-F219-52">[52]</a><a href="#cite_note-181">[181]</a> The first two shorts directed by a twenty-two-year-old photographer from <a href="/wiki/The_Bronx" title="The Bronx">the Bronx</a> were both released in 1951 by RKO Pathé—<a href="/wiki/Stanley_Kubrick" title="Stanley Kubrick">Stanley Kubrick</a>'s <a href="/wiki/Day_of_the_Fight" title="Day of the Fight">Day of the Fight</a> and <a href="/wiki/Flying_Padre" title="Flying Padre">Flying Padre</a>.<a href="#cite_note-182">[182]</a> In early 1952, Hughes fought off a lawsuit by screenwriter <a href="/wiki/Paul_Jarrico" title="Paul Jarrico">Paul Jarrico</a>, who had been caught up in the latest round of HUAC hearings; Hughes had fired him and removed his name from the credits of a recent release, <a href="/wiki/The_Las_Vegas_Story_(film)" title="The Las Vegas Story (film)">The Las Vegas Story</a>, a money-losing melodrama starring Jane Russell.<a href="#cite_note-183">[183]</a> The studio owner subsequently ordered 100 RKO employees on "leave of absence" while he established a "security office" to oversee an ideological vetting system. "We are going to screen everyone in a creative or executive capacity", he declared. "The work of Communist sympathizers will not be used."<a href="#cite_note-184">[184]</a> As more credits were expunged, some in the industry began to question whether Hughes's hunt for subversives served primarily as a convenient rationale for further curtailing production and trimming expenses.<a href="#cite_note-185">[185]</a> In September, Hughes and his corporate president, Ned Depinet, sold their RKO studio stock to a Chicago-based syndicate with no experience in the movie business; the syndicate's chaotic reign lasted until February 1953, when the stock and control were reacquired by Hughes.<a href="#cite_note-186">[186]</a> The studio's net loss in 1952 was over $10 million, and shooting had taken place for just a single in-house production over the last five months of the year.<a href="#cite_note-187">[187]</a> During the turmoil, Samuel Goldwyn ended his eleven-year-long distribution deal with RKO. Wald and Krasna escaped their contracts and the studio as well. The deal that brought the team to RKO had called for them to produce sixty features over five years; in just shy of half that time, they succeeded in making four.<a href="#cite_note-188">[188]</a> The Encino ranch shut down permanently in 1953 and the property was sold off.<a href="#cite_note-189">[189]</a> In November, Hughes finally fulfilled his obligations under the 1948 consent decree, divesting RKO Theatres; Albert A. List purchased the controlling interest in the business and renamed it List Industries.<a href="#cite_note-190">[190]</a> Hughes soon found himself the target of no fewer than five separate lawsuits filed by minority shareholders in RKO, accusing him of malfeasance in his dealings with the Chicago group and a wide array of acts of mismanagement. "RKO's contract list is down to three actors and 127 lawyers", quipped <a href="/wiki/Dick_Powell" title="Dick Powell">Dick Powell</a>.<a href="#cite_note-191">[191]</a> Leery of the studio's mounting problems and sparring with it over the release of the forthcoming nature documentary <a href="/wiki/The_Living_Desert" title="The Living Desert">The Living Desert</a>, the Disney company exited its long-standing arrangement with RKO and set up its own distribution firm, <a href="/wiki/Walt_Disney_Studios_Motion_Pictures" title="Walt Disney Studios Motion Pictures">Buena Vista</a>.<a href="#cite_note-192">[192]</a> Contractual obligations meant that one last Disney feature would be released by RKO in 1954, and it continued to handle Disney shorts into 1956.<a href="#cite_note-193">[193]</a> Looking to forestall the impending legal imbroglio, by early 1954 Hughes was offering to buy out all of RKO's other stockholders.<a href="#cite_note-194">[194]</a> Before the end of the year, at a cost of $23.5 million, Hughes had gained near-total control of RKO Pictures Corp., becoming the first virtual sole owner of a studio since Hollywood's pioneer days—virtual, but not quite actual. Floyd Odlum reemerged to block Hughes's acquisition of the 95 percent ownership of RKO stock he needed to write off the company's losses against his earnings elsewhere. Hughes had reneged on his promise to give Odlum first option on buying the RKO theater chain when he divested it, and was now paying the price.<a href="#cite_note-195">[195]</a> With negotiations between the two at a stalemate, in July 1955, Hughes turned around and sold RKO Radio Pictures Inc. to the <a href="/wiki/General_Tire" title="General Tire">General Tire and Rubber Company</a> for $25 million, leaving himself and Odlum the shell of RKO Pictures Corp. and what were now, according to <a href="/wiki/Fortune_(magazine)" title="Fortune (magazine)">Fortune</a>, its "sole assets ... $18 million in cash."<a href="#cite_note-196">[196]</a> For Hughes, this was the effective end of a quarter-century's involvement in the movie business. Historian Betty Lasky describes Hughes's relationship with RKO as a "systematic seven-year rape."<a href="#cite_note-197">[197]</a> <div class="mw-heading mw-heading3"><h3 id="General_Tire_and_demise">General Tire and demise</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=12" title="Edit section: General Tire and demise">edit</a>]</div> In taking control of the studio, General Tire restored RKO's close ties to broadcasting. General Tire had bought the <a href="/wiki/Yankee_Network" title="Yankee Network">Yankee Network</a>, a New England regional radio network, in 1943.<a href="#cite_note-198">[198]</a> In 1950, it purchased the West Coast regional <a href="/wiki/Don_Lee_(broadcaster)" title="Don Lee (broadcaster)">Don Lee Broadcasting System</a>,<a href="#cite_note-199">[199]</a> and two years later, the <a href="/wiki/Bamberger%27s#WOR_history" title="Bamberger's">Bamberger Broadcasting Service</a>, owner of the <a href="/wiki/WOR_(AM)" title="WOR (AM)">WOR radio</a> and <a href="/wiki/WWOR-TV" title="WWOR-TV">television</a> stations in New York City.<a href="#cite_note-200">[200]</a> The latter acquisition gave General Tire majority control of the <a href="/wiki/Mutual_Broadcasting_System" title="Mutual Broadcasting System">Mutual Broadcasting System</a>, one of America's leading radio networks.<a href="#cite_note-201">[201]</a> General Tire then merged its broadcasting interests into a new subsidiary, General Teleradio.<a href="#cite_note-202">[202]</a> <a href="/wiki/Thomas_F._O%27Neil" title="Thomas F. O'Neil">Thomas F. O'Neil</a>, son of General Tire's founder William O'Neil and chairman of the broadcasting group, saw that the company's new television stations, indeed all TV outlets, were in need of programming.<a href="#cite_note-S40-203">[203]</a><a href="#cite_note-204">[204]</a> In September 1954, WOR-TV had launched the Million Dollar Movie program, running a single film for a week, twice every night plus Saturday and Sunday matinees; the format proved hugely successful and non-<a href="/wiki/Television_broadcasting#United_States" class="mw-redirect" title="Television broadcasting">network</a>-affiliated stations around the country were eager to emulate it.<a href="#cite_note-205">[205]</a><a href="#cite_note-206">[206]</a> With the purchase of RKO, the studio's library was under O'Neil's control and he quickly put the rights to the 742 films to which RKO retained clear title up for sale. C&C Television Corp., a subsidiary of beverage maker <a href="/wiki/Cantrell_and_Cochrane" class="mw-redirect" title="Cantrell and Cochrane">Cantrell & Cochrane</a>, won the bidding in December 1955 and was soon offering the films to independent stations in a package called "MovieTime USA".<a href="#cite_note-S40-203">[203]</a><a href="#cite_note-207">[207]</a> RKO Teleradio Pictures—the newly renamed General Teleradio, under which RKO Radio Pictures now operated as a business division—retained the broadcast rights for the cities where it owned TV stations.<a href="#cite_note-208">[208]</a><a href="#cite_note-Coup-209">[209]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Lnone">[l]</a> By 1956, RKO's classic movies were playing widely on television, often in the Million Dollar Movie format, allowing many to see such films as Citizen Kane and King Kong for the first time. The $15.2 million RKO made on the deal convinced the other major studios that their libraries held profit potential—a turning point in the way Hollywood did business.<a href="#cite_note-S40-203">[203]</a><a href="#cite_note-210">[210]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:JetPilotPoster.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/JetPilotPoster.jpg/190px-JetPilotPoster.jpg" decoding="async" width="190" height="266" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/5/59/JetPilotPoster.jpg 1.5x" data-file-width="250" data-file-height="350" /></a><figcaption><a href="/wiki/Jet_Pilot_(film)" title="Jet Pilot (film)">Jet Pilot</a>, a Hughes pet production launched in 1949. Shooting wrapped in May 1951, but it was not released until 1957 due to his interminable tinkering. RKO was by then out of the distribution business. The movie was released by <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal-International</a>.<a href="#cite_note-211">[211]</a></figcaption></figure> The new owners of RKO made an initial effort to revive the studio, hiring veteran producer <a href="/wiki/William_Dozier" title="William Dozier">William Dozier</a> to head production.<a href="#cite_note-212">[212]</a> In the first half of 1956, the production facilities were as busy as they had been in a half-decade, with a planned slate of seventeen features.<a href="#cite_note-Coup-209">[209]</a><a href="#cite_note-213">[213]</a> RKO released Fritz Lang's final two American films, <a href="/wiki/While_the_City_Sleeps_(1956_film)" title="While the City Sleeps (1956 film)">While the City Sleeps</a> and <a href="/wiki/Beyond_a_Reasonable_Doubt_(1956_film)" title="Beyond a Reasonable Doubt (1956 film)">Beyond a Reasonable Doubt</a> (both 1956), but years of mismanagement had driven away many directors, producers, and stars.<a href="#cite_note-214">[214]</a> The studio was also saddled with the last of the inflated B movies such as <a href="/wiki/Pearl_of_the_South_Pacific" title="Pearl of the South Pacific">Pearl of the South Pacific</a> (1955) and <a href="/wiki/The_Conqueror_(1956_film)" title="The Conqueror (1956 film)">The Conqueror</a> (1956) that enchanted Hughes.<a href="#cite_note-215">[215]</a> While the latter, starring John Wayne, was the biggest hit produced at the studio during the decade, that bar was low—it placed only eleventh among the year's top earners.<a href="#cite_note-F219-52">[52]</a><a href="#cite_note-216">[216]</a> A major money loser in standard terms, its $4.5 million in North American rentals not coming close to covering its $6 million production cost, Hughes had paid RKO Teleradio millions to buy back the rights.<a href="#cite_note-F219-52">[52]</a><a href="#cite_note-Coup-209">[209]</a> In March 1956 came the news that RKO Pathé was being dissolved.<a href="#cite_note-217">[217]</a> On January 22, 1957, after a year and a half without a notable success, RKO announced that it was closing its domestic distribution offices—<a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal</a> would take over most future releases—and that a reduced production wing would move to the Culver City lot.<a href="#cite_note-218">[218]</a> In fact, General Tire shut down RKO production for good.<a href="#cite_note-219">[219]</a> Overseas distribution exchanges were dispensed with: RKO Japan Ltd. was sold to Disney and the British Commonwealth Film Corporation in July 1957, and RKO Radio Pictures Ltd. in the UK was dissolved a year later.<a href="#cite_note-220">[220]</a> The Hollywood and Culver City facilities were sold in late 1957 for $6.15 million to <a href="/wiki/Desilu_Productions" class="mw-redirect" title="Desilu Productions">Desilu Productions</a>, owned by <a href="/wiki/Desi_Arnaz" title="Desi Arnaz">Desi Arnaz</a> and <a href="/wiki/Lucille_Ball" title="Lucille Ball">Lucille Ball</a>, who had been an RKO contract player from 1935 to 1942.<a href="#cite_note-221">[221]</a> Desilu was acquired by <a href="/wiki/Gulf_and_Western_Industries" title="Gulf and Western Industries">Gulf and Western Industries</a> in 1967 and merged into G+W's other production company, neighboring <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount Pictures</a>; the former RKO Hollywood studio, FBO's old home, is now part of the Paramount lot.<a href="#cite_note-222">[222]</a> The renovated Culver City studio, where DeMille once reigned, is now owned and operated as an independent production facility.<a href="#cite_note-223">[223]</a> Forty Acres, the Culver City backlot, was razed in the mid-1970s.<a href="#cite_note-224">[224]</a> List Industries, the former RKO Theatres Corp., was bought by Glen Alden Corp. in 1959. Glen Alden acquired another chain in 1967, creating RKO–Stanley Warner Theatres. <a href="/wiki/Cinerama" title="Cinerama">Cinerama</a> purchased the exhibition circuit from Glen Alden in 1971.<a href="#cite_note-225">[225]</a> Now little more than a name and beneficiary of General Tire's doubtful largesse, RKO announced in early 1958 that it would continue as a financial backer, coproducing independently made pictures. Fewer than half a dozen resulted.<a href="#cite_note-226">[226]</a> The final RKO film, <a href="/wiki/Verboten!" title="Verboten!">Verboten!</a>, a coproduction with director <a href="/wiki/Samuel_Fuller" title="Samuel Fuller">Samuel Fuller</a>'s Globe Enterprises, was released, fitfully, beginning in March 1959, first by <a href="/wiki/The_Rank_Organisation" title="The Rank Organisation">Rank</a> and then <a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia</a>.<a href="#cite_note-227">[227]</a> That same year, "Pictures" was stripped from the corporate identity; the holding company for General Tire's broadcasting operation and the few remaining motion picture assets was renamed <a href="/wiki/RKO_General" title="RKO General">RKO General</a>.<a href="#cite_note-228">[228]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Mnone">[m]</a> In the words of scholar Richard B. Jewell, "The supreme irony of RKO's existence is that the studio earned a position of lasting importance in cinema history largely because of its extraordinarily unstable history. Since it was the weakling of Hollywood's 'majors,' RKO welcomed a diverse group of individualistic creators and provided them ... with an extraordinary degree of freedom to express their artistic idiosyncrasies.... [I]t never became predictable and it never became a factory."<a href="#cite_note-229">[229]</a> <div class="mw-heading mw-heading2"><h2 id="Later_incarnations">Later incarnations</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=13" title="Edit section: Later incarnations">edit</a>]</div> Beginning with 1981's <a href="/wiki/Carbon_Copy_(film)" title="Carbon Copy (film)">Carbon Copy</a>, RKO General became involved in the coproduction of a number of feature films and TV projects through a subsidiary created three years earlier, RKO Pictures Inc.<a href="#cite_note-230">[230]</a> In collaboration with Universal Studios, RKO put out five films over the next three years. Although the studio frequently worked with major names—including <a href="/wiki/Burt_Reynolds" title="Burt Reynolds">Burt Reynolds</a> and <a href="/wiki/Dolly_Parton" title="Dolly Parton">Dolly Parton</a> in <a href="/wiki/The_Best_Little_Whorehouse_in_Texas_(film)" title="The Best Little Whorehouse in Texas (film)">The Best Little Whorehouse in Texas</a>, <a href="/wiki/Jack_Nicholson" title="Jack Nicholson">Jack Nicholson</a> in <a href="/wiki/The_Border_(1982_film)" title="The Border (1982 film)">The Border</a>, and <a href="/wiki/Nastassja_Kinski" title="Nastassja Kinski">Nastassja Kinski</a> in <a href="/wiki/Cat_People_(1982_film)" title="Cat People (1982 film)">Cat People</a> (all 1982)—it met with little success. Corporate restructuring brought RKO General under the aegis of the new holding company <a href="/wiki/Aerojet_Rocketdyne_Holdings#Name_change" class="mw-redirect" title="Aerojet Rocketdyne Holdings">GenCorp</a>, and starting with the <a href="/wiki/Meryl_Streep" title="Meryl Streep">Meryl Streep</a> vehicle <a href="/wiki/Plenty_(film)" title="Plenty (film)">Plenty</a> (1985), RKO Pictures took on more projects as sole studio backer.<a href="#cite_note-FU-231">[231]</a> In January 1986, Paramount signed a two-year distribution agreement with the company.<a href="#cite_note-232">[232]</a> Films such as the erotic thriller <a href="/wiki/Half_Moon_Street_(film)" title="Half Moon Street (film)">Half Moon Street</a> (1986) and the Vietnam War drama <a href="/wiki/Hamburger_Hill" title="Hamburger Hill">Hamburger Hill</a> (1987) followed, but production ended as GenCorp underwent a massive reorganization following an attempted hostile takeover.<a href="#cite_note-FU-231">[231]</a> With RKO General dismantling its broadcast business, RKO Pictures Inc., along with the original RKO studio's <a href="/wiki/Trademarks" class="mw-redirect" title="Trademarks">trademarks</a>, <a href="/wiki/Remake" title="Remake">remake</a> rights, and other remaining assets, was put up for sale. After a bid by RKO Pictures' own management team failed, the managers made a deal with <a href="/wiki/Wesray_Capital_Corporation" title="Wesray Capital Corporation">Wesray Capital Corporation</a>—under the control of former US treasury secretary <a href="/wiki/William_E._Simon" title="William E. Simon">William E. Simon</a> and investor <a href="/wiki/Ray_Chambers" title="Ray Chambers">Ray Chambers</a>—to buy RKO through Entertainment Acquisition Co., a newly created purchasing entity.<a href="#cite_note-233">[233]</a> The sale was completed in late 1987, and Wesray linked RKO with its <a href="/wiki/Six_Flags" title="Six Flags">Six Flags</a> amusement parks to form RKO/Six Flags Entertainment Inc.<a href="#cite_note-234">[234]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1242257876"><table class="infobox ib-company vcard"><caption class="infobox-title fn org" style="font-size: 125%;">RKO Pictures LLC</caption><tbody><tr><td colspan="2" class="infobox-image ib-company-logo logo"><a href="/wiki/File:Newrkologo.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/7/75/Newrkologo.jpg/220px-Newrkologo.jpg" decoding="async" width="220" height="143" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/7/75/Newrkologo.jpg 1.5x" data-file-width="316" data-file-height="205" /></a></td></tr><tr><th scope="row" class="infobox-label">Company type</th><td class="infobox-data category"><a href="/wiki/Limited_liability_corporation" class="mw-redirect" title="Limited liability corporation">Limited liability company (LLC)</a></td></tr><tr><th scope="row" class="infobox-label">Industry</th><td class="infobox-data category"><a href="/wiki/Motion_picture" class="mw-redirect" title="Motion picture">Motion pictures</a></td></tr><tr><th scope="row" class="infobox-label">Founded</th><td class="infobox-data">1990; 35 years ago (1990)</td></tr><tr><th scope="row" class="infobox-label">Headquarters</th><td class="infobox-data label">LA Office: 11301 West Olympic Blvd., Suite 510, Los Angeles, CA 90064 NY Office: 750 Lexington Ave., Suite 2200, New York, NY 10022</td></tr><tr><th scope="row" class="infobox-label"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Key people</div></th><td class="infobox-data agent"><a href="/wiki/Ted_Hartley" title="Ted Hartley">Ted Hartley</a> (Chairman and CEO) Mary Beth O'Connor (Vice Chair)</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Division_(business)" title="Division (business)">Divisions</a></th><td class="infobox-data">RKO Stage Productions RKO Radio</td></tr><tr><th scope="row" class="infobox-label">Website</th><td class="infobox-data"><a rel="nofollow" class="external text" href="http://www.rko.com/">www.rko.com</a> <a href="https://www.wikidata.org/wiki/Q267282#P856" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></td></tr></tbody></table> In 1989, RKO Pictures, which had produced no films while under Wesray control, was sold off yet again. Actress and <a href="/wiki/Post_Consumer_Brands" title="Post Consumer Brands">Post Cereals</a> heiress <a href="/wiki/Dina_Merrill" title="Dina Merrill">Dina Merrill</a> and her husband, producer <a href="/wiki/Ted_Hartley" title="Ted Hartley">Ted Hartley</a>, acquired a majority interest and merged the company with their Pavilion Communications. After a brief period as RKO/Pavilion, the business was reorganized as RKO Pictures LLC.<a href="#cite_note-235">[235]</a><a href="#cite_note-236">[236]</a> With the inaugural RKO production under Hartley and Merrill's ownership, <a href="/wiki/False_Identity" title="False Identity">False Identity</a> (1990), the company also stepped into the distribution business. In 1992, it handled the well-regarded independent production <a href="/wiki/Laws_of_Gravity_(film)" title="Laws of Gravity (film)">Laws of Gravity</a>, directed by <a href="/wiki/Nick_Gomez" title="Nick Gomez">Nick Gomez</a>.<a href="#cite_note-237">[237]</a> RKO's next significant film came in 1998 with <a href="/wiki/Mighty_Joe_Young_(1998_film)" title="Mighty Joe Young (1998 film)">Mighty Joe Young</a>, a remake of a <a href="/wiki/Mighty_Joe_Young_(1949_film)" title="Mighty Joe Young (1949 film)">1949 RKO movie</a> that was itself a King Kong knockoff; the Disney coproduction was distributed by Buena Vista.<a href="#cite_note-238">[238]</a> In the early 2000s, the company was involved as a coproducer of TV movies and modestly budgeted features, about one a year.<a href="#cite_note-Fleming03-239">[239]</a> In 2003, it coproduced a Broadway stage version of the 1936 Astaire–Rogers vehicle <a href="/wiki/Swing_Time_(film)" title="Swing Time (film)">Swing Time</a>, under the title Never Gonna Dance.<a href="#cite_note-240">[240]</a> That same year, RKO Pictures entered into a legal battle with Wall Street Financial Associates (WSFA). Hartley and Merrill claimed that the owners of WSFA fraudulently induced them into signing an acquisition agreement by concealing their "cynical and rapacious" plans to purchase RKO, with the intention only of dismantling it. WSFA sought a preliminary injunction prohibiting RKO's majority owners from selling their interests in the company to any third parties.<a href="#cite_note-241">[241]</a> The WSFA motion was denied in July 2003, freeing RKO to deal with another potential purchaser, InternetStudios.com. In 2004, that planned sale fell through when InternetStudios.com apparently folded.<a href="#cite_note-242">[242]</a> The company's minimal involvement in new film production continued to focus on its remake rights: <a href="/wiki/Are_We_Done_Yet%3F" title="Are We Done Yet?">Are We Done Yet?</a>, based on <a href="/wiki/Mr._Blandings_Builds_His_Dream_House" title="Mr. Blandings Builds His Dream House">Mr. Blandings Builds His Dream House</a> (1948), was released in April 2007 to dismal reviews.<a href="#cite_note-243">[243]</a> In 2009, <a href="/wiki/Beyond_a_Reasonable_Doubt_(2009_film)" title="Beyond a Reasonable Doubt (2009 film)">Beyond a Reasonable Doubt</a>, a remake of a <a href="/wiki/Beyond_a_Reasonable_Doubt_(1956_film)" title="Beyond a Reasonable Doubt (1956 film)">1956 RKO film</a> directed by Fritz Lang, fared even worse critically, receiving a 7% rating on <a href="/wiki/Rotten_Tomatoes" title="Rotten Tomatoes">Rotten Tomatoes</a>.<a href="#cite_note-244">[244]</a> A stage version of Top Hat toured Great Britain in the second half of 2011.<a href="#cite_note-245">[245]</a> The most recent RKO film coproductions are the well-received <a href="/wiki/A_Late_Quartet" title="A Late Quartet">A Late Quartet</a> (2012) and the 2015 flop <a href="/wiki/Barely_Lethal" title="Barely Lethal">Barely Lethal</a>.<a href="#cite_note-246">[246]</a> Two months after Dina Merrill's May 2017 death,<a href="#cite_note-247">[247]</a> independent producer Keith Patterson sued RKO, Hartley, and his second-in-command, Mary Beth O'Connor, over the collapse of plans to create multiple TV series based on RKO properties, starting with Citizen Kane. According to Patterson's suit, O'Connor controls access to Hartley and holds both his <a href="/wiki/Healthcare_proxy" title="Healthcare proxy">healthcare proxy</a> and an option to acquire RKO and its intellectual property at a deep markdown after his death.<a href="#cite_note-248">[248]</a> As of November 2022, Hartley, then 98 years old, was still making public appearances connected with his avocation as a painter.<a href="#cite_note-249">[249]</a> <div class="mw-heading mw-heading2"><h2 id="Library">Library</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=14" title="Edit section: Library">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Rafter_Romance_(1933)_poster.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Rafter_Romance_%281933%29_poster.jpg/190px-Rafter_Romance_%281933%29_poster.jpg" decoding="async" width="190" height="248" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Rafter_Romance_%281933%29_poster.jpg/285px-Rafter_Romance_%281933%29_poster.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Rafter_Romance_%281933%29_poster.jpg/380px-Rafter_Romance_%281933%29_poster.jpg 2x" data-file-width="1726" data-file-height="2257" /></a><figcaption>The <a href="/wiki/Pre-Code" class="mw-redirect" title="Pre-Code">pre-Code</a> <a href="/wiki/Rafter_Romance" title="Rafter Romance">Rafter Romance</a> (1933), one of the "lost" films long held by <a href="/wiki/Merian_Cooper" class="mw-redirect" title="Merian Cooper">Merian Cooper</a>, debuted four months before <a href="/wiki/Ginger_Rogers" title="Ginger Rogers">Ginger Rogers</a>'s first pairing with <a href="/wiki/Fred_Astaire" title="Fred Astaire">Fred Astaire</a>. Costar <a href="/wiki/Norman_Foster_(director)" title="Norman Foster (director)">Norman Foster</a> later directed <a href="/wiki/Journey_into_Fear_(1943_film)" title="Journey into Fear (1943 film)">Journey into Fear</a> (1943) and <a href="/wiki/Rachel_and_the_Stranger" title="Rachel and the Stranger">Rachel and the Stranger</a> (1948) for RKO.</figcaption></figure> RKO Pictures LLC owns the RKO Radio Pictures Inc. film copyrights, trademarks, and story library, with title to more than 500 <a href="/wiki/Screenplays" class="mw-redirect" title="Screenplays">screenplays</a> (giving it the right to produce <a href="/wiki/Remakes" class="mw-redirect" title="Remakes">remakes</a>, <a href="/wiki/Sequels" class="mw-redirect" title="Sequels">sequels</a>, and <a href="/wiki/Prequels" class="mw-redirect" title="Prequels">prequels</a>) and approximately 900 unproduced scripts.<a href="#cite_note-Fleming03-239">[239]</a><a href="#cite_note-250">[250]</a><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#endnote_Nnone">[n]</a> The actual films and their television, video, and theatrical distribution rights are in other hands. In 1971, the US and Canadian TV—and consequently, video—rights to most of the RKO film library were sold at auction after the holders, TransBeacon (a corporate descendant of C&C Television), went bankrupt. The auctioned rights were split between <a href="/wiki/United_Artists" title="United Artists">United Artists</a> (UA) and Marian B. Inc. (MBI). In 1984, MBI created a subsidiary, Marian Pictures Inc. (MBP), to which it transferred its share of the RKO rights. Two years later GenCorp's subsidiaries, RKO General and RKO Pictures, repurchased the rights then controlled by MBP.<a href="#cite_note-251">[251]</a> In the meantime, United Artists had been acquired by MGM. In 1986, MGM/UA's considerable library, including its RKO film negatives and rights, was bought by <a href="/wiki/Turner_Broadcasting_System" title="Turner Broadcasting System">Turner Broadcasting System</a> for its new <a href="/wiki/Turner_Entertainment" title="Turner Entertainment">Turner Entertainment</a> division. When Turner announced plans to <a href="/wiki/Film_colorization" title="Film colorization">colorize</a> ten of the RKO films, GenCorp resisted, claiming copyright infringement, leading to both sides filing lawsuits.<a href="#cite_note-252">[252]</a> During RKO Pictures' brief Wesray episode, Turner acquired many of the distribution rights that had returned to RKO via MBP, as well as both the theatrical rights and the TV rights originally held back from C&C for the cities where RKO owned stations.<a href="#cite_note-253">[253]</a> The new owners of RKO also allowed Turner to move forward with colorization of the library.<a href="#cite_note-254">[254]</a> Early in 1989, Turner declared that no less than the historic Citizen Kane would be colorized; upon review of Welles's ironclad creative contract with RKO, that plan was abandoned.<a href="#cite_note-CKAFI-255">[255]</a> In October 1996, Turner was merged into <a href="/wiki/WarnerMedia" title="WarnerMedia">Time Warner</a>—as <a href="/wiki/Warner_Bros._Discovery" title="Warner Bros. Discovery">Warner Bros. Discovery</a>, it today owns the bulk of the RKO library and controls its distribution in North America.<a href="#cite_note-256">[256]</a> In 2007, Warners' <a href="/wiki/Turner_Classic_Movies" title="Turner Classic Movies">Turner Classic Movies</a> channel obtained the rights to six "lost" RKO films that Merian Cooper acquired in a 1946 legal settlement with his former employer and later transferred to a business associate as a tax shelter.<a href="#cite_note-257">[257]</a> The Disney films originally distributed by RKO are owned and fully controlled by the <a href="/wiki/The_Walt_Disney_Company" title="The Walt Disney Company">Walt Disney Company</a>,<a href="#cite_note-258">[258]</a> as is the 1940 RKO adaptation of <a href="/wiki/Swiss_Family_Robinson_(1940_film)" title="Swiss Family Robinson (1940 film)">Swiss Family Robinson</a>, purchased by Disney prior to its <a href="/wiki/Swiss_Family_Robinson_(1960_film)" title="Swiss Family Robinson (1960 film)">1960 remake</a>.<a href="#cite_note-259">[259]</a> Rights to many other independent productions distributed by the studio, as well as some notable coproductions, are in new hands. Most <a href="/wiki/Samuel_Goldwyn" title="Samuel Goldwyn">Samuel Goldwyn</a> films are owned by his estate and administered by Warner Bros. in North America and <a href="/wiki/Miramax" title="Miramax">Miramax</a>—in which <a href="/wiki/Paramount_Global" title="Paramount Global">Paramount Global</a> currently holds a 49 percent stake—internationally.<a href="#cite_note-260">[260]</a> <a href="/wiki/It%27s_a_Wonderful_Life" title="It's a Wonderful Life">It's a Wonderful Life</a>, coproduced by <a href="/wiki/Frank_Capra" title="Frank Capra">Frank Capra</a>'s <a href="/wiki/Liberty_Films" title="Liberty Films">Liberty Films</a>,<a href="#cite_note-261">[261]</a> and <a href="/wiki/The_Bells_of_St._Mary%27s" title="The Bells of St. Mary's">The Bells of St. Mary's</a>, coproduced by <a href="/wiki/Leo_McCarey" title="Leo McCarey">Leo McCarey</a>'s Rainbow Productions,<a href="#cite_note-262">[262]</a> are now owned by Paramount Global, through its predecessor <a href="/wiki/Viacom_(2005%E2%80%932019)" title="Viacom (2005–2019)">Viacom's</a> indirect acquisition of the <a href="/wiki/Republic_Pictures#Re-establishment" title="Republic Pictures">latter-day Republic Pictures</a>, formerly <a href="/wiki/National_Telefilm_Associates" title="National Telefilm Associates">National Telefilm Associates</a>.<a href="#cite_note-263">[263]</a> <a href="/wiki/Notorious_(1946_film)" title="Notorious (1946 film)">Notorious</a>, a coproduction between RKO and <a href="/wiki/David_Selznick" class="mw-redirect" title="David Selznick">David Selznick</a>'s Vanguard Films, is now owned by Disney;<a href="#cite_note-264">[264]</a> it is currently licensed to the <a href="/wiki/The_Criterion_Collection" title="The Criterion Collection">Criterion Collection</a>.<a href="#cite_note-265">[265]</a> <a href="/wiki/The_Stranger_(1946_film)" title="The Stranger (1946 film)">The Stranger</a>, from <a href="/wiki/William_Goetz" title="William Goetz">William Goetz</a>'s <a href="/wiki/International_Pictures" title="International Pictures">International Pictures</a>, has been in the <a href="/wiki/List_of_films_in_the_public_domain_in_the_United_States" title="List of films in the public domain in the United States">public domain</a> since 1973.<a href="#cite_note-266">[266]</a> Eighteen films produced by RKO itself in 1930–31, including <a href="/wiki/Dixiana_(film)" title="Dixiana (film)">Dixiana</a>, were also allowed to fall into the public domain, as were several later in-house productions, including high-profile releases such as <a href="/wiki/The_Animal_Kingdom_(1932_film)" title="The Animal Kingdom (1932 film)">The Animal Kingdom</a>, <a href="/wiki/Bird_of_Paradise_(1932_film)" title="Bird of Paradise (1932 film)">Bird of Paradise</a>, <a href="/wiki/Of_Human_Bondage_(1934_film)" title="Of Human Bondage (1934 film)">Of Human Bondage</a>, <a href="/wiki/Love_Affair_(1939_film)" title="Love Affair (1939 film)">Love Affair</a>, <a href="/wiki/The_Hunchback_of_Notre_Dame_(1939_film)" title="The Hunchback of Notre Dame (1939 film)">The Hunchback of Notre Dame</a>, and <a href="/wiki/They_Knew_What_They_Wanted_(film)" title="They Knew What They Wanted (film)">They Knew What They Wanted</a>.<a href="#cite_note-267">[267]</a> In early 1956, Hughes bought his beloved <a href="/wiki/Jet_Pilot_(film)" title="Jet Pilot (film)">Jet Pilot</a> and <a href="/wiki/The_Conqueror_(1956_film)" title="The Conqueror (1956 film)">The Conqueror</a>—along with a Jane Russell vehicle, <a href="/wiki/The_Outlaw" title="The Outlaw">The Outlaw</a> (1943), he had produced independently and sold to RKO before acquiring the studio—back from RKO Teleradio.<a href="#cite_note-Coup-209">[209]</a> Hughes failed to renew the copyright on The Outlaw, and it is now in the public domain.<a href="#cite_note-268">[268]</a> In 1979, three years after Hughes's death, Universal acquired the rights to The Conqueror.<a href="#cite_note-269">[269]</a> <div class="mw-heading mw-heading3"><h3 id="European_rights">European rights</h3>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=15" title="Edit section: European rights">edit</a>]</div> Ownership of the major European TV and video distribution rights to the RKO library differs by country: In the UK, the RKO rights, long held by <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Studios</a>, are now under Warner Bros.' control.<a href="#cite_note-270">[270]</a> The German rights were acquired in 1969 by KirchGruppe on behalf of its KirchMedia division, which went bankrupt in 2002. EOS Entertainment's Beta Film purchased many of KirchMedia's rights in 2004, and the library as of 2010 was distributed by Kineos, created five years earlier as a <a href="/wiki/Beta_Film" title="Beta Film">Beta Film</a>–KirchMedia joint venture.<a href="#cite_note-271">[271]</a> At the end of 2014, Warners took over the French rights from longtime distributor Éditions Montparnasse.<a href="#cite_note-272">[272]</a> Rome's Red Film claims the rights in Italy.<a href="#cite_note-273">[273]</a> As of 2011, Vértice 360 held the Spanish rights.<a href="#cite_note-274">[274]</a> <div class="mw-heading mw-heading2"><h2 id="Logos">Logos</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=16" title="Edit section: Logos">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:RKOlogo.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/d/d8/RKOlogo.jpg/220px-RKOlogo.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/d/d8/RKOlogo.jpg 1.5x" data-file-width="250" data-file-height="188" /></a><figcaption>Classic closing logo of RKO Radio Pictures</figcaption></figure> Most of the films released by RKO Pictures between 1929 and 1957 have an opening logo displaying the studio's famous trademark, a spinning globe and radio tower, nicknamed the "Transmitter". It was inspired by a 200-foot (61 m) tower built in Colorado for a giant electrical amplifier, or <a href="/wiki/Tesla_coil" title="Tesla coil">Tesla coil</a>, created by inventor <a href="/wiki/Nikola_Tesla" title="Nikola Tesla">Nikola Tesla</a>.<a href="#cite_note-275">[275]</a> For many years, the RKO tower beeped out the <a href="/wiki/Morse_code" title="Morse code">Morse code</a> for "A Radio Picture" (during much of World War II, "<a href="/wiki/V_sign#Second_World_War:_V_for_Victory_campaign" title="V sign">V for Victory</a>" was substituted).<a href="#cite_note-276">[276]</a> Orson Welles referred to the Transmitter as his "favorite among the old logos, not just because it was so often a reliable portent.... It reminds us to listen."<a href="#cite_note-277">[277]</a> The RKO Pathé feature logo replaced the radio tower with the Pathé brand's hallmark rooster, who stood stock-still as the world turned beneath his feet.<a href="#cite_note-278">[278]</a> RKO's closing logo, an inverted triangle enclosing a thunderbolt, was also a well-known trademark.<a href="#cite_note-279">[279]</a> Instead of the Transmitter, many <a href="/wiki/Disney" class="mw-redirect" title="Disney">Disney</a> and <a href="/wiki/Samuel_Goldwyn" title="Samuel Goldwyn">Goldwyn</a> films released by the studio originally appeared with colorful versions of the RKO closing logo as part of the main title sequence.<a href="#cite_note-280">[280]</a> For decades, re-releases of these films had Disney/<a href="/wiki/Buena_Vista_(brand)" title="Buena Vista (brand)">Buena Vista</a> and <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a>/Goldwyn logos replacing the RKO insignia, but the originals were restored in many DVD editions.<a href="#cite_note-281">[281]</a> In the 1990s, the Hartley–Merrill RKO Pictures commissioned a new, CGI version of the Transmitter.<a href="#cite_note-Fleming03-239">[239]</a><a href="#cite_note-282">[282]</a> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=17" title="Edit section: See also">edit</a>]</div> <ul><li><a href="/wiki/List_of_RKO_Pictures_films" title="List of RKO Pictures films">List of RKO Pictures films</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=18" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <div><ol style="list-style-type:lower-alpha"><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Anone">^</a> The claim in the January 1928 New York Times article cited here that FBO would be able to book its films "in practically 700 theatres which make up the Keith-Albee-Orpheum circuits and affiliated houses in America and Canada" is misleading. First, "affiliated houses" almost certainly constituted the vast majority of that figure. Time (1927) indicates that, as of May 1927, Keith-Albee (legally the B. F. Keith Corp.) had 50 theaters and Orpheum had 47—presumably counts of their fully owned venues. More important, per Jewell (2012): "Many of the vaudeville houses would not be converted into sound film theaters. In actuality, the original chain of K-A-O motion picture theaters would number fewer than two hundred" (p. 14). Crafton (1997) refers to "KAO and its 200 theaters" at the time of RKO's founding (p. 141) and states that in 1930, "The number of theaters owned outright by RKO increased to 180" (p. 208). While he references no contemporary sources for those figures, he does cite Film Daily in a description of RKO as controlling 250 theaters in mid-1930, following the major studios' "buying binge" (p. 256: <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/filmdailyvolume55354newy/page/308/mode/2up">"Big 6 Have Less than 20% of Houses"</a>. Film Daily. July 9, 1930. pp. 1–2. Retrieved December 28, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Film+Daily&rft.atitle=Big+6+Have+Less+than+20%25+of+Houses&rft.pages=%3Cspan+class%3D%22nowrap%22%3E1-%3C%2Fspan%3E2&rft.date=1930-07-09&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Ffilmdailyvolume55354newy%2Fpage%2F308%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988">) Schatz (1998) describes an "RKO chain of 161 theaters" around the time David O. Selznick became production chief in October 1931 (p. 128). Moving forward nearly a decade, Schatz (1999) writes that, as of 1940, RKO had "slightly more than 100 theaters" (p. 17). He explains that "the figures on studio-affiliated theaters vary considerably, owing to the number of houses in which the studios held only partial interest—as little as 5 percent in some cases" (p. 484, n. 24). Supporting Schatz's 1940 tally, that November, Radio-Keith-Orpheum Corp. submitted a court filing in an antitrust case stating that the company and its exhibition subsidiaries operated 103 theaters, of which 43 were in New York City.<a href="#cite_note-283">[283]</a> A 1944 book, Economic Control of the Motion Picture Industry, includes the table "Theater holdings of the major companies are approximately as follows"—RKO is listed as holding 222 theaters.<a href="#cite_note-284">[284]</a> Lasky (1989) indicates that a 1953 <a href="/wiki/Fortune_(magazine)" title="Fortune (magazine)">Fortune</a> article tallied the RKO circuit in 1948, at the time of Hughes's purchase, at "124 theaters, plus a share in about 75 others" (p. 205). Porst (2015) states then when RKO agreed, in late 1948, to divest its theaters, it had "only 109" (p. 115).</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Bnone">^</a> The online edition of <a href="/wiki/Encyclop%C3%A6dia_Britannica" title="Encyclopædia Britannica">Encyclopædia Britannica</a> erroneously states that RKO resulted "from the merger of the Radio Corporation of America, the Keith-Albee-Orpheum theatre chain, and the American Pathé production firm." See "<a rel="nofollow" class="external text" href="https://www.britannica.com/topic/RKO-Radio-Pictures-Inc">RKO Radio Pictures, Inc.</a>" (retrieved October 22, 2022). Many other sources make the same false claim. Note also the following: <div><ul><li>Some sources incorrectly describe Keith-Albee-Orpheum as the union of three theater chains; in fact the name describes the union of just two chains, B. F. Keith Corp. (doing business as Keith-Albee) and <a href="/wiki/Orpheum_Circuit_Inc." class="mw-redirect" title="Orpheum Circuit Inc.">Orpheum Circuit Inc.</a> <a href="/wiki/Edward_Franklin_Albee_II" class="mw-redirect" title="Edward Franklin Albee II">Edward F. Albee</a> was <a href="/wiki/Benjamin_Franklin_Keith" title="Benjamin Franklin Keith">Benjamin F. Keith</a>'s right-hand man. He took over the company after the deaths of its founder, in 1914, and his son, <a href="/wiki/A._Paul_Keith" title="A. Paul Keith">A. Paul Keith</a>, four years later.<a href="#cite_note-285">[285]</a></li><li>Some sources—e.g., Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939, by Tino Balio (Berkeley, Los Angeles, and London: University of California Press, 1995), p. 16—incorrectly claim that RCA Photophone was "amalgamated" or "combined" with FBO and KAO under the Radio-Keith-Orpheum holding company. It was not.<a href="#cite_note-286">[286]</a></li><li>Many sources—e.g., Balio (1995), p. 16 again—incorrectly give FBO's full name as "Film Booking Office of America"; the proper name is <a href="/wiki/Film_Booking_Offices_of_America" title="Film Booking Offices of America">Film Booking Offices of America</a>, which may be confirmed by examining its <a href="/wiki/File:FBOlogo1926.jpg" title="File:FBOlogo1926.jpg">official logo</a>.<a href="#cite_note-287">[287]</a></li></ul></div></li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Cnone">^</a> The standard reference guide to the studio's films, The RKO Story, by Richard B. Jewell, with Vernon Harbin (New York: Arlington House/Crown, 1982), is used as the final arbiter of whether specific films made between 1929 and 1957 were RKO solo productions, coproductions, or completely independent productions. Official year of release is also per The RKO Story.</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Dnone">^</a> Only one previous sound film had cost more than $1 million, and just barely: <a href="/wiki/Noah%27s_Ark_(1928_film)" title="Noah's Ark (1928 film)">Noah's Ark</a> (1928), from Warner Bros.<a href="#cite_note-288">[288]</a> Several silent epics had also surpassed the mark.</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Enone">^</a> For an example of US print advertising's switch to the RKO Radio Pictures brand at the beginning of the 1932–33 exhibition season, see <a href="/wiki/File:Most_Dangerous_Game_poster.jpg" title="File:Most Dangerous Game poster.jpg">this original poster</a> for <a href="/wiki/The_Most_Dangerous_Game_(film)" class="mw-redirect" title="The Most Dangerous Game (film)">The Most Dangerous Game</a>, which premiered September 9, 1932.<a href="#cite_note-289">[289]</a></li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Fnone">^</a> Grant biographer Graham McCann's paean, "No one of [Grant's] stature had contemplated acting as a freelance performer since the days before the studio system took hold of Hollywood",<a href="#cite_note-290">[290]</a> ignores two women: Stanwyck and <a href="/wiki/Miriam_Hopkins" title="Miriam Hopkins">Miriam Hopkins</a> had both previously gone freelance before they were major box-office draws or Oscar nominees (Becky Sharp, Hopkins's freelance debut, garnered her first and only Academy Award nomination). It also overlooks one man who took that route when of comparable youth and as yet forming "stature": among still-ascendant male stars, Grant was preceded as a freelancer by <a href="/wiki/Fredric_March" title="Fredric March">Fredric March</a>, admittedly more established when he bid on himself in 1933.<a href="#cite_note-291">[291]</a> In July 1935, Variety identified other prior male members of the "itinerant class": <a href="/wiki/Leslie_Howard" title="Leslie Howard">Leslie Howard</a> (eleven years Grant's senior), easing-out-of-his-prime <a href="/wiki/Adolphe_Menjou" title="Adolphe Menjou">Adolphe Menjou</a>, well-past-his-prime <a href="/wiki/Richard_Barthelmess" title="Richard Barthelmess">Richard Barthelmess</a>, evergreen <a href="/wiki/Walter_Huston" title="Walter Huston">Walter Huston</a>, B-movie lead <a href="/wiki/Lee_Tracy" title="Lee Tracy">Lee Tracy</a>, and character actor <a href="/wiki/Edward_Everett_Horton" title="Edward Everett Horton">Edward Everett Horton</a>.<a href="#cite_note-292">[292]</a> <a href="/wiki/Ronald_Colman" title="Ronald Colman">Ronald Colman</a> (thirteen years Grant's senior) had also freelanced since 1934.<a href="#cite_note-293">[293]</a> For a discussion of the terms and application of the "option contract" standard in Hollywood for most of the 1930s, binding an actor for seven years while giving the studio the "option" every six months to terminate them (the actor had no reciprocal "option" to walk away), see Regev (2018), pp. 123–27.</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Gnone">^</a> By August 1940, the lease was no longer exclusive—see "Screen News Here and in Hollywood," New York Times, August 28, 1940. By mid-1949, Selznick had left the studio entirely—see two articles by Thomas F. Brady: "Republic to Make Film on Baseball," New York Times, April 8, 1949; and "Hollywood Buys More Stories," New York Times, May 1, 1949.</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Hnone">^</a> Thomas Schatz's brief description of Mr. and Mrs. Smith as a "critical and commercial failure" is evidently incorrect.<a href="#cite_note-294">[294]</a> According to historian Leonard Leff, "Mr. and Mrs. Smith had a happy ending: good reviews and modest box office success."<a href="#cite_note-295">[295]</a> Emily Carman, who examined the studio ledgers, describes it as an unqualified "box-office success, with total domestic and foreign gross amounting to $1,311,855, thus bringing in $582,000 in total profits for RKO."<a href="#cite_note-296">[296]</a> Ed Sikov characterizes it as a "solid commercial hit".<a href="#cite_note-297">[297]</a> Donald Spoto's report on its release lends further support to this position.<a href="#cite_note-298">[298]</a> <a href="/wiki/United_Artists" title="United Artists">United Artists</a>' <a href="/wiki/To_Be_or_Not_to_Be_(1942_film)" title="To Be or Not to Be (1942 film)">To Be or Not to Be</a> (1942), headlined by Lombard, was released a month after her death.</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Inone">^</a> Though Citizen Kane was technically structured through a set of three contracts originally drawn up in 1939 as a coproduction between RKO and Welles's then newly formed Mercury Productions Inc. (and, indeed, was billed on a title card as "A Mercury Production"), in bottom-line terms it was an RKO production: the studio provided the entire budget and production facilities, assumed all the financial risk, and held all the rights once Welles delivered his final, inviolable cut.<a href="#cite_note-CKAFI-255">[255]</a><a href="#cite_note-299">[299]</a></li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Jnone">^</a> Citizen Kane lost $150,000–$160,000 on original release (the production cost was precisely $805,527.53); The Magnificent Ambersons lost $624,000 (production cost $1.125 million); and the unreleased It's All True cost the studio an estimated $1.2 million.<a href="#cite_note-300">[300]</a> The studio operation itself was almost certainly a bigger money-loser than the cited figures suggest, with profits coming from the corporation's theatrical division.<a href="#cite_note-301">[301]</a></li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Knone">^</a> Jewell (1982) states that it "attracted $3,355,000 in film rentals" (p. 181); Lasky (1989) refers to an article in <a href="/wiki/The_Hollywood_Reporter" title="The Hollywood Reporter">The Hollywood Reporter</a> on the film, published seven months after its premiere, predicting it "would do better than $3 million in the U.S. alone" (p. 185). It is not listed in Schatz's (1999) appendix of annual top box-office films of the 1940s (p. 466), based on a 1992 <a href="/wiki/Variety_(magazine)" title="Variety (magazine)">Variety</a> reckoning, perhaps because of its unusual production history. Assuming Jewell's figure is accurate, and the Schatz/Variety list is otherwise accurate and complete, Hitler's Children was the ninth biggest earner of 1943, an impressive feat for a movie with a B budget and star (Tim Holt).</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Lnone">^</a> While the historical record is not definitive as to whether RKO Radio Pictures was reorganized as an integrated division of RKO Teleradio Pictures Inc. or maintained as a legal subsidiary, the weight of the available evidence clearly points to the former. According to the November 1955 Television Digest item cited herein, General Tire planned to organize RKO Teleradio Pictures Inc. "into 2 main divisions—General Teleradio and RKO Radio Pictures." In addition, twenty-one items in the July–December 1959 Library of Congress Catalog of Copyright Entries for "Motion Pictures and Filmstrips—Renewal Registrations" reference "RKO Radio Pictures, a division of RKO Teleradio Pictures Inc." (pp. 91, 92, 94–98, 100; two similar mentions on p. 95 follow "RKO Radio Pictures" with "Inc."). The listing of "RKO Radio Pictures Inc." in the Name Index on p. 106 is evidently of the same order—original "producing and releasing companies" (p. 101)—as that of "RKO Pathe Pictures Inc.," which was certainly no longer an operational subsidiary by this point.</li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Mnone">^</a> Many online sources give RKO General's year of inception as 1958, without evidence; O'Neill's 1959 dating is supported by the fact that there is no mention of RKO General in either the New York Times or the Los Angeles Times before February 1960. Following evidently informal references dating back years to "RKO–General Teleradio" or "RKO General Teleradio," the first definitive mention of "RKO General" in Variety appears in the August 24, 1960, edition.<a href="#cite_note-302">[302]</a> A 1961 plaintiff's exhibit filed in a C&C lawsuit against RKO General (while it apparently errs in suggesting that General Teleradio was merged into RKO Radio Pictures rather than the other way around) asserts that "in or about the month of October, 1959, RKO Teleradio Pictures, Inc. changed its name to RKO General, Inc."<a href="#cite_note-303">[303]</a></li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><a href="#ref_Nnone">^</a> RKO Pictures LLC, while it owns the copyright to the original movie and its <a href="/wiki/Son_of_Kong" title="Son of Kong">1933 sequel</a>, does not control the remake or other ancillary rights to what would be by far its most valuable property: <a href="/wiki/King_Kong#Ownership_rights" title="King Kong">King Kong</a>. Certain elements of the concept are in the public domain, while some are controlled by the Merian Cooper estate and Universal Pictures, among others.<a href="#cite_note-304">[304]</a></li></ol></div> </div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=19" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> Jewell (1982), p. 9; Lasky (1989), pp. 22–24; Gomery (1985), pp. 63–65; Crafton (1997), pp. 68, 129–31, 140; Finler (2003), pp. 31, 230. </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> Goodwin (1987), pp. 348, 375; Jewell (1982), p. 9; Lasky (1989), pp. 24–25; Gomery (1985), p. 65; Crafton (1997), pp. 136, 138; Nasaw (2012), pp. 111–12. </li> <li id="cite_note-Start-3"><a href="#cite_ref-Start_3-0">^</a> Goodwin (1987), pp. 375–76; Jewell (1982), p. 9; Lasky (1989), pp. 25–26; Gomery (1985), p. 65; Crafton (1997), pp. 135–39; Beauchamp (2009), pp. 141–45, 147–52, 155–57, 169–74; Eyman (2010), pp. 211–12, 219–20, 223–27, 238–41; Nasaw (2012), pp. 112–13, 115–16; Erickson (2020), p. 12. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://time.com/archive/6897231/business-cinemerger/">"Cinemerger"</a>. Time. May 2, 1927. Retrieved November 5, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=Cinemerger&rft.date=1927-05-02&rft_id=https%3A%2F%2Ftime.com%2Farchive%2F6897231%2Fbusiness-cinemerger%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/filmdaily3940newy/page/1122/mode/2up">"Pathe Stockholders Ratify Expansion: P.D.C.-K.A.-Orpheum Deal Sanctioned; Line-up Disclosed"</a>. Film Daily. May 13, 1927. pp. 1, 7. Retrieved July 7, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Film+Daily&rft.atitle=Pathe+Stockholders+Ratify+Expansion%3A+P.D.C.-K.A.-Orpheum+Deal+Sanctioned%3B+Line-up+Disclosed&rft.pages=1%2C+7&rft.date=1927-05-13&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Ffilmdaily3940newy%2Fpage%2F1122%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> "700 Theatres Merged in Vaudeville Circuit; Keith-Albee and Orpheum Now Largest in Country—Final Papers Signed", New York Times, January 27, 1928. </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> Goodwin (1987), pp. 375–79; Jewell (1982), pp. 9–10; Lasky (1989), pp. 26–29; Crafton (1997), pp. 138–41, 193, 195; Beauchamp (2009), pp. 169–74, 192–211; Eyman (2010), pp. 254–55; Nasaw (2012), pp. 116–17, 120–29; Erickson (2020), pp. 12–14. Goodwin and Eyman offer widely differing perspectives on the Kennedy–DeMille dealings. </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> Goodwin (1987), pp. 379–80; Jewell (1982), p. 10; Lasky (1989), pp. 33–34; Gomery (1985), pp. 65–66; Crafton (1997), pp. 141–42; Beauchamp (2009), pp. 142, 169–71, 211–14, 218–24, 230–31; Nasaw (2012), pp. 112, 129–31; Erickson (2020), pp. 12–14. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVischer1928" class="citation magazine cs1">Vischer, Peter (October 27, 1928). <a rel="nofollow" class="external text" href="https://archive.org/details/exhibitorsherald93quig/page/n231/mode/1up">"Radio-Keith-FBO Deal Closed with Sarnoff as Board Head"</a>. Exhibitors Herald and Moving Picture World. p. 21. Retrieved December 28, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Exhibitors+Herald+and+Moving+Picture+World&rft.atitle=Radio-Keith-FBO+Deal+Closed+with+Sarnoff+as+Board+Head&rft.pages=21&rft.date=1928-10-27&rft.aulast=Vischer&rft.aufirst=Peter&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fexhibitorsherald93quig%2Fpage%2Fn231%2Fmode%2F1up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-Crafton_1997,_p._210-6">^ <a href="#cite_ref-Crafton_1997,_p._210_6-0">a</a> <a href="#cite_ref-Crafton_1997,_p._210_6-1">b</a> Crafton (1997), p. 210. </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> Jewell (2012), pp. 20, 18, 25. </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.trademarkia.com/radio-pictures-71278717.html">"Radio Pictures Trademark Information"</a>. Trademarkia. Retrieved January 11, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Radio+Pictures+Trademark+Information&rft.pub=Trademarkia&rft_id=https%3A%2F%2Fwww.trademarkia.com%2Fradio-pictures-71278717.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> Jewell (2012), p. 22; Koszarski (2008), pp. 164–69; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://archive.org/stream/filmdaily4748newy#page/n175/mode/2up">"$250,000 for Construction Program at RKO Studio"</a>. Film Daily. January 23, 1929. p. 6. Retrieved December 5, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Film+Daily&rft.atitle=%24250%2C000+for+Construction+Program+at+RKO+Studio&rft.pages=6&rft.date=1929-01-23&rft_id=https%3A%2F%2Farchive.org%2Fstream%2Ffilmdaily4748newy%23page%2Fn175%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Korwar (2013), p. 257; Terrace (1999), p. 285. </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Koszarski (2008), pp. 169–71; Barrios (1995), pp. 86–88, 209. </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> Jewell (1982), p. 20; Lasky (1989), pp. 46–47; Barrios (1995), pp. 209, 226. </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> Jewell (2012), pp. 12, 18–19, 21–25; Lasky (1989), pp. 15, 45–46, 51–55. </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> Lasky (1989), pp. 42–47; Barrios (1995), pp. 225–29. </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> Barrios (1995), p. 225. </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> Jewell (2012), p. 22. </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Jewell (1982), pp. 20, 24. </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> Moody's (1935), p. 2152. </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> Jewell (1982), p. 298. </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> Barrios (1995), p. 127; Lasky (1989), p. 52. </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> Bradley (1996), p. 260; "R.-K.-O. Signs More Noted Names", Los Angeles Times, June 20, 1929; "Studios Plan Huge Programs", Los Angeles Times, July 21, 1929. </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Bradley (1996), p. 279. </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> Jewell (2012), pp. 24, 28, 36, 38; Jewell (1982), p. 29; Lasky (1989), pp. 44–47, 52. </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> Jewell (1982), pp. 38, 41. For Technicolor contracts during this era, see <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKalmus1938" class="citation web cs1">Kalmus, Herbert (October 28, 1938). <a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/kalmus.htm">"Technicolor Adventures in Cinemaland"</a>. Widescreen Museum. Retrieved May 3, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Technicolor+Adventures+in+Cinemaland&rft.pub=Widescreen+Museum&rft.date=1938-10-28&rft.aulast=Kalmus&rft.aufirst=Herbert&rft_id=https%3A%2F%2Fwww.widescreenmuseum.com%2Foldcolor%2Fkalmus.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> Crafton (1997), pp. 207–8, 210; Barrier (2003), p. 169. </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> Beauchamp (2009), pp. 229–30, 310–23; Nasaw (2012), pp. 158–61; Goodwin (1987), pp. 422–24; Jewell (2012), pp. 30–32; Lasky (1989), pp. 58–59; Crafton (1997), pp. 208, 210; Ward (2016), pp. 141–45, 147–48. For further details, see Exhibits I and II Annexed to Affidavit of William Mallard, New York Supreme Court, Appellate Division–First Department, Turin Theatre Corporation v. Pathe Exchange, Inc., Radio-Keith-Orpheum Corporation, and R.K.O. Pathe Distributing Corporation, Papers on Appeal from Order, May 29, 1931. </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Beauchamp (2009), pp. 232, 311, 315; Goodwin (1987), p. 422; Jewell (2012), pp. 30–32; Lasky (1989), pp. 58; Ward (2016), pp. 146–48. </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> Lasky (1989), pp. 58, 74; Jewell (2012), p. 31; Crafton (1997), p. 195; Ward (2016), pp. 138, 148. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Schatz (1998), pp. 131; Jewell (1982), p. 54; Ward (2016), p. 149. </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Crafton (1997), p. 552; Lasky (1989), p. 55. </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> Jewell (1982), p. 30; Carman (2012), p. 17; Carman (2016), pp. 48–49, 151, 153–54. </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> Finler (2003), pp. 221, 223. </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> Finler (2003), p. 214; Jewell (1982), p. 40, 42, 44, 47, 49–51, 54, 56, 58, 62, 64. </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> Finler (2003), p. 214. </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Lasky (1989), pp. 67–70. </li> <li id="cite_note-Bord321-36">^ <a href="#cite_ref-Bord321_36-0">a</a> <a href="#cite_ref-Bord321_36-1">b</a> Bordwell et al. (1985), p. 321. </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> Lasky (1989), pp. 74–76; Jewell (1982), p. 17. </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Lasky (1989), pp. 77–80, 93. </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> Jewell (2012), pp. 32, 35, 43, 56; Ward (2016), pp. 146–50; Jewell (1982), pp. 32, 44, 54. </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/variety105-1932-01/mode/1up">"Six Best Money Stars"</a>. Variety. January 5, 1932. p. 1. Retrieved November 28, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Variety&rft.atitle=Six+Best+Money+Stars&rft.pages=1&rft.date=1932-01-05&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fvariety105-1932-01%2Fmode%2F1up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> The roll actually included seven names, with <a href="/wiki/Marlene_Dietrich" title="Marlene Dietrich">Marlene Dietrich</a> and <a href="/wiki/Greta_Garbo" title="Greta Garbo">Greta Garbo</a> somehow tied on an alphabetical list. </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> RKO Radio Picture Book, 1932–1933 (1932). New York: RKO Radio Pictures. </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> Kroessler (2002), p. 219. </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> Korwar (2013), p. 257; Hilmes (1990), pp. 57–60. </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> Schatz (1998), pp. 131–33; Lasky (1989), pp. 81–82. </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> Schatz (1998), p. 133; Lasky (1989), p. 83. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Mueller (1986), p. 7. </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> Schatz (1998), pp. 131. </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> Lasky (1989), pp. 78–79, 93–95; Jewell (1982), pp. 52, 60. </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> Lasky (1989), pp. 81–82; Gomery (2005), chap. Paramount, chap. 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Quarterly of Film Radio and Television. 11 (4): 357. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F1209995">10.2307/1209995</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/120995">120995</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Quarterly+of+Film+Radio+and+Television&rft.atitle=Time+Flickers+Out%3A+Notes+on+the+Passing+of+the+%27March+of+Time%27&rft.ssn=summer&rft.volume=11&rft.issue=4&rft.pages=357&rft.date=1957&rft_id=info%3Adoi%2F10.2307%2F1209995&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F120995%23id-name%3DJSTOR&rft.aulast=Fielding&rft.aufirst=Raymond&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> (<a href="/wiki/Wikipedia:Verifiability#Access_to_sources" title="Wikipedia:Verifiability">registration required</a>) </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Jewell (1982), pp. 77, 88; Lasky (1989), p. 117. </li> <li id="cite_note-F227-64">^ <a href="#cite_ref-F227_64-0">a</a> <a href="#cite_ref-F227_64-1">b</a> Finler (2003), p. 227. </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAlbrecht2009" class="citation web cs1">Albrecht, Donald (June 2009). <a rel="nofollow" class="external text" href="https://www.architecturaldigest.com/story/vintage-set-design-article">"The Art of RKO—Van Nest Polglase and the Modern Movie Set: A Pioneer Who Changed the Cinematic Landscape"</a>. Architectural Digest. Retrieved May 3, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Architectural+Digest&rft.atitle=The+Art+of+RKO%E2%80%94Van+Nest+Polglase+and+the+Modern+Movie+Set%3A+A+Pioneer+Who+Changed+the+Cinematic+Landscape&rft.date=2009-06&rft.aulast=Albrecht&rft.aufirst=Donald&rft_id=https%3A%2F%2Fwww.architecturaldigest.com%2Fstory%2Fvintage-set-design-article&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> Naremore (1989), pp. 17–18. </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> Rode (2007), pp. 58–59. </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Morton (2005), p. 43. </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> Cotta Vaz and Barron (2002), p. 59. </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> "What? Color in the Movies Again?" Fortune, October 1934 (available <a rel="nofollow" class="external text" href="https://www.widescreenmuseum.com/oldcolor/fortune-page01.htm">online</a>); Morton (2005), pp. 111–12; Lasky (1989), p. 104. </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Jewell (1982), p. 87; Lasky (1989), pp. 115–16. </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> Finler (2003), pp. 229, 231. </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> Wegele (2014), pp. 68–69. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Brunelle (1996); Morton (2005), pp. 75–77, 108–9. </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> Lasky (1989), pp. 118–19; Jewell (1982), p. 19. </li> <li id="cite_note-Fi215-76">^ <a href="#cite_ref-Fi215_76-0">a</a> <a href="#cite_ref-Fi215_76-1">b</a> Finler (2003), p. 215. </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> Carman (2012), pp. 9, 17–18, 20–22, 24, 169 n. 33. </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> Carman (2012), pp. 21–22; McCann (1998), pp. 79–80, 144. </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> Jewell (1982), pp. 110, 117, 128, 132, 148, 167, 177, 183, 198, 212, 221, 224, 230, 232. </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> Dickstein (2002), p. 48. </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> Barrier (2003), p. 170; Lasky (1989), p. 137; Jewell (1982), p. 92. </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> Finler (2003), pp. 36, 47, 319. </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> Moody's (1941), p. 2635. </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> Jewell (1982), p. 102. </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> "News of the Screen," New York Times, February 16, 1937; Schatz (1998), p. 181. </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> Jewell (1982), pp. 18–19, 102. </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://archive.org/stream/filmdail72wids#page/n321/mode/2up/search/Briskin">"Briskin Resigns as RKO Radio Production Head"</a>. The Film Daily. November 4, 1937. p. 1. Retrieved November 9, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Film+Daily&rft.atitle=Briskin+Resigns+as+RKO+Radio+Production+Head&rft.pages=1&rft.date=1937-11-04&rft_id=https%3A%2F%2Farchive.org%2Fstream%2Ffilmdail72wids%23page%2Fn321%2Fmode%2F2up%2Fsearch%2FBriskin&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"><a href="/wiki/Open_access" title="open access publication – free to read"><img alt="Open access icon" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/Open_Access_logo_PLoS_transparent.svg/9px-Open_Access_logo_PLoS_transparent.svg.png" decoding="async" width="9" height="14" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/Open_Access_logo_PLoS_transparent.svg/14px-Open_Access_logo_PLoS_transparent.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/77/Open_Access_logo_PLoS_transparent.svg/18px-Open_Access_logo_PLoS_transparent.svg.png 2x" data-file-width="640" data-file-height="1000" /></a> </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> Lasky (1989), pp. 154–57; Jewell (1982), pp. 19, 128–29, 138. </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> Jewell (1982), pp. 138, 152, 171, 178, 181, 246, 260. </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> Jewell (1982), pp. 138, 148, 150, 158, 178, 186, 206, 217, 235, 264. </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> Carman (2016), pp. 1–2, 75–76. </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> Lasky (1989), pp. 153–54. </li> <li id="cite_note-F214-93">^ <a href="#cite_ref-F214_93-0">a</a> <a href="#cite_ref-F214_93-1">b</a> Finler (2003), pp. 214–15. </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> Jewell (1982), p. 136. </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> Bordwell et al. (1985), p. 349. For Walker's earlier work on King Kong: Morton (2005), pp. 30, 43, 52. </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20140331174817/http://www.filmsite.org/villvoice.html">"100 Best Films of the 20th Century"</a>. Village Voice. Filmsite.org. 2001. Archived from <a rel="nofollow" class="external text" href="https://www.filmsite.org/villvoice.html">the original</a> on March 31, 2014. Retrieved August 14, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Village+Voice&rft.atitle=100+Best+Films+of+the+20th+Century&rft.date=2001&rft_id=https%3A%2F%2Fwww.filmsite.org%2Fvillvoice.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20021105130210/http://www.bfi.org.uk/sightandsound/topten/poll/critics-long.html">"Top Ten Poll"</a>. Sight and Sound. BFI. 2002. Archived from <a rel="nofollow" class="external text" href="https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012">the original</a> on November 5, 2002. Retrieved August 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sight+and+Sound&rft.atitle=Top+Ten+Poll&rft.date=2002&rft_id=https%3A%2F%2Fwww.bfi.org.uk%2Fsight-and-sound%2Fpolls%2Fgreatest-films-all-time-2012&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> Kear (2009), p. 144. </li> <li id="cite_note-98"><a href="#cite_ref-98">^</a> Lasky (1989), pp. 152, 156–57; Jewell (1982), p. 116. </li> <li id="cite_note-99"><a href="#cite_ref-99">^</a> For Breen's position, see Jeff and Simmons (2001), pp. 119, 122–125. </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> Jewell (1982), p. 140. </li> <li id="cite_note-101"><a href="#cite_ref-101">^</a> Jewell (1982), p. 304; Schatz (1999), p. 57; Jewell (2012), p. 253. </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> Jewell (2012), pp. 231–34; Jewell (1982), pp. 156, 167. </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> Lasky (1989), pp. 161–65. </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> Lasky (1989), pp. 167, 176–80. </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> For ambitious box office failures: Jewell (1982), pp. 144, 146 (Abe Lincoln in Illinois), 152 (They Knew What They Wanted), 156, 166 (All That Money Can Buy); Lasky (1989), p. 165; Schatz (1999), p. 57. For Rogers: Jewell (1982), pp. 156, 211, 288; Schatz (1999), p. 57; Carman (2016), p. 133. </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> "Ned Depinet Heads RKO Pictures Unit; Ex-Vice President in Charge of Distribution Is Elected to Succeed G. J. Schaefer", New York Times, June 26, 1942. </li> <li id="cite_note-J142-107"><a href="#cite_ref-J142_107-0">^</a> Jewell (1982), pp. 142, 168. </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> Lasky (1989), pp. 167–68, 174–76. </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> McBride (2006), p. 63; Server (2002), p. 78. </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> Jewell (1982), pp. 142, 168, 208. </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> Jewell (1982), pp. 168, 178. </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> Lasky (1989), p. 187. </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> Koszarski (2021), pp. 34–37, 49, 320; Jewell (2016), pp. 13, 219 n. 43; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBarsam1973" class="citation journal cs1">Barsam, Richard Meran (Spring 1973). "'This Is America': Documentaries for Theaters, 1942–1951". Cinema Journal. 12 (2): 22–38. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F1225493">10.2307/1225493</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1225493">1225493</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Cinema+Journal&rft.atitle=%27This+Is+America%27%3A+Documentaries+for+Theaters%2C+1942%E2%80%931951&rft.ssn=spring&rft.volume=12&rft.issue=2&rft.pages=%3Cspan+class%3D%22nowrap%22%3E22-%3C%2Fspan%3E38&rft.date=1973&rft_id=info%3Adoi%2F10.2307%2F1225493&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1225493%23id-name%3DJSTOR&rft.aulast=Barsam&rft.aufirst=Richard+Meran&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> (<a href="/wiki/Wikipedia:Verifiability#Access_to_sources" title="Wikipedia:Verifiability">registration required</a>) </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> Schatz (1999), p. 430; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/motionpictureher157unse/page/n449/mode/2up">"Television Groups to See First Film Made for Medium"</a>. Motion Picture Herald. December 9, 1944. p. 15. Retrieved November 26, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Motion+Picture+Herald&rft.atitle=Television+Groups+to+See+First+Film+Made+for+Medium&rft.pages=15&rft.date=1944-12-09&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmotionpictureher157unse%2Fpage%2Fn449%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> Fein (2000), passim; Lasky (1989), p. 228. </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> Jewell (1982), p. 213. </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> Finler (2003), p. 222; Lasky (1989), p. 176. </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> Jewell (1982), pp. 200, 208, 226. </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> Jewell (1982), pp. 187, 198, 204, 211, 225, 241, 259, 286, 290, 295. </li> <li id="cite_note-120"><a href="#cite_ref-120">^</a> Jewell (1982), pp. 164, 168, 192, 203, 232. </li> <li id="cite_note-121"><a href="#cite_ref-121">^</a> Jewell (1982), pp. 209, 211, 241, 248, 283. </li> <li id="cite_note-122"><a href="#cite_ref-122">^</a> Jewell (1982), p. 206; Finler (2003), p 177. </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> Jewell (1982), pp. 212, 247, 232. </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> Jewell (1982), pp. 184, 196, 203, 211, 218, 229. </li> <li id="cite_note-125"><a href="#cite_ref-125">^</a> Jewell (1982), pp. 212, 178, 220. </li> <li id="cite_note-126"><a href="#cite_ref-126">^</a> Thomson (1997), p. 268; Brady (1990), pp. 378–81. </li> <li id="cite_note-127"><a href="#cite_ref-127">^</a> Jewell (1982), p. 215. For its later status, see, e.g., <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20140331174817/http://www.filmsite.org/villvoice.html">"100 Best Films of the 20th Century"</a>. Village Voice. Filmsite.org. 2001. Archived from <a rel="nofollow" class="external text" href="https://www.filmsite.org/villvoice.html">the original</a> on March 31, 2014. Retrieved January 11, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Village+Voice&rft.atitle=100+Best+Films+of+the+20th+Century&rft.date=2001&rft_id=https%3A%2F%2Fwww.filmsite.org%2Fvillvoice.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> (Sixteenth overall, fifth among Hollywood movies made between 1929 and 1959.) </li> <li id="cite_note-128"><a href="#cite_ref-128">^</a> Jewell (1982), pp. 228, 241, 248. </li> <li id="cite_note-129"><a href="#cite_ref-129">^</a> Jewell (1982), p. 181; Lasky (1989), pp. 184–85. For budgets of Big Five releases the following year: Schatz (1999), p. 173, table 6.3. </li> <li id="cite_note-130"><a href="#cite_ref-130">^</a> Jewell (1982), p. 186. </li> <li id="cite_note-131"><a href="#cite_ref-131">^</a> Schatz (1999), p. 173, table 6.3. </li> <li id="cite_note-SBG-132">^ <a href="#cite_ref-SBG_132-0">a</a> <a href="#cite_ref-SBG_132-1">b</a> Schatz (1999), p. 232; Ballinger and Graydon (2007), p. 23. </li> <li id="cite_note-133"><a href="#cite_ref-133">^</a> For B films and slightly higher budgeted "intermediates" directed by Robson: Jewell (1982), pp. 187, 190, 195, 204, 211, 238. By Wise: Jewell (1982), pp. 193, 195, 201, 206, 215, 219, 231, 236. By Mann: Jewell (1982), pp. 202, 205, 212, 219. </li> <li id="cite_note-134"><a href="#cite_ref-134">^</a> Finler (2003), pp. 219–20. </li> <li id="cite_note-135"><a href="#cite_ref-135">^</a> Jewell (1982), p. 190. </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> Finler (2003), pp. 214–15, 221–22. </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> Jewell (1982), pp. 151, 171, 180, 186, 197, 211. </li> <li id="cite_note-138"><a href="#cite_ref-138">^</a> Erickson (2012), pp. 102–4; Senn (2018), chap. Zombies on Broadway (1945). </li> <li id="cite_note-139"><a href="#cite_ref-139">^</a> Jewell (1982), p. 164. </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> Pitts (2015), pp. 80–89, 133–34; Hanson and Dunkleberger (1999), pp. 609–12, 931–32. For Schlom's supervision of Tim Holt's 1947–52 Westerns, see <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStempel2013" class="citation web cs1">Stempel, Tom (November 2013). <a rel="nofollow" class="external text" href="https://offscreen.com/view/tim-holt-and-the-b-western">"Tim Holt and the B Western"</a>. Offscreen. Retrieved November 2, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Offscreen&rft.atitle=Tim+Holt+and+the+B+Western&rft.date=2013-11&rft.aulast=Stempel&rft.aufirst=Tom&rft_id=https%3A%2F%2Foffscreen.com%2Fview%2Ftim-holt-and-the-b-western&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> See, e.g., Ballinger and Graydon (2007), p. 19; Finler (2003), p. 216. </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> Spicer (2014), pp. 17, 49–50, 55; Finler (2003), p. 216. </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> Cook (2007), p. 22; Stephens (1995), p. 102; Jacobs (2007), pp. 315–16. </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> Ballinger and Graydon (2007), pp. 196–98, 205–6. For noir and noir-related films featuring Mitchum: Jewell (1982), pp. 216, 222, 223, 231, 237, 250, 255, 256, 259, 265, 267, 272, 274. Featuring Ryan: Jewell (1982), pp. 220, 222, 227, 236, 247, 248, 252, 255, 259, 262, 266. </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> Ballinger and Graydon (2007), pp. 100–2, 152, 189–90, 210; Lasky (1989), p. 198; Schwartz (2005), p. 60. </li> <li id="cite_note-146"><a href="#cite_ref-146">^</a> Jewell (1982), pp. 205, 216. </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> See, e.g., Ballinger and Graydon (2007), pp. 56, 151–52; Schatz (1999), p. 364; Ottoson (1981), p. 132. </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> Finler (2003), p. 225. </li> <li id="cite_note-149"><a href="#cite_ref-149">^</a> Dixon (2005), p. 112. </li> <li id="cite_note-150"><a href="#cite_ref-150">^</a> Langdon-Teclaw (2007), p. 168. </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> Finler (2003), p. 357; Jewell (1982), p. 214. </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> Glick, Reymann, and Hoffman (2003), pp. 35–36; Schatz (1999), pp. 16–17. </li> <li id="cite_note-153"><a href="#cite_ref-153">^</a> Lasky (1989), pp. 203–4. </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> Lasky (1989), pp. 192–93, 195. </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> Schatz (1999), pp. 299, 331; Lasky (1989), p. 202; Jewell (1982), p. 216. </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> Schatz (1999), pp. 290–91. </li> <li id="cite_note-157"><a href="#cite_ref-157">^</a> Koszarski (2021), pp. 36–37, 45; Ward (2016), pp. 149–50. </li> <li id="cite_note-158"><a href="#cite_ref-158">^</a> Friedrich (1997), pp. 333–36; Lasky (1989), pp. 198–202. </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> Lasky (1989), pp. 194–98, 202. </li> <li id="cite_note-160"><a href="#cite_ref-160">^</a> Brown and Broeske (2004), p. 281. </li> <li id="cite_note-161"><a href="#cite_ref-161">^</a> Finler (2003), p. 231; Jewell (1982), pp. 306–7. </li> <li id="cite_note-162"><a href="#cite_ref-162">^</a> Lasky (1989), pp. 204–5; Dietrich and Thomas (1972), pp. 235–36. </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> Lasky (1989), pp. 206, 216–17. </li> <li id="cite_note-164"><a href="#cite_ref-164">^</a> Lasky (1989), pp. 216–17; Jewell (1982), p. 143. </li> <li id="cite_note-165"><a href="#cite_ref-165">^</a> Analysis based on Schatz (1999), p. 330, table 10.2. See Jewell (1982), pp. 216, 226, for confirmation of RKO figures. </li> <li id="cite_note-166"><a href="#cite_ref-166">^</a> Finler (2003), p. 220. </li> <li id="cite_note-167"><a href="#cite_ref-167">^</a> Jewell (1982), p. 226. </li> <li id="cite_note-168"><a href="#cite_ref-168">^</a> Lasky (1989), pp. 218–20, 223, 227; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.cobbles.com/simpp_archive/paramountcase_6supreme1948.htm">"Part 6: The Supreme Court Verdict That Brought an End to the Hollywood Studio System, 1948"</a>. The Independent Producers and the Paramount Case, 1938–1949. Society of Independent Motion Picture Producers. Retrieved July 22, 2006.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Independent+Producers+and+the+Paramount+Case%2C+1938%E2%80%931949&rft.atitle=Part+6%3A+The+Supreme+Court+Verdict+That+Brought+an+End+to+the+Hollywood+Studio+System%2C+1948&rft_id=https%3A%2F%2Fwww.cobbles.com%2Fsimpp_archive%2Fparamountcase_6supreme1948.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-169"><a href="#cite_ref-169">^</a> Jewell (1982), pp. 143, 234, 249–50; Lasky (1989), pp. 205, 219–23; Dietrich and Thomas (1972), pp. 188, 234–37. </li> <li id="cite_note-170"><a href="#cite_ref-170">^</a> Jewell (1982), pp. 246, 254. </li> <li id="cite_note-171"><a href="#cite_ref-171">^</a> Jewell (1982), p. 237. </li> <li id="cite_note-172"><a href="#cite_ref-172">^</a> Ottoson (1981), p. 155. </li> <li id="cite_note-173"><a href="#cite_ref-173">^</a> See, e.g., Finler (2003), p. 216. </li> <li id="cite_note-174"><a href="#cite_ref-174">^</a> Lasky (1989), pp. 220–21. </li> <li id="cite_note-175"><a href="#cite_ref-175">^</a> Finler (2003), p. 222. </li> <li id="cite_note-176"><a href="#cite_ref-176">^</a> Lasky (1989), pp. 205, 219. </li> <li id="cite_note-177"><a href="#cite_ref-177">^</a> Server (2002), pp. 219–22. </li> <li id="cite_note-178"><a href="#cite_ref-178">^</a> Jewell (1982), pp. 262, 266. </li> <li id="cite_note-179"><a href="#cite_ref-179">^</a> Muller (1998), pp. 176–77; Jewell (1982), pp. 251, 257, 271. </li> <li id="cite_note-180"><a href="#cite_ref-180">^</a> Jewell (1982), p. 265. </li> <li id="cite_note-181"><a href="#cite_ref-181">^</a> Finler (2003), pp. 358–59. </li> <li id="cite_note-182"><a href="#cite_ref-182">^</a> Ward (2016), p. 150; Koszarski (2021), pp. 49, 318–21. Day of the Fight was released as an episode of This Is America, in its final year; Flying Padre, as part of the RKO Pathé Screenliner series. </li> <li id="cite_note-183"><a href="#cite_ref-183">^</a> Jewell (1982), p. 263. </li> <li id="cite_note-184"><a href="#cite_ref-184">^</a> Quoted in Lasky (1989), p. 224. </li> <li id="cite_note-185"><a href="#cite_ref-185">^</a> Jewell (1982), p. 243; Lasky (1989), pp. 223–24. </li> <li id="cite_note-186"><a href="#cite_ref-186">^</a> Jewell (1982), pp. 243–44, 262, 270; Lasky (1989), pp. 225–26; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://content.time.com/time/subscriber/article/0,33009,936396,00.html">"An Old Flame Returns"</a>. Time. February 23, 1953. Retrieved November 26, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=An+Old+Flame+Returns&rft.date=1953-02-23&rft_id=https%3A%2F%2Fcontent.time.com%2Ftime%2Fsubscriber%2Farticle%2F0%2C33009%2C936396%2C00.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-187"><a href="#cite_ref-187">^</a> Jewell (1982), p. 262. </li> <li id="cite_note-188"><a href="#cite_ref-188">^</a> Jewell (1982), pp. 246, 262; Lasky (1989), pp. 221, 223, 225. </li> <li id="cite_note-189"><a href="#cite_ref-189">^</a> Crosby (2009), p. 75. </li> <li id="cite_note-190"><a href="#cite_ref-190">^</a> Conant (1981), p. 567. </li> <li id="cite_note-191"><a href="#cite_ref-191">^</a> Quoted in Lasky (1989), p. 226. </li> <li id="cite_note-192"><a href="#cite_ref-192">^</a> Gabler (2006), pp. 518–20; Barrier (2008), pp. 208, 262–63; Smith (1996), pp. 127, 294, 298. </li> <li id="cite_note-193"><a href="#cite_ref-193">^</a> Smith (1996), p. 407; Jewell (1982), pp. 276–77. </li> <li id="cite_note-194"><a href="#cite_ref-194">^</a> Jewell (1982), pp. 244, 276; Lasky (1989), pp. 226–27. </li> <li id="cite_note-195"><a href="#cite_ref-195">^</a> Jewell (1982), pp. 244–45; Lasky (1989), pp. 218–19, 223, 227–28. </li> <li id="cite_note-196"><a href="#cite_ref-196">^</a> Jewell (1982), p. 245; Lasky (1989), pp. 228–29; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/sim_fortune_1955-09_52_3/page/n45/">"New O's at RKO"</a>. Fortune. September 1955. p. 44. Retrieved May 10, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Fortune&rft.atitle=New+O%27s+at+RKO&rft.pages=44&rft.date=1955-09&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fsim_fortune_1955-09_52_3%2Fpage%2Fn45%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-197"><a href="#cite_ref-197">^</a> Lasky (1989), p. 229. </li> <li id="cite_note-198"><a href="#cite_ref-198">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://content.time.com/time/subscriber/article/0,33009,802569,00.html">"Rubber Yankee"</a>. Time. January 18, 1943. Retrieved November 26, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Time&rft.atitle=Rubber+Yankee&rft.date=1943-01-18&rft_id=https%3A%2F%2Fcontent.time.com%2Ftime%2Fsubscriber%2Farticle%2F0%2C33009%2C802569%2C00.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-199"><a href="#cite_ref-199">^</a> Howard (1979), p. 151; "Don Lee Sale Approval Asked," Los Angeles Times, November 21, 1950; "Sale of Don Lee System Approved: Cash Payment of $12,320,000 Involved in FCC Decision," Los Angeles Times, December 28, 1950. </li> <li id="cite_note-200"><a href="#cite_ref-200">^</a> "Radio-TV Merger Approved By F.C.C.; Deal Covers Macy's Transfer of WOR Interests to General Tire's Don Lee System," New York Times, January 18, 1952. </li> <li id="cite_note-201"><a href="#cite_ref-201">^</a> "General Tire Gets Control of M. B. S.; Shareholders at Meeting Vote 2-for-1 Stock Split—Company Buys More TV Stations," New York Times, April 2, 1952. </li> <li id="cite_note-202"><a href="#cite_ref-202">^</a> Howard (1979), pp. 150–52; "Earnings Fall 5% for Macy System; Television's High Cost for Subsidiary, General Teleradio, Cuts Consolidated Net," New York Times, October 11, 1950. </li> <li id="cite_note-S40-203">^ <a href="#cite_ref-S40_203-0">a</a> <a href="#cite_ref-S40_203-1">b</a> <a href="#cite_ref-S40_203-2">c</a> Segrave (1999), pp. 40–41. </li> <li id="cite_note-204"><a href="#cite_ref-204">^</a> "O'Neil Enters Bid for Part or All of Hughes' 700 Pix," Billboard, November 27, 1954. </li> <li id="cite_note-205"><a href="#cite_ref-205">^</a> Segrave (1999), pp. 40, 48; Russell and Whalley (2018), pp. 44–47 (which mistakenly dates the format's launch to 1955). </li> <li id="cite_note-206"><a href="#cite_ref-206">^</a> "2 Sponsors' Buy of Gen-Tele Features May Draw More In," Billboard, August 28, 1954; "New Sponsors Put Station Near Sell-Out on 'Million Dollar Show,'" Billboard, September 11, 1954; "RKO Pix vs. 'Tonight'? CBS Says No, But with Fingers Xed," Billboard, October 23, 1954; "WOR-TV to Continue 'Million-Dollar Movie' Indefinitely," Billboard, November 6, 1954; "WTTG Turns to Film to Buck Competition," Billboard, December 4, 1954. </li> <li id="cite_note-207"><a href="#cite_ref-207">^</a> "An Open Letter to TV Station Owners and Managers", Billboard, September 8, 1956. <a href="/wiki/Life_(magazine)" title="Life (magazine)">Life</a> reported that "according to an estimate made before the purchase, the RKO library contain[ed] 599 features 'suitable for television release.' Of these, 180 [were] of 'superior quality'". <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCoughlan1955" class="citation magazine cs1">Coughlan, Robert (December 5, 1955). <a rel="nofollow" class="external text" href="https://archive.org/details/Life-1955-12-05-Vol-39-No-23/page/196">"The O'Neils' Money Machine"</a>. Life. p. 196 (article: pp. 186–90, 195–96, 199–200). 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Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=NY+Daily+News&rft.atitle=Producer+with+Sights+Set+on+%27Citizen+Kane%27+TV+Reboot+Claims+RKO+Pictures+Foiled+His+Plan&rft.date=2017-07-25&rft.aulast=Brown&rft.aufirst=Stephen+Rex&rft_id=https%3A%2F%2Fwww.nydailynews.com%2Fnew-york%2Ftv-producer-eyeing-citizen-kane-reboot-claims-rko-foiled-plan-article-1.3355080&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCullins2017" class="citation news cs1">Cullins, Ashley (July 26, 2017). <a rel="nofollow" class="external text" href="https://www.hollywoodreporter.com/business/business-news/citizen-kane-tv-reboot-sparks-lawsuit-1024566/">"'Citizen Kane' TV Reboot Sparks Lawsuit"</a>. Hollywood Reporter. Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Hollywood+Reporter&rft.atitle=%27Citizen+Kane%27+TV+Reboot+Sparks+Lawsuit&rft.date=2017-07-26&rft.aulast=Cullins&rft.aufirst=Ashley&rft_id=https%3A%2F%2Fwww.hollywoodreporter.com%2Fbusiness%2Fbusiness-news%2Fcitizen-kane-tv-reboot-sparks-lawsuit-1024566%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> Patterson's suit names "RKO Pictures, Inc.", but there is no available confirmation that the company has altered its LLC structure. </li> <li id="cite_note-249"><a href="#cite_ref-249">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLaGreca2022" class="citation news cs1">LaGreca, Angela (November 15, 2022). <a rel="nofollow" class="external text" href="https://www.danspapers.com/2022/11/photos-ted-hartley-ukraine-series-keyes">"Photos: Opening Party for Ted Hartley's Show Featuring Ukraine Series at Keyes Art Gallery"</a>. 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US Patent and Trademark Office. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231205051253/https://uspto.report/company/Rko-Pictures-Inc">Archived</a> from the original on December 5, 2023. Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=USPTO.report&rft.atitle=RKO+Pictures%2C+Inc.&rft_id=https%3A%2F%2Fuspto.report%2Fcompany%2FRko-Pictures-Inc&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20010512194954/http://www.usna.com/News_Pubs/Publications/Shipmate/2001/2001_04/Hartley.htm">"Ted Hartley '46"</a>. US Naval Academy. 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December 11, 1997. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110517193334/http://caselaw.findlaw.com/us-2nd-circuit/1136457.html">Archived</a> from the original on May 17, 2011. Retrieved August 10, 2006.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=FindLaw&rft.atitle=Saltzman+v.+Commissioner+of+Internal+Revenue+%281997%29&rft.date=1997-12-11&rft_id=https%3A%2F%2Fcaselaw.findlaw.com%2Fcourt%2Fus-2nd-circuit%2F1136457.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> The association of the corporate name "Marian Pictures Incorporated" with the acronym "MBP" is per this legal document. </li> <li id="cite_note-252"><a href="#cite_ref-252">^</a> Gantman, Howard (November 24, 1986), "<a rel="nofollow" class="external text" href="https://www.upi.com/Archives/1986/11/24/Turner-will-temporarily-halt-colorization-of-RKO-films/5499533192400">Turner Will Temporarily Halt Colorization of RKO Films</a>", UPI. </li> <li id="cite_note-253"><a href="#cite_ref-253">^</a> Delugach, Al, "<a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-1987-03-16-fi-6278-story.html">Investors Will Pay $48 Million for RKO—Confidential Memo Details Management Group's Purchase Deal</a>", Los Angeles Times, March 16, 1987; "<a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-1987-12-10-fi-27906-story.html">Turner Buys Rights to 800 RKO Movies</a>", Los Angeles Times (Reuters), December 10, 1987. </li> <li id="cite_note-254"><a href="#cite_ref-254">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGewertz1987" class="citation web cs1">Gewertz, Catherine (December 17, 1987). <a rel="nofollow" class="external text" href="https://www.upi.com/Archives/1987/12/17/RKO-Pictures-has-agreed-to-drop-a-lawsuit-to/6782566715600/">"RKO Pictures has agreed to drop a lawsuit to..."</a> UPI. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220526205329/https://www.upi.com/Archives/1987/12/17/RKO-Pictures-has-agreed-to-drop-a-lawsuit-to/6782566715600/">Archived</a> from the original on May 26, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=UPI&rft.atitle=RKO+Pictures+has+agreed+to+drop+a+lawsuit+to...&rft.date=1987-12-17&rft.aulast=Gewertz&rft.aufirst=Catherine&rft_id=https%3A%2F%2Fwww.upi.com%2FArchives%2F1987%2F12%2F17%2FRKO-Pictures-has-agreed-to-drop-a-lawsuit-to%2F6782566715600%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-CKAFI-255">^ <a href="#cite_ref-CKAFI_255-0">a</a> <a href="#cite_ref-CKAFI_255-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://catalog.afi.com/Catalog/MovieDetails/27624">"AFI Catalog of Feature Films: Citizen Kane (1941)"</a>. 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Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=DVDFr.com&rft.atitle=Catalogue+RKO%2C+second+clap&rft.date=2015-05-19&rft.aulast=Gautreau&rft.aufirst=Philippe&rft_id=https%3A%2F%2Fwww.dvdfr.com%2Fnews%2F4277-catalogue-rko-second-clap.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-273"><a href="#cite_ref-273">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.apaonline.it/en/produttore/red-film/">"Membership: Red Film"</a>. Audiovisual Producers Association. Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Membership%3A+Red+Film&rft.pub=Audiovisual+Producers+Association&rft_id=https%3A%2F%2Fwww.apaonline.it%2Fen%2Fproduttore%2Fred-film%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.apaonline.it/website/wp-content/uploads/2023/03/apa-associazione-produttori-audiovisivi-miptv-2023-apa-al-fianco-delle-aziende-italiane-apa-miptv-catalogo.pdf">"Italian Pavilion Companies: MIPTV"</a> (PDF). Audiovisual Producers Association. March 2023. p. 39. Retrieved December 28, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Italian+Pavilion+Companies%3A+MIPTV&rft.pages=39&rft.pub=Audiovisual+Producers+Association&rft.date=2023-03&rft_id=https%3A%2F%2Fwww.apaonline.it%2Fwebsite%2Fwp-content%2Fuploads%2F2023%2F03%2Fapa-associazione-produttori-audiovisivi-miptv-2023-apa-al-fianco-delle-aziende-italiane-apa-miptv-catalogo.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-274"><a href="#cite_ref-274">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.lainformacion.com/economia-negocios-y-finanzas/vertice-emitira-sus-peliculas-con-publicidad-en-youtube_FOIBOs7IVUVqZbhTWAA213">"Vértice emitirá sus películas con publicidad en Youtube"</a>. La Información. June 19, 2011. Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=La+Informaci%C3%B3n&rft.atitle=V%C3%A9rtice+emitir%C3%A1+sus+pel%C3%ADculas+con+publicidad+en+Youtube&rft.date=2011-06-19&rft_id=https%3A%2F%2Fwww.lainformacion.com%2Feconomia-negocios-y-finanzas%2Fvertice-emitira-sus-peliculas-con-publicidad-en-youtube_FOIBOs7IVUVqZbhTWAA213&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-275"><a href="#cite_ref-275">^</a> Deyo and Leibowitz (2003), pp. 5–6. </li> <li id="cite_note-276"><a href="#cite_ref-276">^</a> Jewell (2012), p. 20; Shull and Wilt (1996), pp. 146, 148. </li> <li id="cite_note-277"><a href="#cite_ref-277">^</a> Quoted in Thomson (1997), p. 170. </li> <li id="cite_note-278"><a href="#cite_ref-278">^</a> Ward (2016), p. 146. </li> <li id="cite_note-279"><a href="#cite_ref-279">^</a> For popularity of lightning bolt design element at the time, see Nye (1992), p. 157. </li> <li id="cite_note-280"><a href="#cite_ref-280">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://avid.wiki/RKO_Radio_Pictures/Logo_Variations">"RKO Radio Pictures/Logo Variations"</a>. Audiovisual Identity Database. Retrieved October 20, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=RKO+Radio+Pictures%2FLogo+Variations&rft.pub=Audiovisual+Identity+Database&rft_id=https%3A%2F%2Favid.wiki%2FRKO_Radio_Pictures%2FLogo_Variations&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-281"><a href="#cite_ref-281">^</a> Culhane (1999), passim. </li> <li id="cite_note-282"><a href="#cite_ref-282">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMitchell" class="citation web cs1">Mitchell, Rick. <a rel="nofollow" class="external text" href="http://hollywoodlostandfound.net/stories/studiologos/page4.html">"Everything You Wanted to Know about American Film Company Logos but Were Afraid to Ask: RKO"</a>. Hollywood Lost and Found. Retrieved October 20, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Everything+You+Wanted+to+Know+about+American+Film+Company+Logos+but+Were+Afraid+to+Ask%3A+RKO&rft.pub=Hollywood+Lost+and+Found&rft.aulast=Mitchell&rft.aufirst=Rick&rft_id=http%3A%2F%2Fhollywoodlostandfound.net%2Fstories%2Fstudiologos%2Fpage4.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-283"><a href="#cite_ref-283">^</a> Transcript of Record, Supreme Court of the United States, October Term, 1947, Vol. VIII, pp. 3242, 3247–48, 3260. </li> <li id="cite_note-284"><a href="#cite_ref-284">^</a> Huettig (1944), p. 296. </li> <li id="cite_note-285"><a href="#cite_ref-285">^</a> Haupert (2006), p. 17. </li> <li id="cite_note-286"><a href="#cite_ref-286">^</a> See, e.g., Lasky (1989), p. 120. </li> <li id="cite_note-287"><a href="#cite_ref-287">^</a> See also Sherwood (1923), pp. 150, 156, 158–59. </li> <li id="cite_note-288"><a href="#cite_ref-288">^</a> Crafton (1997), p. 549. </li> <li id="cite_note-289"><a href="#cite_ref-289">^</a> Senn (1996), p. 109. </li> <li id="cite_note-290"><a href="#cite_ref-290">^</a> McCann (1998), p. 79. </li> <li id="cite_note-291"><a href="#cite_ref-291">^</a> Carman (2016), pp. 7, 9, 55, 89–90, 110–12, 157, 159–61. </li> <li id="cite_note-292"><a href="#cite_ref-292">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/variety119-1935-07/page/n1">"Only 10 Exclusive Stars: Loan, Exchange Drain Studios"</a>. Variety. July 3, 1935. pp. 3, 23. Retrieved January 3, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Variety&rft.atitle=Only+10+Exclusive+Stars%3A+Loan%2C+Exchange+Drain+Studios&rft.pages=3%2C+23&rft.date=1935-07-03&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fvariety119-1935-07%2Fpage%2Fn1&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> See also Carman (2016), p. 188 n. 168. </li> <li id="cite_note-293"><a href="#cite_ref-293">^</a> Carman (2020), pp. 68–69. </li> <li id="cite_note-294"><a href="#cite_ref-294">^</a> Schatz (1999), p. 89. </li> <li id="cite_note-295"><a href="#cite_ref-295">^</a> Leff (1999), p. 92. </li> <li id="cite_note-296"><a href="#cite_ref-296">^</a> Carman (2016), p. 76. </li> <li id="cite_note-297"><a href="#cite_ref-297">^</a> Sikov (1996), p. 152. </li> <li id="cite_note-298"><a href="#cite_ref-298">^</a> Spoto (1983), p. 250. </li> <li id="cite_note-299"><a href="#cite_ref-299">^</a> Carringer (1985), pp. 1, p. 151 n. I-1. </li> <li id="cite_note-300"><a href="#cite_ref-300">^</a> For Citizen Kane: Brady (1990), pp. 288, 311; Jewell (1982), p. 164. For The Magnificent Ambersons: Jewell (1982), p. 173. For It's All True: Brady (1990), p. 346. For corporate deficit and profit: Jewell (1982), pp. 144, 156. </li> <li id="cite_note-301"><a href="#cite_ref-301">^</a> Jewell (1982), p. 168. </li> <li id="cite_note-302"><a href="#cite_ref-302">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/variety219-1960-08/page/n227">"RKO General Wants 'Warranties' Before Buying NTA's Post-'48 Bundle"</a>. Variety. August 24, 1960. p. 36. Retrieved May 14, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Variety&rft.atitle=RKO+General+Wants+%27Warranties%27+Before+Buying+NTA%27s+Post-%2748+Bundle&rft.pages=36&rft.date=1960-08-24&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fvariety219-1960-08%2Fpage%2Fn227&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-303"><a href="#cite_ref-303">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">"Papers Read in Support of Motion: Exhibit A, Annexed to Affidavit of Martin Schildkraut". Records & Briefs, New York State Appellate Division: Television Industries Inc. et al. v. RKO General, Inc. New York: Reporter Company. 1962. p. 27.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Papers+Read+in+Support+of+Motion%3A+Exhibit+A%2C+Annexed+to+Affidavit+of+Martin+Schildkraut&rft.btitle=Records+%26+Briefs%2C+New+York+State+Appellate+Division%3A+Television+Industries+Inc.+et+al.+v.+RKO+General%2C+Inc.&rft.place=New+York&rft.pages=27&rft.pub=Reporter+Company&rft.date=1962&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> <li id="cite_note-304"><a href="#cite_ref-304">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPerry2021" class="citation web cs1">Perry, Spencer (April 2, 2021). <a rel="nofollow" class="external text" href="https://comicbook.com/movies/news/wild-and-complicated-story-of-the-rights-to-king-kong">"The Wild and Complicated Story of the Rights to King Kong"</a>. ComicBook.com. Retrieved October 22, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ComicBook.com&rft.atitle=The+Wild+and+Complicated+Story+of+the+Rights+to+King+Kong&rft.date=2021-04-02&rft.aulast=Perry&rft.aufirst=Spencer&rft_id=https%3A%2F%2Fcomicbook.com%2Fmovies%2Fnews%2Fwild-and-complicated-story-of-the-rights-to-king-kong&rfr_id=info%3Asid%2Fen.wikipedia.org%3ARKO+Pictures" class="Z3988"> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=20" title="Edit section: Sources">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239549316"><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em"> <ul><li>Ballinger, Alexander, and Danny Graydon (2007). The Rough Guide to Film Noir. London: Rough Guides. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-84353-474-6" title="Special:BookSources/1-84353-474-6">1-84353-474-6</a></li> <li>Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-516729-5" title="Special:BookSources/0-19-516729-5">0-19-516729-5</a></li> <li>Barrier, Michael (2008). The Animated Man: A Life of Walt Disney. Berkeley: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-25619-4" title="Special:BookSources/978-0-520-25619-4">978-0-520-25619-4</a></li> <li>Barrios, Richard (1995). A Song in the Dark: The Birth of the Musical Film. New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-508811-5" title="Special:BookSources/0-19-508811-5">0-19-508811-5</a></li> <li>Beauchamp, Cari (2009). Joseph P. Kennedy Presents: His Hollywood Years. New York: Knopf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1400040001" title="Special:BookSources/978-1400040001">978-1400040001</a></li> <li>Boddy, William (1990). Fifties Television: The Industry and Its Critics. Urbana and Chicago: University of Illinois Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-252-06299-X" title="Special:BookSources/0-252-06299-X">0-252-06299-X</a></li> <li>Bordwell, David, Janet Staiger, and Kristin Thompson (1985). The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. New York: Columbia University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-231-06054-8" title="Special:BookSources/0-231-06054-8">0-231-06054-8</a></li> <li>Bradley, Edwin M. (1996). The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-2029-4" title="Special:BookSources/0-7864-2029-4">0-7864-2029-4</a></li> <li>Brady, Frank (1990 [1989]). Citizen Welles: A Biography of Orson Welles. New York: Anchor. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-385-26759-2" title="Special:BookSources/0-385-26759-2">0-385-26759-2</a></li> <li>Brown, Peter Harry, and Pat H. Broeske (2004). Howard Hughes: The Untold Story. New York: Da Capo. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-306-81392-0" title="Special:BookSources/0-306-81392-0">0-306-81392-0</a></li> <li>Brunelle, Ray (1996). "The Art of Sound Effects", Experimental Musical Instruments 12, nos. 1 and 2 (September and December). ISSN 0883-0754</li> <li>Carman, Emily (2012). "'Women Rule Hollywood': Ageing and Freelance Stardom in the Studio System", in Female Celebrity and Ageing: Back in the Spotlight, ed. Deborah Jermyn, pp. 15–26. Abingdon and New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-83236-6" title="Special:BookSources/978-0-415-83236-6">978-0-415-83236-6</a></li> <li>Carman, Emily (2016). Independent Stardom: Freelance Women in the Hollywood Studio System. Austin: University of Texas Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4773-0731-1" title="Special:BookSources/978-1-4773-0731-1">978-1-4773-0731-1</a></li> <li>Carman, Emily (2020). "Going Independent in 1930s Hollywood: Freelance Star and Independent Producer Collaborations at United Artists", in United Artists, ed. Peter Krämer, Gary Needham, Yannis Tzioumakis, and Tino Balio, pp. 57–74. Abingdon and New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-367-17898-7" title="Special:BookSources/978-0-367-17898-7">978-0-367-17898-7</a></li> <li>Conant, Michael (1981). "The Paramount Decrees Reconsidered", in The American Film Industry, ed. Tino Balio, pp. 537–73. Madison: University of Wisconsin Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-299-09874-5" title="Special:BookSources/0-299-09874-5">0-299-09874-5</a></li> <li>Cook, Pam (2007). The Cinema Book, 3d ed. London: BFI Publishing. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-84457-192-0" title="Special:BookSources/1-84457-192-0">1-84457-192-0</a></li> <li>Cotta Vaz, Mark, and Craig Barron (2002). The Invisible Art: The Legends of Movie Matte Painting. San Francisco: Chronicle Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8118-4515-1" title="Special:BookSources/978-0-8118-4515-1">978-0-8118-4515-1</a></li> <li>Cox, Jim (2009). American Radio Networks: A History. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-4192-1" title="Special:BookSources/978-0-7864-4192-1">978-0-7864-4192-1</a></li> <li>Crafton, Donald (1997). The Talkies: American Cinema's Transition to Sound, 1926–1931. New York: Charles Scribner's Sons. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-684-19585-2" title="Special:BookSources/0-684-19585-2">0-684-19585-2</a></li> <li>Crosby, Michael (2009). Encino. Charleston, SC: Arcadia. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7385-6991-7" title="Special:BookSources/0-7385-6991-7">0-7385-6991-7</a></li> <li>Culhane, John (1999). Walt Disney's Fantasia. New York: Harry N. Abrams. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8109-8078-9" title="Special:BookSources/0-8109-8078-9">0-8109-8078-9</a></li> <li>Denisoff, R. Serge (1986). Tarnished Gold: The Record Industry Revisited. Piscataway, NJ: Transaction. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-88738-618-0" title="Special:BookSources/0-88738-618-0">0-88738-618-0</a></li> <li>Deyo, L. B., and David Leibowitz (2003). Invisible Frontier: Exploring the Tunnels, Ruins, and Rooftops of Hidden New York. New York: Random House. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-609-80931-8" title="Special:BookSources/0-609-80931-8">0-609-80931-8</a></li> <li>Di Battista, Maria (2001). Fast-Talking Dames. New Haven, CT, and London: Yale University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-300-08815-9" title="Special:BookSources/0-300-08815-9">0-300-08815-9</a></li> <li>Dīck, Bernard F. (2021). Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood. Lexington: University Press of Kentucky. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8131-5135-9" title="Special:BookSources/978-0-8131-5135-9">978-0-8131-5135-9</a></li> <li>Dickstein, Morris (2002). "Bringing Up Baby (1938)", in The A List: The National Society of Film Critics' 100 Essential Films, ed. Jay Carr, pp. 48–50. Cambridge, MA: Da Capo. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-306-81096-4" title="Special:BookSources/0-306-81096-4">0-306-81096-4</a></li> <li>Dietrich, Noah, and Bob Thomas (1972). Howard, The Amazing Mr. Hughes. Greenwich, CT: Fawcett Publications. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-449-13652-3" title="Special:BookSources/0-449-13652-3">0-449-13652-3</a></li> <li>Dixon, Wheeler W. (2005). Lost in the Fifties: Recovering Phantom Hollywood. Carbondale: Southern Illinois University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8093-2653-1" title="Special:BookSources/0-8093-2653-1">0-8093-2653-1</a></li> <li>Dombrowski, Lisa (2008). The Films of Samuel Fuller: If You Die, I'll Kill You! Middletown, CT: Wesleyan University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8195-6866-3" title="Special:BookSources/978-0-8195-6866-3">978-0-8195-6866-3</a></li> <li>Erickson, Hal (2012). Military Comedy Films: A Critical Survey and Filmography of Hollywood since 1918. Jeferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-6290-2" title="Special:BookSources/978-0-7864-6290-2">978-0-7864-6290-2</a></li> <li>Erickson, Hal (2020). A Van Beuren Production: A History of the 619 Cartoons, 875 Live Action Shorts, Four Feature Films, and One Serial of Amedee Van Beuren. Jeferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4766-8027-9" title="Special:BookSources/978-1-4766-8027-9">978-1-4766-8027-9</a></li> <li>Eyman, Scott (2010). Empire of Dreams: The Epic Life of Cecil B. DeMille. New York: Simon & Schuster. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7432-8955-9" title="Special:BookSources/978-0-7432-8955-9">978-0-7432-8955-9</a></li> <li>Fein, Seth (2000). "Transcultured Anticommunism: Cold War Hollywood in Postwar Mexico", in Visible Nations: Latin American Cinema and Video, ed. Chon A. Noriega, pp. 82–111. Minneapolis: University of Minnesota Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8166-3347-9" title="Special:BookSources/0-8166-3347-9">0-8166-3347-9</a></li> <li>Finler, Joel W. (2003). The Hollywood Story, 3d ed. London: Wallflower. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-903364-66-3" title="Special:BookSources/1-903364-66-3">1-903364-66-3</a></li> <li>Fong-Torres, Ben (2001). The Hits Just Keep on Coming: The History of Top 40 Radio. Milwaukee: Hal Leonard. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87930-664-5" title="Special:BookSources/0-87930-664-5">0-87930-664-5</a></li> <li>Friedrich, Otto (1997 [1986]). City of Nets: A Portrait of Hollywood in the 1940s. Berkeley and Los Angeles: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-20949-4" title="Special:BookSources/0-520-20949-4">0-520-20949-4</a></li> <li>Gabler, Neal (2006). Walt Disney: The Triumph of the American Imagination. New York: Alfred A. Knopf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-679-43822-X" title="Special:BookSources/0-679-43822-X">0-679-43822-X</a></li> <li>Glick, Mark A., Lara A. Reymann, and Richard Hoffman (2003). Intellectual Property Damages: Guidelines and Analysis. Hoboken, NJ: John Wiley & Sons. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-471-23719-1" title="Special:BookSources/0-471-23719-1">0-471-23719-1</a></li> <li>Gomery, Douglas (1985). "The Coming of Sound: Technological Change in the American Film Industry", in Technology and Culture—The Film Reader, ed. Andrew Utterson, pp. 53–67. Oxford and New York: Routledge/Taylor & Francis, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-31984-6" title="Special:BookSources/0-415-31984-6">0-415-31984-6</a></li> <li>Gomery, Douglas (2005). The Hollywood Studio System: A History. London: BFI. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1844570232" title="Special:BookSources/978-1844570232">978-1844570232</a></li> <li>Goodwin, Doris Kearns (1987). The Fitzgeralds and the Kennedys. New York: Simon & Schuster. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-06354-7" title="Special:BookSources/0-312-06354-7">0-312-06354-7</a></li> <li>Hanson, Patricia King, and Amy Dunkleberger, eds. (1999). American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1941–1950. Berkeley, Los Angeles, and London: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-21521-4" title="Special:BookSources/0-520-21521-4">0-520-21521-4</a></li> <li>Harvey, James (1998). Romantic Comedy in Hollywood, from Lubitsch to Sturges. New York: Da Capo. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-306-80832-3" title="Special:BookSources/0-306-80832-3">0-306-80832-3</a></li> <li>Haupert, Michael John (2006). The Entertainment Industry. Westport, CT.: Greenwood. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-313-32173-6" title="Special:BookSources/0-313-32173-6">0-313-32173-6</a></li> <li>Hilmes, Michelle (1990). Hollywood and Broadcasting: From Radio to Cable. Urbana and Chicago: University of Illinois Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-252-01709-9" title="Special:BookSources/0-252-01709-9">0-252-01709-9</a></li> <li>Holt, Jennifer (2011). Empires of Entertainment: Media Industries and the Politics of Deregulation, 1980–1996. New Brunswick, NJ: Rutgers University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8135-5052-7" title="Special:BookSources/978-0-8135-5052-7">978-0-8135-5052-7</a></li> <li>Howard, Herbert H. (1979). Multiple Ownership in Television Broadcasting: Historical Development and Selected Case Studies. New York: Arno. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-405-11759-0" title="Special:BookSources/0-405-11759-0">0-405-11759-0</a></li> <li>Huettig, Mae D. (1944). Economic Control of the Motion Picture Industry, excerpted in The American Film Industry, ed. Tino Balio, pp. 285–310. Madison: University of Wisconsin Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-299-09874-5" title="Special:BookSources/0-299-09874-5">0-299-09874-5</a></li> <li>Jacobs, Steven (2007). The Wrong House: The Architecture of Alfred Hitchcock. Rotterdam: 010 Publishers. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/90-6450-637-X" title="Special:BookSources/90-6450-637-X">90-6450-637-X</a></li> <li>Jeff, Leonard J., and Jerold L. Simmons (2001). The Dame in the Kimono: Hollywood, Censorship, and the Production Code. Lexington: University Press of Kentucky. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8131-9011-8" title="Special:BookSources/0-8131-9011-8">0-8131-9011-8</a></li> <li>Jewell, Richard B., with Vernon Harbin (1982). The RKO Story. New York: Arlington House/Crown. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-517-54656-6" title="Special:BookSources/0-517-54656-6">0-517-54656-6</a></li> <li>Jewell, Richard B. (2012). RKO Radio Pictures: A Titan Is Born. Berkeley and Los Angeles: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-27178-4" title="Special:BookSources/978-0-520-27178-4">978-0-520-27178-4</a></li> <li>Jewell, Richard B. (2016). Slow Fade to Black: The Decline of RKO Radio Pictures. Berkeley and Los Angeles: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-28966-6" title="Special:BookSources/978-0-520-28966-6">978-0-520-28966-6</a></li> <li>Kear, Lynn, with James King (2009). Evelyn Brent: The Life and Films of Hollywood's Lady Crook. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-4363-4" title="Special:BookSources/0-7864-4363-4">0-7864-4363-4</a></li> <li>Keyes, Cheryl L. (2004). Rap Music and Street Consciousness. Urbana and Chicago: University of Illinois Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-252-07201-4" title="Special:BookSources/0-252-07201-4">0-252-07201-4</a></li> <li>King, Emily (2003). Movie Poster. London: Octopus. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-84000-653-6" title="Special:BookSources/1-84000-653-6">1-84000-653-6</a></li> <li>Korwar, Arati R. (2013 [1998]) "Hollywood/Radio Controversy of 1932", in History of the Mass Media in the United States: An Encyclopedia, ed. Margaret A. Blanchard, pp. 256–57. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-57958-012-2" title="Special:BookSources/1-57958-012-2">1-57958-012-2</a></li> <li>Koszarski, Richard (2008). Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff. New Brunswick, NJ: Rutgers University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8135-4293-6" title="Special:BookSources/0-8135-4293-6">0-8135-4293-6</a></li> <li>Koszarski, Richard (2021). "Keep 'Em in the East": Kazan, Kubrick, and the Postwar New York Film Renaissance. New York: Columbia University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0231200981" title="Special:BookSources/978-0231200981">978-0231200981</a></li> <li>Kroessler, Jeffrey A. (2002). New York Year by Year: A Chronology of the Great Metropolis. New York: NYU Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8147-4751-5" title="Special:BookSources/0-8147-4751-5">0-8147-4751-5</a></li> <li>Langdon-Teclaw, Jennifer (2007). "The Progressive Producer in the Studio System: Adrian Scott at RKO, 1943–1947", in "Un-American" Hollywood: Politics and Film in the Blacklist Era, ed. Frank Krutnik, Steve Neale, Brian Neve, and Peter Stanfield, pp. 152–68. New Brunswick, NJ, and London: Rutgers University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8135-4198-0" title="Special:BookSources/0-8135-4198-0">0-8135-4198-0</a></li> <li>Lasky, Betty (1989). RKO: The Biggest Little Major of Them All. Santa Monica, CA: Roundtable. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-915677-41-5" title="Special:BookSources/0-915677-41-5">0-915677-41-5</a></li> <li>Leff, Leonard J. (1999 [1987]). Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. Berkeley, Los Angeles, and London: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-21781-0" title="Special:BookSources/0-520-21781-0">0-520-21781-0</a></li> <li>McBride, Joseph (2006). What Ever Happened to Orson Welles? A Portrait of an Independent Career. Lexington: University Press of Kentucky. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8131-2410-7" title="Special:BookSources/0-8131-2410-7">0-8131-2410-7</a></li> <li>McCann, Graham (1998). Cary Grant: A Class Apart. New York: Columbia University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-231-10885-0" title="Special:BookSources/0-231-10885-0">0-231-10885-0</a></li> <li>Moody's Manual of Investments: American and Foreign—Volume 2, Industrial Securities (1935). New York: Moody's Investors Service.</li> <li>Moody's Manual of Investments: American and Foreign—Volume 2, Industrial Securities (1941). New York: Moody's Investors Service.</li> <li>Morton, Ray (2005). King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson. New York: Applause. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-55783-669-8" title="Special:BookSources/1-55783-669-8">1-55783-669-8</a></li> <li>Mueller, John (1986). Astaire Dancing: The Musical Films. London: Hamish Hamilton. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-241-11749-6" title="Special:BookSources/0-241-11749-6">0-241-11749-6</a></li> <li>Muller, Eddie (1998). Dark City: The Lost World of Film Noir. New York: St. Martin's. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-18076-4" title="Special:BookSources/0-312-18076-4">0-312-18076-4</a></li> <li>Naremore, James (1989). The Magic World of Orson Welles, rev. ed. Dallas: Southern Methodist University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87074-299-X" title="Special:BookSources/0-87074-299-X">0-87074-299-X</a></li> <li>Nasaw, David (2012). The Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy. New York: Penguin Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-59420-376-3" title="Special:BookSources/978-1-59420-376-3">978-1-59420-376-3</a></li> <li>Nye, David E. (1992). Electrifying America: Social Meanings of a New Technology, 1880–1940. Cambridge, MA: MIT Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-262-64030-9" title="Special:BookSources/0-262-64030-9">0-262-64030-9</a></li> <li>O'Neill, Dennis J. (1966). A Whale of a Territory: The Story of Bill O'Neil. New York: McGraw Hill.</li> <li>Pierce, David (2007). "Forgotten Faces: Why Some of Our Cinema Heritage Is Part of the Public Domain", Film History: An International Journal 19, no. 2 (June). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2979%2FFIL.2007.19.2.125">10.2979/FIL.2007.19.2.125</a> <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/25165419">25165419</a></li> <li>Pierson, John (1997). Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of American Independent Cinema. New York: Miramax Books/Hyperion. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7868-8222-0" title="Special:BookSources/0-7868-8222-0">0-7868-8222-0</a></li> <li>Pitts, Michael R. (2015). RKO Radio Pictures Horror, Science Fiction and Fantasy Films, 1929–1956. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-6047-2" title="Special:BookSources/978-0-7864-6047-2">978-0-7864-6047-2</a></li> <li>Porst, Jennifer (2015). "The Preservation of Competition: Hollywood and Antitrust Law", in Hollywood and the Law, ed. Paul McDonald, Emily Carman, Eric Hoyt, and Philip Drake, pp. 103–29. London: BFI/Palgrave. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84457-477-3" title="Special:BookSources/978-1-84457-477-3">978-1-84457-477-3</a></li> <li>Regev, Ronny (2018). Working in Hollywood: How the Studio System Turned Creativity into Labor. Chapel Hill: University of North Carolina Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781469636504" title="Special:BookSources/9781469636504">9781469636504</a></li> <li>Rode, Alan K. (2007). Charles McGraw: Biography of a Film Noir Tough Guy. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-3167-9" title="Special:BookSources/0-7864-3167-9">0-7864-3167-9</a></li> <li>Russell, James, and Jim Whalley (2018). Hollywood and the Baby Boom: A Social History. New York and London: Bloomsbury Academic. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5013-3149-7" title="Special:BookSources/978-1-5013-3149-7">978-1-5013-3149-7</a></li> <li>Schatz, Thomas (1998 [1989]). The Genius of the System: Hollywood Filmmaking in the Studio Era. London: Faber and Faber. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-571-19596-2" title="Special:BookSources/0-571-19596-2">0-571-19596-2</a></li> <li>Schatz, Thomas (1999 [1997]). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-22130-3" title="Special:BookSources/0-520-22130-3">0-520-22130-3</a></li> <li>Schwartz, Ronald (2005). Neo-Noir: The New Film Noir Style from Psycho to Collateral. Lanham, MD: Rowman & Littlefield/Scarecrow. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8108-5676-X" title="Special:BookSources/0-8108-5676-X">0-8108-5676-X</a></li> <li>Segrave, Kerry (1999). Movies at Home: How Hollywood Came to Television. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-0654-2" title="Special:BookSources/0-7864-0654-2">0-7864-0654-2</a></li> <li>Senn, Bryan (1996). Golden Horrors: An Illustrated Critical Filmography of Terror Cinema, 1931–1939. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7864-0175-3" title="Special:BookSources/0-7864-0175-3">0-7864-0175-3</a></li> <li>Senn, Bryan (2018). Drums o' Terror: Voodoo in the Cinema. Albany, GA: BearManor Media. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-887664-18-9" title="Special:BookSources/978-1-887664-18-9">978-1-887664-18-9</a></li> <li>Server, Lee (2002). Robert Mitchum: "Baby, I Don't Care". New York: St. Martin's. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-26206-X" title="Special:BookSources/0-312-26206-X">0-312-26206-X</a></li> <li>Shull, Michael S., and David Edward Wilt (1996). Hollywood War Films, 1937–1945: An Exhaustive Filmography of American Feature-Length Motion Pictures Relating to World War II. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-2854-0" title="Special:BookSources/978-0-7864-2854-0">978-0-7864-2854-0</a></li> <li>Sikov, Ed (1996). Laughing Hysterically: American Screen Comedy of the 1950s. New York: Columbia University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-231-07983-4" title="Special:BookSources/0-231-07983-4">0-231-07983-4</a></li> <li>Slide, Anthony (1998). The New Historical Dictionary of the American Film Industry. Abingdon and New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-579-58056-8" title="Special:BookSources/978-1-579-58056-8">978-1-579-58056-8</a></li> <li>Smith, Dave (1996). Disney A to Z: The Official Encyclopedia. New York: Hyperion. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7868-6223-8" title="Special:BookSources/0-7868-6223-8">0-7868-6223-8</a></li> <li>Spicer, Andrew (2014 [2002]). Film Noir. Abingdon and New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-582-43712-1" title="Special:BookSources/978-0-582-43712-1">978-0-582-43712-1</a></li> <li>Spoto, Donald (1984 [1983]). The Dark Side of Genius: The Life of Alfred Hitchcock. New York: Ballantine. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-345-31462-X" title="Special:BookSources/0-345-31462-X">0-345-31462-X</a></li> <li>Stephens, Michael L. (1995). Film Noir: A Comprehensive, Illustrated Reference to Movies, Terms, and Persons. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-89950-802-2" title="Special:BookSources/0-89950-802-2">0-89950-802-2</a></li> <li>Terrace, Vincent (1999). Radio Programs, 1924–1984: A Catalog of More Than 1800 Shows. Jefferson, NC: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-4513-4" title="Special:BookSources/978-0-7864-4513-4">978-0-7864-4513-4</a></li> <li>Thomson, David (1997 [1996]). Rosebud: The Story of Orson Welles. New York: Vintage. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-679-77283-9" title="Special:BookSources/0-679-77283-9">0-679-77283-9</a></li> <li>Uytdewilligen, Ryan (2021). Killing John Wayne: The Making of the Conqueror. Lanham, MD: Globe Pequot/Rowman & Littlefield. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4930-5847-1" title="Special:BookSources/978-1-4930-5847-1">978-1-4930-5847-1</a></li> <li>Ward, Richard Lewis (2016). When the Cock Crows: A History of the Pathé Exchange. Carbondale: Southern Illinois University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8093-3496-4" title="Special:BookSources/978-0-8093-3496-4">978-0-8093-3496-4</a></li> <li>Wegele, Peter (2014). Max Steiner: Composing, Casablanca, and the Golden Age of Film Music. Lanham, MD: Rowman & Littlefield. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4422-3113-9" title="Special:BookSources/978-1-4422-3113-9">978-1-4422-3113-9</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=RKO_Pictures&action=edit&section=21" title="Edit section: External links">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></a></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:RKO_General" class="extiw" title="commons:Category:RKO General">RKO General</a>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20030316165938/http://www.vitaphone.org/pathe.html">The Early Sound Films of Pathé</a> list of RKO Pathé–branded films of 1931–32; part of Vitaphone Video Early Talkies</li> <li><a rel="nofollow" class="external text" href="https://cinematreasures.org/chains/133/previous">RKO Theater Chain</a> list of classic movie houses belonging to RKO chain; part of Cinema Treasures</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20061101012119/http://film-center.com/ccrko16m.html">C&C RKO 16mm Prints</a> extensive discussion of RKO preservation and rights issues, by David Chierichetti; part of eFilmCenter</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20230129195213/https://avid.miraheze.org/wiki/RKO_Radio_Pictures">RKO Radio Pictures: Main Logos</a> gallery and analysis; part of the Audiovisual Identity Database</li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=j1eEoD0hVOE">RKO Radio Pictures Logo History</a> video survey of the evolving Transmitter and more</li></ul> <div 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href="/wiki/Academy_Award_for_Best_Picture" title="Academy Award for Best Picture">Academy Award for Best Picture</a></div></th></tr><tr><th scope="row" class="navbox-group" style="background:#EEDD82;width:1%">1951–1975</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Arthur_Freed" title="Arthur Freed">Arthur Freed</a> (1951)</li> <li><a href="/wiki/Cecil_B._DeMille" title="Cecil B. DeMille">Cecil B. DeMille</a> (1952)</li> <li><a href="/wiki/Buddy_Adler" title="Buddy Adler">Buddy Adler</a> (1953)</li> <li><a href="/wiki/Sam_Spiegel" title="Sam Spiegel">Sam Spiegel</a> (1954)</li> <li><a href="/wiki/Harold_Hecht" title="Harold Hecht">Harold Hecht</a> (1955)</li> <li><a href="/wiki/Mike_Todd" title="Mike Todd">Michael Todd</a> (1956)</li> <li><a href="/wiki/Sam_Spiegel" title="Sam Spiegel">Sam Spiegel</a> (1957)</li> <li><a href="/wiki/Arthur_Freed" title="Arthur Freed">Arthur Freed</a> (1958)</li> <li><a href="/wiki/Sam_Zimbalist" title="Sam Zimbalist">Sam Zimbalist</a> (1959)</li> <li><a href="/wiki/Billy_Wilder" title="Billy Wilder">Billy Wilder</a> (1960)</li> <li><a href="/wiki/Robert_Wise" title="Robert Wise">Robert Wise</a> (1961)</li> <li><a href="/wiki/Sam_Spiegel" title="Sam Spiegel">Sam Spiegel</a> (1962)</li> <li><a href="/wiki/Tony_Richardson" title="Tony Richardson">Tony Richardson</a> (1963)</li> <li><a href="/wiki/Jack_L._Warner" title="Jack L. Warner">Jack L. Warner</a> (1964)</li> <li><a href="/wiki/Robert_Wise" title="Robert Wise">Robert Wise</a> (1965)</li> <li><a href="/wiki/Fred_Zinnemann" title="Fred Zinnemann">Fred Zinnemann</a> (1966)</li> <li><a href="/wiki/Walter_Mirisch" title="Walter Mirisch">Walter Mirisch</a> (1967)</li> <li><a href="/wiki/John_and_James_Woolf" title="John and James Woolf">John Woolf</a> (1968)</li> <li><a href="/wiki/Jerome_Hellman" title="Jerome Hellman">Jerome Hellman</a> (1969)</li> <li><a href="/wiki/Frank_McCarthy_(producer)" title="Frank McCarthy (producer)">Frank McCarthy</a> (1970)</li> <li><a href="/wiki/Philip_D%27Antoni" title="Philip D'Antoni">Philip D'Antoni</a> (1971)</li> <li><a href="/wiki/Albert_S._Ruddy" title="Albert S. Ruddy">Albert S. Ruddy</a> (1972)</li> <li><a href="/wiki/Tony_Bill" title="Tony Bill">Tony Bill</a>, <a href="/wiki/Julia_Phillips" title="Julia Phillips">Julia Phillips</a> and <a href="/wiki/Michael_Phillips_(producer)" title="Michael Phillips (producer)">Michael Phillips</a> (1973)</li> <li><a href="/wiki/Francis_Ford_Coppola" title="Francis Ford Coppola">Francis Ford Coppola</a>, <a href="/wiki/Gray_Frederickson" title="Gray Frederickson">Gray Frederickson</a> and <a href="/wiki/Fred_Roos" title="Fred Roos">Fred Roos</a> (1974)</li> <li><a href="/wiki/Michael_Douglas" title="Michael Douglas">Michael Douglas</a> and <a href="/wiki/Saul_Zaentz" title="Saul Zaentz">Saul Zaentz</a> (1975)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#EEDD82;width:1%">1976–2000</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Robert_Chartoff" title="Robert Chartoff">Robert Chartoff</a> and <a href="/wiki/Irwin_Winkler" title="Irwin Winkler">Irwin Winkler</a> (1976)</li> <li><a href="/wiki/Charles_H._Joffe" title="Charles H. Joffe">Charles H. Joffe</a> (1977)</li> <li><a href="/wiki/Michael_Cimino" title="Michael Cimino">Michael Cimino</a>, <a href="/wiki/Michael_Deeley" title="Michael Deeley">Michael Deeley</a>, John Peverall and <a href="/wiki/Barry_Spikings" title="Barry Spikings">Barry Spikings</a> (1978)</li> <li><a href="/wiki/Stanley_R._Jaffe" title="Stanley R. Jaffe">Stanley R. Jaffe</a> (1979)</li> <li><a href="/wiki/Ronald_L._Schwary" title="Ronald L. Schwary">Ronald L. Schwary</a> (1980)</li> <li><a href="/wiki/David_Puttnam" title="David Puttnam">David Puttnam</a> (1981)</li> <li><a href="/wiki/Richard_Attenborough" title="Richard Attenborough">Richard Attenborough</a> (1982)</li> <li><a href="/wiki/James_L._Brooks" title="James L. Brooks">James L. Brooks</a> (1983)</li> <li><a href="/wiki/Saul_Zaentz" title="Saul Zaentz">Saul Zaentz</a> (1984)</li> <li><a href="/wiki/Sydney_Pollack" title="Sydney Pollack">Sydney Pollack</a> (1985)</li> <li><a href="/wiki/Arnold_Kopelson" title="Arnold Kopelson">Arnold Kopelson</a> (1986)</li> <li><a href="/wiki/Jeremy_Thomas" title="Jeremy Thomas">Jeremy Thomas</a> (1987)</li> <li><a href="/wiki/Mark_Johnson_(producer)" title="Mark Johnson (producer)">Mark Johnson</a> (1988)</li> <li><a href="/wiki/Lili_Fini_Zanuck" title="Lili Fini Zanuck">Lili Fini Zanuck</a> and <a href="/wiki/Richard_D._Zanuck" title="Richard D. Zanuck">Richard D. Zanuck</a> (1989)</li> <li><a href="/wiki/Kevin_Costner" title="Kevin Costner">Kevin Costner</a> and <a href="/wiki/Jim_Wilson_(producer)" title="Jim Wilson (producer)">Jim Wilson</a> (1990)</li> <li><a href="/wiki/Ron_Bozman" title="Ron Bozman">Ron Bozman</a>, <a href="/wiki/Edward_Saxon" title="Edward Saxon">Edward Saxon</a> and <a href="/wiki/Kenneth_Utt" title="Kenneth Utt">Kenneth Utt</a> (1991)</li> <li><a href="/wiki/Clint_Eastwood" title="Clint Eastwood">Clint Eastwood</a> (1992)</li> <li><a href="/wiki/Branko_Lustig" title="Branko Lustig">Branko Lustig</a>, <a href="/wiki/Gerald_R._Molen" title="Gerald R. Molen">Gerald R. Molen</a> and <a href="/wiki/Steven_Spielberg" title="Steven Spielberg">Steven Spielberg</a> (1993)</li> <li><a href="/wiki/Wendy_Finerman" title="Wendy Finerman">Wendy Finerman</a>, <a href="/wiki/Steve_Starkey" title="Steve Starkey">Steve Starkey</a> and <a href="/wiki/Steve_Tisch" title="Steve Tisch">Steve Tisch</a> (1994)</li> <li><a href="/wiki/Bruce_Davey" title="Bruce Davey">Bruce Davey</a>, <a href="/wiki/Mel_Gibson" title="Mel Gibson">Mel Gibson</a> and <a href="/wiki/Alan_Ladd_Jr." title="Alan Ladd Jr.">Alan Ladd Jr.</a> (1995)</li> <li><a href="/wiki/Saul_Zaentz" title="Saul Zaentz">Saul Zaentz</a> (1996)</li> <li><a href="/wiki/James_Cameron" title="James Cameron">James Cameron</a> and <a href="/wiki/Jon_Landau_(film_producer)" title="Jon Landau (film producer)">Jon Landau</a> (1997)</li> <li><a href="/wiki/Donna_Gigliotti" title="Donna Gigliotti">Donna Gigliotti</a>, <a href="/wiki/Marc_Norman" title="Marc Norman">Marc Norman</a>, <a href="/wiki/David_Parfitt" title="David Parfitt">David Parfitt</a>, <a href="/wiki/Harvey_Weinstein" title="Harvey Weinstein">Harvey Weinstein</a> and <a href="/wiki/Edward_Zwick" title="Edward Zwick">Edward Zwick</a> (1998)</li> <li><a href="/wiki/Bruce_Cohen" title="Bruce Cohen">Bruce Cohen</a> and <a href="/wiki/Dan_Jinks" title="Dan Jinks">Dan Jinks</a> (1999)</li> <li><a href="/wiki/David_Franzoni" title="David Franzoni">David Franzoni</a>, <a href="/wiki/Branko_Lustig" title="Branko Lustig">Branko Lustig</a> and <a href="/wiki/Douglas_Wick" title="Douglas Wick">Douglas Wick</a> (2000)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:#EEDD82;width:1%">2001–present</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Brian_Grazer" title="Brian Grazer">Brian Grazer</a> and <a href="/wiki/Ron_Howard" title="Ron Howard">Ron Howard</a> (2001)</li> <li><a href="/wiki/Martin_Richards_(producer)" title="Martin Richards (producer)">Martin Richards</a> (2002)</li> <li><a href="/wiki/Peter_Jackson" title="Peter Jackson">Peter Jackson</a>, <a href="/wiki/Barrie_M._Osborne" title="Barrie M. Osborne">Barrie M. Osborne</a> and <a href="/wiki/Fran_Walsh" title="Fran Walsh">Fran Walsh</a> (2003)</li> <li><a href="/wiki/Clint_Eastwood" title="Clint Eastwood">Clint Eastwood</a>, <a href="/wiki/Tom_Rosenberg" title="Tom Rosenberg">Tom Rosenberg</a> and <a href="/wiki/Albert_S._Ruddy" title="Albert S. Ruddy">Albert S. Ruddy</a> (2004)</li> <li><a href="/wiki/Paul_Haggis" title="Paul Haggis">Paul Haggis</a> and <a href="/wiki/Cathy_Schulman" title="Cathy Schulman">Cathy Schulman</a> (2005)</li> <li><a href="/wiki/Graham_King" title="Graham King">Graham King</a> (2006)</li> <li><a href="/wiki/Coen_brothers" title="Coen brothers">Ethan Coen, Joel Coen</a> and <a href="/wiki/Scott_Rudin" title="Scott Rudin">Scott Rudin</a> (2007)</li> <li><a href="/wiki/Christian_Colson" title="Christian Colson">Christian Colson</a> (2008)</li> <li><a href="/wiki/Kathryn_Bigelow" title="Kathryn Bigelow">Kathryn Bigelow</a>, <a href="/wiki/Mark_Boal" title="Mark Boal">Mark Boal</a>, <a href="/wiki/Nicolas_Chartier" title="Nicolas Chartier">Nicolas Chartier</a> and <a href="/wiki/Greg_Shapiro_(producer)" title="Greg Shapiro (producer)">Greg Shapiro</a> (2009)</li> <li><a href="/wiki/Iain_Canning" title="Iain Canning">Iain Canning</a>, <a href="/wiki/Emile_Sherman" title="Emile Sherman">Emile Sherman</a> and <a href="/wiki/Gareth_Unwin" title="Gareth Unwin">Gareth Unwin</a> (2010)</li> <li><a href="/wiki/Thomas_Langmann" title="Thomas Langmann">Thomas Langmann</a> (2011)</li> <li><a href="/wiki/Ben_Affleck" title="Ben Affleck">Ben Affleck</a>, <a href="/wiki/George_Clooney" title="George Clooney">George Clooney</a> and <a href="/wiki/Grant_Heslov" title="Grant Heslov">Grant Heslov</a> (2012)</li> <li><a href="/wiki/Dede_Gardner" title="Dede Gardner">Dede Gardner</a>, <a href="/wiki/Anthony_Katagas" title="Anthony Katagas">Anthony Katagas</a>, <a href="/wiki/Jeremy_Kleiner" title="Jeremy Kleiner">Jeremy Kleiner</a>, <a href="/wiki/Steve_McQueen_(director)" title="Steve McQueen (director)">Steve McQueen</a> and <a href="/wiki/Brad_Pitt" title="Brad Pitt">Brad Pitt</a> (2013)</li> <li><a href="/wiki/Alejandro_Gonz%C3%A1lez_I%C3%B1%C3%A1rritu" title="Alejandro González Iñárritu">Alejandro G. Iñárritu</a>, <a href="/wiki/John_Lesher_(producer)" title="John Lesher (producer)">John Lesher</a> and <a href="/wiki/James_W._Skotchdopole" title="James W. Skotchdopole">James W. Skotchdopole</a> (2014)</li> <li><a href="/wiki/Blye_Pagon_Faust" title="Blye Pagon Faust">Blye Pagon Faust</a>, <a href="/wiki/Steve_Golin" title="Steve Golin">Steve Golin</a>, <a href="/wiki/Nicole_Rocklin" title="Nicole Rocklin">Nicole Rocklin</a> and <a href="/wiki/Michael_Sugar" title="Michael Sugar">Michael Sugar</a> (2015)</li> <li><a href="/wiki/Dede_Gardner" title="Dede Gardner">Dede Gardner</a>, <a href="/wiki/Jeremy_Kleiner" title="Jeremy Kleiner">Jeremy Kleiner</a> and <a href="/wiki/Adele_Romanski" title="Adele Romanski">Adele Romanski</a> (2016)</li> <li><a href="/wiki/J._Miles_Dale" title="J. Miles Dale">J. Miles Dale</a> and <a href="/wiki/Guillermo_del_Toro" title="Guillermo del Toro">Guillermo del Toro</a> (2017)</li> <li><a href="/wiki/Jim_Burke_(film_producer)" title="Jim Burke (film producer)">Jim Burke</a>, Brian Currie, <a href="/wiki/Peter_Farrelly" title="Peter Farrelly">Peter Farrelly</a>, <a href="/wiki/Nick_Vallelonga" title="Nick Vallelonga">Nick Vallelonga</a> and <a href="/wiki/Charles_B._Wessler" title="Charles B. Wessler">Charles B. Wessler</a> (2018)</li> <li><a href="/wiki/Bong_Joon-ho" title="Bong Joon-ho">Bong Joon-ho</a> and <a href="/wiki/Kwak_Sin-ae" title="Kwak Sin-ae">Kwak Sin-ae</a> (2019)</li> <li>Mollye Asher, Dan Janvey, <a href="/wiki/Frances_McDormand" title="Frances McDormand">Frances McDormand</a>, <a href="/wiki/Peter_Spears" title="Peter Spears">Peter Spears</a> and <a href="/wiki/Chlo%C3%A9_Zhao" title="Chloé Zhao">Chloé Zhao</a> (2020)</li> <li>Fabrice Gianfermi, <a href="/wiki/Philippe_Rousselet" title="Philippe Rousselet">Philippe Rousselet</a>, Patrick Wachsberger (2021)</li> <li><a href="/wiki/Daniels_(directors)" title="Daniels (directors)">Daniel Kwan, Daniel Scheinert</a> and <a href="/wiki/Jonathan_Wang" title="Jonathan Wang">Jonathan Wang</a> (2022)</li> <li><a href="/wiki/Emma_Thomas" title="Emma Thomas">Emma Thomas</a>, <a href="/wiki/Charles_Roven" title="Charles Roven">Charles Roven</a>, and <a href="/wiki/Christopher_Nolan" title="Christopher Nolan">Christopher Nolan</a> (2023)</li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Film_studios_in_the_United_States_and_Canada337" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Film_studios" title="Template:Film studios"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Film_studios" title="Template talk:Film studios"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Film_studios" title="Special:EditPage/Template:Film studios"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Film_studios_in_the_United_States_and_Canada337" style="font-size:114%;margin:0 4em"><a href="/wiki/Film_studio" title="Film studio">Film studios</a> in the United States and Canada</div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Major_film_studios" title="Major film studios">Majors</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th id="Universal_Studios45" scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Universal_Studios,_Inc." title="Universal Studios, Inc.">Universal Studios</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal Pictures</a></li> <li><a href="/wiki/Focus_Features" title="Focus Features">Focus Features</a></li> <li><a href="/wiki/Carnival_Films" title="Carnival Films">Carnival Films</a></li> <li><a href="/wiki/Working_Title_Films" title="Working Title Films">Working Title Films</a></li> <li><a href="/wiki/United_International_Pictures" title="United International Pictures">United International Pictures</a> (50%)</li> <li><a href="/wiki/Amblin_Partners" title="Amblin Partners">Amblin Partners</a> (minority) <ul><li><a href="/wiki/Amblin_Entertainment" title="Amblin Entertainment">Amblin Entertainment</a></li> <li><a href="/wiki/DreamWorks_Pictures" title="DreamWorks Pictures">DreamWorks Pictures</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount Pictures</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Paramount_Players" title="Paramount Players">Paramount Players</a></li> <li><a href="/wiki/Republic_Pictures" title="Republic Pictures">Republic Pictures</a></li> <li><a href="/wiki/Miramax" title="Miramax">Miramax</a> (49%)</li> <li><a href="/wiki/Awesomeness_(company)" title="Awesomeness (company)">Awesomeness Films</a></li> <li><a href="/wiki/BET" title="BET">BET Films</a></li> <li><a href="/wiki/MTV_Entertainment_Studios" title="MTV Entertainment Studios">MTV Entertainment Studios</a></li> <li><a href="/wiki/Nickelodeon_Movies" title="Nickelodeon Movies">Nickelodeon Movies</a></li> <li><a href="/wiki/United_International_Pictures" title="United International Pictures">United International Pictures</a> (50%)</li> <li><a href="/wiki/Viacom18_Studios" title="Viacom18 Studios">Viacom18 Studios</a> (13.01%)</li></ul> </div></td></tr></tbody></table><div> </div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Walt_Disney_Studios_(division)" title="Walt Disney Studios (division)">Walt Disney Studios</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Walt_Disney_Pictures" title="Walt Disney Pictures">Walt Disney Pictures</a></li> <li><a href="/wiki/20th_Century_Studios" title="20th Century Studios">20th Century Studios</a> <ul><li><a href="/wiki/20th_Century_Family" title="20th Century Family">20th Century Family</a></li></ul></li> <li><a href="/wiki/Marvel_Studios" title="Marvel Studios">Marvel Studios</a></li> <li><a href="/wiki/Lucasfilm" title="Lucasfilm">Lucasfilm</a></li> <li><a href="/wiki/Star_Studios" title="Star Studios">Star Studios</a></li> <li><a href="/wiki/Regency_Enterprises" title="Regency Enterprises">Regency Enterprises</a> (20%)</li> <li><a href="/wiki/Searchlight_Pictures" title="Searchlight Pictures">Searchlight Pictures</a></li> <li><a href="/wiki/Disneynature" title="Disneynature">Disneynature</a></li> <li><a href="/wiki/ESPN_Films" title="ESPN Films">ESPN Films</a> (80%)</li> <li><a href="/wiki/National_Geographic_Partners" title="National Geographic Partners">National Geographic Partners</a> (73%)</li> <li><a href="/wiki/A%26E_Networks" title="A&E Networks">A&E Networks</a> (50%) <ul><li><a href="/wiki/Vice_Media" title="Vice Media">Vice Media</a> (16%)</li></ul></li> <li><a href="/wiki/Hulu" title="Hulu">Hulu</a></li></ul> </div></td></tr></tbody></table><div> </div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Warner_Bros._Pictures" title="Warner Bros. Pictures">Warner Bros. Pictures</a></li> <li><a href="/wiki/New_Line_Cinema" title="New Line Cinema">New Line Cinema</a></li> <li><a href="/wiki/Castle_Rock_Entertainment" title="Castle Rock Entertainment">Castle Rock Entertainment</a></li> <li><a href="/wiki/CNN_Films" title="CNN Films">CNN Films</a></li> <li><a href="/wiki/DC_Studios" title="DC Studios">DC Studios</a></li> <li><a href="/wiki/Flagship_Entertainment_Group" title="Flagship Entertainment Group">Flagship Entertainment Group</a> (49%)</li> <li><a href="/wiki/HBO_Films" title="HBO Films">HBO Films</a></li> <li><a href="/wiki/HBO_Documentary_Films" title="HBO Documentary Films">HBO Documentary Films</a></li> <li><a href="/wiki/Spyglass_Media_Group" title="Spyglass Media Group">Spyglass Media Group</a> (minority)</li></ul> </div></td></tr></tbody></table><div> </div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Sony_Pictures" title="Sony Pictures">Sony Pictures</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia Pictures</a></li> <li><a href="/wiki/TriStar_Pictures" title="TriStar Pictures">TriStar Pictures</a></li> <li><a href="/wiki/Sony_Pictures_Releasing" class="mw-redirect" title="Sony Pictures Releasing">Sony Pictures Releasing</a> <ul><li><a href="/wiki/3000_Pictures" class="mw-redirect" title="3000 Pictures">3000 Pictures</a></li> <li><a href="/wiki/PlayStation_Productions" title="PlayStation Productions">PlayStation Productions</a></li> <li><a href="/wiki/Screen_Gems" title="Screen Gems">Screen Gems</a></li> <li><a href="/wiki/Sony_Pictures_Classics" title="Sony Pictures Classics">Sony Pictures Classics</a></li> <li><a href="/wiki/TriStar_Productions" title="TriStar Productions">TriStar Productions</a></li></ul></li> <li><a href="/wiki/Sony_Pictures_Worldwide_Acquisitions" title="Sony Pictures Worldwide Acquisitions">Worldwide Acquisitions</a> <ul><li><a href="/wiki/Affirm_Films" title="Affirm Films">Affirm Films</a></li> <li><a href="/wiki/Crunchyroll" title="Crunchyroll">Crunchyroll</a></li> <li><a href="/wiki/Destination_Films" title="Destination Films">Destination Films</a></li> <li><a href="/wiki/Stage_6_Films" title="Stage 6 Films">Stage 6 Films</a></li></ul></li> <li><a href="/wiki/Ghost_Corps" title="Ghost Corps">Ghost Corps</a></li> <li><a href="/wiki/Sony_Pictures_Kids_Zone" title="Sony Pictures Kids Zone">Sony Pictures Kids Zone</a></li> <li><a href="/wiki/Left_Bank_Pictures" title="Left Bank Pictures">Left Bank Pictures</a></li> <li><a href="/wiki/Sony_Pictures_Television_Kids" title="Sony Pictures Television Kids">Silvergate Media</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Major_film_studios#Mini-majors" title="Major film studios">Mini-majors</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th id="Amazon_MGM_Studios22" scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Amazon_MGM_Studios" title="Amazon MGM Studios">Amazon MGM Studios</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">Metro-Goldwyn-Mayer</a></li> <li><a href="/wiki/United_Artists" title="United Artists">United Artists</a></li> <li><a href="/wiki/Orion_Pictures" title="Orion Pictures">Orion Pictures</a> <ul><li><a href="/wiki/Orion_Classics" title="Orion Classics">Orion Classics</a></li></ul></li> <li><a href="/wiki/American_International_Pictures" title="American International Pictures">American International Pictures</a></li> <li><a href="/wiki/Lightworkers_Media" title="Lightworkers Media">Lightworkers Media</a></li></ul> </div></td></tr></tbody></table><div> </div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;"><a href="/wiki/Lionsgate_Studios" title="Lionsgate Studios">Lionsgate Studios</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Lionsgate_Films" title="Lionsgate Films">Lionsgate Films</a></li> <li><a href="/wiki/Lionsgate_Premiere" title="Lionsgate Premiere">Lionsgate Premiere</a></li> <li><a href="/wiki/Summit_Entertainment" title="Summit Entertainment">Summit Entertainment</a></li> <li><a href="/wiki/Lionsgate_Canada" title="Lionsgate Canada">Lionsgate Canada</a> <ul><li><a href="/wiki/Lionsgate_Canada#eOne_Films" title="Lionsgate Canada">eOne Films</a></li></ul></li> <li><a href="/wiki/Roadside_Attractions" title="Roadside Attractions">Roadside Attractions</a> (43%)</li> <li><a href="/wiki/Pantelion_Films" title="Pantelion Films">Pantelion Films</a> (50%)</li> <li><a href="/wiki/Good_Universe" title="Good Universe">Good Universe</a></li> <li><a href="/wiki/3_Arts_Entertainment" title="3 Arts Entertainment">3 Arts Entertainment</a> (majority)</li> <li><a href="/wiki/Spyglass_Media_Group" title="Spyglass Media Group">Spyglass Media Group</a> (18.9%)</li> <li><a href="/wiki/Amblin_Partners" title="Amblin Partners">Amblin Partners</a> (minority) <ul><li><a href="/wiki/Amblin_Entertainment" title="Amblin Entertainment">Amblin Entertainment</a></li> <li><a href="/wiki/DreamWorks_Pictures" title="DreamWorks Pictures">DreamWorks Pictures</a></li></ul></li></ul> </div></td></tr></tbody></table><div> </div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Others</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/A24" title="A24">A24</a> <ul><li><a href="/wiki/2AM_(company)" title="2AM (company)">2AM</a> (backing)</li></ul></li> <li><a href="/wiki/STX_Entertainment" title="STX Entertainment">STX Entertainment</a></li> <li><a href="/wiki/FilmNation_Entertainment" title="FilmNation Entertainment">FilmNation Entertainment</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Horizontal production/ distribution companies</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Apple_Studios" title="Apple Studios">Apple Studios</a></li> <li><a href="/wiki/Cond%C3%A9_Nast_Entertainment" title="Condé Nast Entertainment">Condé Nast Entertainment</a></li> <li><a href="/wiki/Dark_Horse_Entertainment" title="Dark Horse Entertainment">Dark Horse Entertainment</a></li> <li><a href="/wiki/Hasbro_Entertainment" title="Hasbro Entertainment">Hasbro Entertainment</a></li> <li><a href="/wiki/Mattel_Films" title="Mattel Films">Mattel Films</a></li> <li><a href="/wiki/Netflix,_Inc." title="Netflix, Inc.">Netflix</a></li> <li><a href="/wiki/Random_House_Studio" title="Random House Studio">Random House Studio</a></li> <li><a href="/wiki/Roku,_Inc." title="Roku, Inc.">Roku</a></li> <li><a href="/wiki/Scholastic_Corporation" title="Scholastic Corporation">Scholastic Corporation</a></li> <li><a href="/wiki/Square_Enix" title="Square Enix">Square Enix</a></li> <li><a href="/wiki/Ubisoft_Film_%26_Television" title="Ubisoft Film & Television">Ubisoft Film & Television</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Slate partners</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/AGC_Studios" title="AGC Studios">AGC Studios</a></li> <li><a href="/wiki/Atlas_Entertainment" title="Atlas Entertainment">Atlas Entertainment</a></li> <li><a href="/wiki/Black_Bear_Pictures" title="Black Bear Pictures">Black Bear Pictures</a></li> <li><a href="/wiki/Black_Label_Media" title="Black Label Media">Black Label Media</a></li> <li><a href="/wiki/The_Black_List_(survey)" title="The Black List (survey)">Black List</a></li> <li><a href="/wiki/Bron_Studios" title="Bron Studios">Bron</a> <ul><li><a href="/wiki/Mad_Solar" class="mw-redirect" title="Mad Solar">Mad Solar</a></li></ul></li> <li><a href="/wiki/Escape_Artists" title="Escape Artists">Escape Artists</a></li> <li><a href="/wiki/Endeavor_(company)" title="Endeavor (company)">Endeavor</a></li> <li><a href="/wiki/FilmNation_Entertainment" title="FilmNation Entertainment">FilmNation Entertainment</a></li> <li><a href="/wiki/Gotham_Group" title="Gotham Group">Gotham Group</a></li> <li><a href="/wiki/Grosvenor_Park_Productions" title="Grosvenor Park Productions">Grosvenor Park</a></li> <li><a href="/wiki/The_H_Collective" title="The H Collective">H Collective</a></li> <li><a href="/wiki/ICM_Partners" title="ICM Partners">ICM Partners</a></li> <li><a href="/wiki/Ingenious_Media" title="Ingenious Media">Ingenious Media</a></li> <li><a href="/wiki/Los_Angeles_Media_Fund" title="Los Angeles Media Fund">LAMF</a></li> <li><a href="/wiki/Lantern_Entertainment" title="Lantern Entertainment">Lantern Entertainment</a></li> <li><a href="/wiki/Legendary_Entertainment" title="Legendary Entertainment">Legendary Pictures</a></li> <li><a href="/wiki/MRC_(company)" title="MRC (company)">MRC</a></li> <li><a href="/wiki/New_Republic_Pictures" title="New Republic Pictures">New Republic Pictures</a></li> <li><a href="/wiki/PalmStar_Media" title="PalmStar Media">PalmStar Media</a></li> <li><a href="/wiki/Prospect_Park_(production_company)" title="Prospect Park (production company)">Prospect Park</a></li> <li><a href="/wiki/Skydance_Media" title="Skydance Media">Skydance Media</a></li> <li><a href="/wiki/TSG_Entertainment" title="TSG Entertainment">TSG Entertainment</a></li> <li><a href="/wiki/Village_Roadshow_Pictures" title="Village Roadshow Pictures">Village Roadshow Pictures</a></li> <li><a href="/wiki/Voltage_Pictures" title="Voltage Pictures">Voltage Pictures</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Production/ distribution companies</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/2929_Entertainment" title="2929 Entertainment">2929 Entertainment</a> <ul><li><a href="/wiki/Magnolia_Pictures" title="Magnolia Pictures">Magnolia Pictures</a></li> <li><a href="/wiki/Truly_Indie" title="Truly Indie">Truly Indie</a></li></ul></li> <li><a href="/wiki/Allied_Artists_International" title="Allied Artists International">Allied Artists Film Group</a></li> <li><a href="/wiki/American_Zoetrope" title="American Zoetrope">American Zoetrope</a></li> <li><a href="/wiki/Angel_Studios" title="Angel Studios">Angel Studios</a></li> <li><a href="/wiki/Annapurna_Pictures" title="Annapurna Pictures">Annapurna Pictures</a></li> <li><a href="/wiki/Anonymous_Content" title="Anonymous Content">Anonymous Content</a></li> <li><a href="/wiki/The_Asylum" title="The Asylum">The Asylum</a></li> <li><a href="/wiki/Artemis_Rising_Foundation" title="Artemis Rising Foundation">Artemis Rising Foundation</a></li> <li><a href="/wiki/BayView_Entertainment" title="BayView Entertainment">BayView Entertainment</a></li> <li><a href="/wiki/Beacon_Pictures" title="Beacon Pictures">Beacon Pictures</a></li> <li><a href="/wiki/Berlanti_Productions" title="Berlanti Productions">Berlanti Productions</a></li> <li><a href="/wiki/Bleecker_Street_(company)" title="Bleecker Street (company)">Bleecker Street</a></li> <li><a href="/wiki/Blue_Fox_Entertainment" title="Blue Fox Entertainment">Blue Fox Entertainment</a></li> <li><a href="/wiki/Blumhouse_Productions" title="Blumhouse Productions">Blumhouse Productions</a></li> <li><a href="/wiki/Bold_Films" title="Bold Films">Bold Films</a></li> <li><a href="/wiki/Brainstorm_Media" title="Brainstorm Media">Brainstorm Media</a></li> <li><a href="/wiki/Brillstein_Entertainment_Partners" title="Brillstein Entertainment Partners">Brillstein Entertainment</a></li> <li><a href="/wiki/Broadway_Video" title="Broadway Video">Broadway Video</a></li> <li><a href="/wiki/Brookstreet_Pictures" title="Brookstreet Pictures">Brookstreet Pictures</a></li> <li><a href="/wiki/Chicken_%26_Egg_Pictures" class="mw-redirect" title="Chicken & Egg Pictures">Chicken & Egg Pictures</a></li> <li><a href="/wiki/Cinelou_Films" title="Cinelou Films">Cinelou Films</a></li> <li><a href="/wiki/CineTel_Films" title="CineTel Films">CineTel Films</a></li> <li><a href="/wiki/Darius_Films" title="Darius Films">Darius Films</a></li> <li><a href="/wiki/Dolphin_Entertainment" title="Dolphin Entertainment">Dolphin Entertainment</a></li> <li><a href="/wiki/Drafthouse_Films" title="Drafthouse Films">Drafthouse Films</a></li> <li><a href="/wiki/Decal_(company)" title="Decal (company)">Decal</a></li> <li><a href="/wiki/Elevation_Pictures" title="Elevation Pictures">Elevation Pictures</a></li> <li><a href="/wiki/Emmett/Furla_Oasis" title="Emmett/Furla Oasis">Emmett/Furla Oasis</a></li> <li><a href="/wiki/Allen_Media_Group" title="Allen Media Group">Entertainment Studios</a> <ul><li><a href="/wiki/Freestyle_Releasing" title="Freestyle Releasing">Freestyle Releasing</a></li></ul></li> <li><a href="/wiki/The_Film_Arcade" title="The Film Arcade">Film Arcade</a></li> <li><a href="/wiki/Fork_Films" title="Fork Films">Fork Films</a></li> <li><a href="/wiki/FotoKem" title="FotoKem">FotoKem</a></li> <li><a href="/wiki/Fox_Entertainment" title="Fox Entertainment">Fox Entertainment</a> <ul><li><a href="/wiki/MarVista_Entertainment" title="MarVista Entertainment">MarVista Entertainment</a></li></ul></li> <li><a href="/wiki/Giant_Pictures" title="Giant Pictures">Giant Pictures</a></li> <li><a href="/wiki/Gunpowder_%26_Sky" title="Gunpowder & Sky">Gunpowder & Sky</a></li> <li><a href="/wiki/IFC_Films" title="IFC Films">IFC Films</a></li> <li><a href="/wiki/Indican_Pictures" title="Indican Pictures">Indican Pictures</a></li> <li><a href="/wiki/Impact_Partners" title="Impact Partners">Impact Partners</a></li> <li><a href="/wiki/The_Jim_Henson_Company" title="The Jim Henson Company">Jim Henson Company</a></li> <li><a href="/wiki/Lakeshore_Entertainment" title="Lakeshore Entertainment">Lakeshore Entertainment</a></li> <li><a href="/wiki/LD_Entertainment" title="LD Entertainment">LD Entertainment</a></li> <li><a href="/wiki/Levelfilm" title="Levelfilm">levelFILM</a></li> <li><a href="/wiki/Likely_Story" title="Likely Story">Likely Story</a></li> <li><a href="/wiki/Louverture_Films" title="Louverture Films">Louverture Films</a></li> <li><a href="/wiki/Mandalay_Pictures" title="Mandalay Pictures">Mandalay Pictures</a></li> <li><a href="/wiki/Mandeville_Films" title="Mandeville Films">Mandeville Films</a></li> <li><a href="/wiki/Maximum_Effort" title="Maximum Effort">Maximum Effort</a></li> <li><a href="/wiki/Millennium_Media" title="Millennium Media">Millennium Media</a></li> <li><a href="/wiki/Morgan_Creek_Entertainment" title="Morgan Creek Entertainment">Morgan Creek Entertainment</a></li> <li><a href="/wiki/Motion_Picture_Corporation_of_America" title="Motion Picture Corporation of America">Motion Picture Corporation of America</a></li> <li><a href="/wiki/Myriad_Pictures" title="Myriad Pictures">Myriad Pictures</a></li> <li><a href="/wiki/Neon_(company)" title="Neon (company)">Neon</a></li> <li><a href="/wiki/Open_Road_Films" title="Open Road Films">Open Road Films</a></li> <li><a href="/wiki/Oscilloscope_(company)" title="Oscilloscope (company)">Oscilloscope</a></li> <li><a href="/wiki/Picturehouse_(company)" title="Picturehouse (company)">Picturehouse</a></li> <li><a href="/wiki/Quiver_Distribution" title="Quiver Distribution">Quiver Distribution</a></li> <li><a href="/wiki/RadicalMedia" title="RadicalMedia">RadicalMedia</a></li> <li><a href="/wiki/Relativity_Media" title="Relativity Media">Relativity Media</a> <ul><li><a href="/wiki/Rogue_Pictures" title="Rogue Pictures">Rogue Pictures</a></li></ul></li> <li><a href="/wiki/Revolution_Studios" title="Revolution Studios">Revolution Studios</a></li> <li><a class="mw-selflink selflink">RKO Pictures</a></li> <li><a href="/wiki/Saban_Capital_Group" title="Saban Capital Group">Saban Films</a></li> <li><a href="/wiki/Samuel_Goldwyn_Films" title="Samuel Goldwyn Films">Samuel Goldwyn Films</a></li> <li><a href="/wiki/Screen_Media" title="Screen Media">Screen Media</a></li> <li><a href="/wiki/Sidney_Kimmel_Entertainment" title="Sidney Kimmel Entertainment">Sidney Kimmel Entertainment</a></li> <li><a href="/wiki/Silver_Pictures" title="Silver Pictures">Silver Pictures</a> <ul><li><a href="/wiki/Dark_Castle_Entertainment" title="Dark Castle Entertainment">Dark Castle Entertainment</a></li></ul></li> <li><a href="/wiki/Shout!_Studios" title="Shout! Studios">Shout! Studios</a></li> <li><a href="/wiki/Solstice_Studios" title="Solstice Studios">Solstice Studios</a></li> <li><a href="/wiki/Strand_Releasing" title="Strand Releasing">Strand Releasing</a></li> <li><a href="/wiki/Sycamore_Pictures" title="Sycamore Pictures">Sycamore Pictures</a></li> <li><a href="/wiki/TLA_Releasing" title="TLA Releasing">TLA Releasing</a></li> <li><a href="/wiki/Topic_Studios" title="Topic Studios">Topic Studios</a></li> <li><a href="/wiki/Utopia_(distributor)" title="Utopia (distributor)">Utopia</a></li> <li><a href="/wiki/Vertical_(film_company)" title="Vertical (film company)">Vertical</a></li> <li><a href="/wiki/Virgin_Produced" title="Virgin Produced">Virgin Produced</a></li> <li><a href="/wiki/Walden_Media" title="Walden Media">Walden Media</a></li> <li><a href="/wiki/Wolfe_Video" title="Wolfe Video">Wolfe Video</a></li> <li><a href="/wiki/WWE_Studios" title="WWE Studios">WWE Studios</a></li> <li><a href="/wiki/XTR_(company)" title="XTR (company)">XTR</a></li> <li><a href="/wiki/XYZ_Films" title="XYZ Films">XYZ Films</a></li> <li><a href="/wiki/21_Laps_Entertainment" title="21 Laps Entertainment">21 Laps Entertainment</a></li> <li><a href="/wiki/40_Acres_and_a_Mule_Filmworks" title="40 Acres and a Mule Filmworks">40 Acres and a Mule Filmworks</a></li> <li><a href="/wiki/87North_Productions" title="87North Productions">87North</a></li> <li><a href="/wiki/1492_Pictures" class="mw-redirect" title="1492 Pictures">1492 Pictures</a></li> <li><a href="/wiki/A_Very_Good_Production" title="A Very Good Production">A Very Good Production</a></li> <li><a href="/wiki/Abso_Lutely_Productions" title="Abso Lutely Productions">Abso Lutely</a></li> <li><a href="/wiki/After_Dark_Films" title="After Dark Films">After Dark Films</a></li> <li><a href="/wiki/AGBO" title="AGBO">AGBO</a></li> <li><a href="/wiki/Alcon_Entertainment" title="Alcon Entertainment">Alcon Entertainment</a></li> <li><a href="/wiki/Apatow_Productions" title="Apatow Productions">Apatow</a></li> <li><a href="/wiki/Appian_Way_Productions" title="Appian Way Productions">Appian Way</a></li> <li><a href="/wiki/Atomic_Monster" title="Atomic Monster">Atomic Monster</a></li> <li><a href="/wiki/Bad_Hat_Harry" title="Bad Hat Harry">Bad Hat Harry Productions</a></li> <li><a href="/wiki/Bad_Robot" title="Bad Robot">Bad Robot</a></li> <li><a href="/wiki/Bazelevs_Company" title="Bazelevs Company">Bazelevs Company</a></li> <li><a href="/wiki/Bedford_Falls_Productions" title="Bedford Falls Productions">Bedford Falls Productions</a></li> <li><a href="/wiki/Big_Beach_(company)" title="Big Beach (company)">Big Beach</a></li> <li><a href="/wiki/Blinding_Edge_Pictures" title="Blinding Edge Pictures">Blinding Edge Pictures</a></li> <li><a href="/wiki/Brandywine_Productions" title="Brandywine Productions">Brandywine</a></li> <li><a href="/wiki/Brownstone_Productions" title="Brownstone Productions">Brownstone</a></li> <li><a href="/wiki/The_Bubble_Factory" title="The Bubble Factory">Bubble Factory</a></li> <li><a href="/wiki/Centropolis_Entertainment" title="Centropolis Entertainment">Centropolis</a></li> <li><a href="/wiki/Cha_Cha_Cha_Films" title="Cha Cha Cha Films">Cha Cha Cha Films</a></li> <li><a href="/wiki/Chernin_Entertainment" title="Chernin Entertainment">Chernin Entertainment</a></li> <li><a href="/wiki/Cheyenne_Enterprises" title="Cheyenne Enterprises">Cheyenne Enterprises</a></li> <li><a href="/wiki/Color_Force" title="Color Force">Color Force</a></li> <li><a href="/wiki/Cross_Creek_Pictures" title="Cross Creek Pictures">Cross Creek Pictures</a></li> <li><a href="/wiki/Crystal_Sky_Pictures" title="Crystal Sky Pictures">Crystal Sky Pictures</a></li> <li><a href="/wiki/Cube_Vision" title="Cube Vision">Cube Vision</a></li> <li><a href="/wiki/Darko_Entertainment" title="Darko Entertainment">Darko Entertainment</a></li> <li><a href="/wiki/Davis_Entertainment" title="Davis Entertainment">Davis Entertainment</a></li> <li><a href="/wiki/Di_Bonaventura_Pictures" title="Di Bonaventura Pictures">Di Bonaventura Pictures</a></li> <li><a href="/wiki/The_District_(production_company)" title="The District (production company)">District</a></li> <li><a href="/wiki/The_Donners%27_Company" title="The Donners' Company">Donners' Company</a></li> <li><a href="/wiki/Double_R_Productions" class="mw-redirect" title="Double R Productions">Double R Productions</a></li> <li><a href="/wiki/Echo_Films" title="Echo Films">Echo Films</a></li> <li><a href="/wiki/Electric_Entertainment" title="Electric Entertainment">Electric</a></li> <li><a href="/wiki/Evolution_Entertainment" title="Evolution Entertainment">Evolution Entertainment</a> <ul><li><a href="/wiki/Twisted_Pictures" title="Twisted Pictures">Twisted Pictures</a></li></ul></li> <li><a href="/wiki/Excellent_Cadaver" title="Excellent Cadaver">Excellent Cadaver</a></li> <li><a href="/wiki/Flower_Films" title="Flower Films">Flower Films</a></li> <li><a href="/wiki/Freckle_Films" title="Freckle Films">Freckle Films</a></li> <li><a href="/wiki/Fruit_Tree_(company)" title="Fruit Tree (company)">Fruit Tree</a></li> <li><a href="/wiki/Fuzzy_Door_Productions" title="Fuzzy Door Productions">Fuzzy Door</a></li> <li><a href="/wiki/Gary_Sanchez_Productions" title="Gary Sanchez Productions">Gary Sanchez</a> <ul><li><a href="/wiki/Gloria_Sanchez_Productions" title="Gloria Sanchez Productions">Gloria Sanchez</a></li></ul></li> <li><a href="/wiki/Genre_Films" title="Genre Films">Genre Films</a></li> <li><a href="/wiki/Ghost_House_Pictures" title="Ghost House Pictures">Ghost House Pictures</a></li> <li><a href="/wiki/GK_Films" title="GK Films">GK Films</a></li> <li><a href="/wiki/Gracie_Films" title="Gracie Films">Gracie Films</a></li> <li><a href="/wiki/Happy_Madison_Productions" title="Happy Madison Productions">Happy Madison</a></li> <li><a href="/wiki/Haxan_Films" title="Haxan Films">Haxan Films</a></li> <li><a href="/wiki/Hello_Sunshine_(company)" title="Hello Sunshine (company)">Hello Sunshine</a></li> <li><a href="/wiki/Hoorae_Media" title="Hoorae Media">Hoorae Media</a></li> <li><a href="/wiki/Icon_Productions" title="Icon Productions">Icon</a></li> <li><a href="/wiki/Identity_Films" title="Identity Films">Identity Films</a></li> <li><a href="/wiki/ImageMovers" title="ImageMovers">ImageMovers</a></li> <li><a href="/wiki/Imagine_Entertainment" title="Imagine Entertainment">Imagine</a> <ul><li><a href="/wiki/Jax_Media" title="Jax Media">Jax Media</a></li></ul></li> <li><a href="/wiki/Indian_Paintbrush_(company)" title="Indian Paintbrush (company)">Indian Paintbrush</a></li> <li><a href="/wiki/Infinitum_Nihil" title="Infinitum Nihil">Infinitum Nihil</a></li> <li><a href="/wiki/Intrepid_Pictures" title="Intrepid Pictures">Intrepid Pictures</a></li> <li><a href="/wiki/Jerry_Bruckheimer_Films" title="Jerry Bruckheimer Films">Jerry Bruckheimer Films</a></li> <li><a href="/wiki/Judgmental_Films" title="Judgmental Films">Judgemental Films</a></li> <li><a href="/wiki/KatzSmith_Productions" title="KatzSmith Productions">KatzSmith</a></li> <li><a href="/wiki/The_Kennedy/Marshall_Company" title="The Kennedy/Marshall Company">Kennedy/Marshall Company</a></li> <li><a href="/wiki/Ketchup_Entertainment" title="Ketchup Entertainment">Ketchup Entertainment</a></li> <li><a href="/wiki/Killer_Films" title="Killer Films">Killer Films</a></li> <li><a href="/wiki/Kingdom_Story_Company" title="Kingdom Story Company">Kingdom Story Company</a></li> <li><a href="/wiki/Lightstorm_Entertainment" title="Lightstorm Entertainment">Lightstorm Entertainment</a></li> <li><a href="/wiki/LuckyChap_Entertainment" title="LuckyChap Entertainment">LuckyChap Entertainment</a></li> <li><a href="/wiki/Malpaso_Productions" title="Malpaso Productions">Malpaso</a></li> <li><a href="/wiki/Marv_Studios" title="Marv Studios">Marv</a></li> <li><a href="/wiki/Monkeypaw_Productions" title="Monkeypaw Productions">Monkeypaw</a></li> <li><a href="/wiki/The_Montecito_Picture_Company" title="The Montecito Picture Company">Montecito Picture Company</a></li> <li><a href="/wiki/Mr._Mudd" title="Mr. Mudd">Mr. Mudd</a></li> <li><a href="/wiki/Music_Box_Films" title="Music Box Films">Music Box</a></li> <li><a href="/wiki/Mutant_Enemy_Productions" class="mw-redirect" title="Mutant Enemy Productions">Mutant Enemy</a></li> <li><a href="/wiki/MWM_(entertainment_company)" title="MWM (entertainment company)">MWM</a></li> <li><a href="/wiki/Nine_Stories_Productions" title="Nine Stories Productions">Nine Stories</a></li> <li><a href="/wiki/One_Race_Films" title="One Race Films">One Race Films</a></li> <li><a href="/wiki/Original_Film" title="Original Film">Original Film</a></li> <li><a href="/wiki/Our_Stories_Films" title="Our Stories Films">Our Stories Films</a></li> <li><a href="/wiki/Outerbanks_Entertainment" title="Outerbanks Entertainment">Outerbanks Entertainment</a></li> <li><a href="/wiki/Overbrook_Entertainment" title="Overbrook Entertainment">Overbrook Entertainment</a></li> <li><a href="/wiki/Paper_Kite_Productions" title="Paper Kite Productions">Paper Kite</a></li> <li><a href="/wiki/Phoenix_Pictures" title="Phoenix Pictures">Phoenix Pictures</a></li> <li><a href="/wiki/The_Picture_Company" title="The Picture Company">Picture Company</a></li> <li><a href="/wiki/Plan_B_Entertainment" title="Plan B Entertainment">Plan B Entertainment</a></li> <li><a href="/wiki/Platinum_Dunes" title="Platinum Dunes">Platinum Dunes</a></li> <li><a href="/wiki/Playtone" title="Playtone">Playtone</a></li> <li><a href="/wiki/Point_Grey_Pictures" title="Point Grey Pictures">Point Grey Pictures</a></li> <li><a href="/wiki/Protozoa_Pictures" title="Protozoa Pictures">Protozoa Pictures</a></li> <li><a href="/wiki/Red_Hour_Productions" title="Red Hour Productions">Red Hour Films</a></li> <li><a href="/wiki/Rideback_(production_company)" title="Rideback (production company)">Rideback</a></li> <li><a href="/wiki/Roth/Kirschenbaum_Films" title="Roth/Kirschenbaum Films">Roth/Kirschenbaum Films</a></li> <li><a href="/wiki/Scott_Free_Productions" title="Scott Free Productions">Scott Free</a></li> <li><a href="/wiki/Seven_Bucks_Productions" title="Seven Bucks Productions">Seven Bucks</a></li> <li><a href="/wiki/Shangri-La_Entertainment" title="Shangri-La Entertainment">Shangri-La Entertainment</a></li> <li><a href="/wiki/Shondaland" title="Shondaland">Shondaland</a></li> <li><a href="/wiki/Smokehouse_Pictures" title="Smokehouse Pictures">Smokehouse Pictures</a></li> <li><a href="/wiki/The_Stone_Quarry" title="The Stone Quarry">Stone Quarry</a></li> <li><a href="/wiki/Studio_8_(company)" title="Studio 8 (company)">Studio 8</a></li> <li><a href="/wiki/Story_Syndicate" title="Story Syndicate">Story Syndicate</a></li> <li><a href="/wiki/Sunday_Night_Productions" title="Sunday Night Productions">Sunday Night</a></li> <li><a href="/wiki/Syncopy_Inc." title="Syncopy Inc.">Syncopy Inc.</a></li> <li><a href="/wiki/Tango_Entertainment" title="Tango Entertainment">Tango Entertainment</a></li> <li><a href="/wiki/Team_Downey" title="Team Downey">Team Downey</a></li> <li><a href="/wiki/Temple_Hill_Entertainment" title="Temple Hill Entertainment">Temple Hill</a></li> <li><a href="/wiki/The_Daily_Wire" title="The Daily Wire">The Daily Wire</a></li> <li><a href="/wiki/The_Hideaway_Entertainment" title="The Hideaway Entertainment">The Hideaway Entertainment</a></li> <li><a href="/wiki/Thunder_Road_Films" title="Thunder Road Films">Thunder Road Films</a></li> <li><a href="/wiki/Tim_Burton_Productions" title="Tim Burton Productions">Tim Burton</a></li> <li><a href="/wiki/Tyler_Perry_Studios" title="Tyler Perry Studios">Tyler Perry Studios</a></li> <li><a href="/wiki/Valhalla_Entertainment" title="Valhalla Entertainment">Valhalla Entertainment</a></li> <li><a href="/wiki/Vertigo_Entertainment" title="Vertigo Entertainment">Vertigo Entertainment</a></li> <li><a href="/wiki/View_Askew_Productions" title="View Askew Productions">View Askew</a> <ul><li><a href="/wiki/SModcast_Pictures" title="SModcast Pictures">SModcast Pictures</a></li></ul></li> <li><a href="/wiki/Vinyl_Films" title="Vinyl Films">Vinyl Films</a></li> <li><a href="/wiki/WingNut_Films" title="WingNut Films">WingNut Films</a></li> <li><a href="/wiki/30West" title="30West">30West</a></li> <li><a href="/wiki/Wonderland_Sound_and_Vision" title="Wonderland Sound and Vision">Wonderland Sound and Vision</a></li> <li><a href="/wiki/Watermelon_Pictures" title="Watermelon Pictures">Watermelon Pictures</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Defunct/former</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Disney</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Caravan_Pictures" title="Caravan Pictures">Caravan Pictures</a></li> <li><a href="/wiki/Cinergi_Pictures" title="Cinergi Pictures">Cinergi Pictures</a></li> <li><a href="/wiki/Fox_2000_Pictures" title="Fox 2000 Pictures">Fox 2000 Pictures</a></li> <li><a href="/wiki/Fox_Atomic" title="Fox Atomic">Fox Atomic</a></li> <li><a href="/wiki/Fox_Faith" title="Fox Faith">Fox Faith</a></li> <li><a href="/wiki/Fox_Film" title="Fox Film">Fox Film</a></li> <li><a href="/wiki/Hollywood_Pictures" title="Hollywood Pictures">Hollywood Pictures</a></li> <li><a href="/wiki/New_World_Pictures" title="New World Pictures">New World Pictures</a></li> <li><a href="/wiki/Selznick_International_Pictures" title="Selznick International Pictures">Selznick International Pictures</a></li> <li><a href="/wiki/Touchstone_Pictures" title="Touchstone Pictures">Touchstone Pictures</a></li> <li><a href="/wiki/Twentieth_Century_Pictures" title="Twentieth Century Pictures">Twentieth Century Pictures</a></li> <li><a href="/wiki/UTV_Motion_Pictures" title="UTV Motion Pictures">UTV Motion Pictures</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Lionsgate</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Anchor_Bay_Entertainment" title="Anchor Bay Entertainment">Anchor Bay Films</a></li> <li><a href="/wiki/Artisan_Entertainment" title="Artisan Entertainment">Artisan Entertainment</a></li> <li><a href="/wiki/Christal_Films" title="Christal Films">Christal Films</a></li> <li><a href="/wiki/Mandate_Pictures" title="Mandate Pictures">Mandate Pictures</a></li> <li><a href="/wiki/Maple_Pictures" title="Maple Pictures">Maple Pictures</a></li> <li><a href="/wiki/Momentum_Pictures" title="Momentum Pictures">Momentum Pictures</a></li> <li><a href="/wiki/Overture_Films" title="Overture Films">Overture Films</a></li> <li><a href="/wiki/Trimark_Pictures" title="Trimark Pictures">Trimark Pictures</a></li> <li><a href="/wiki/Vestron_Pictures" title="Vestron Pictures">Vestron Pictures</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">MGM</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/21st_Century_Film_Corporation" title="21st Century Film Corporation">21st Century Film Corporation</a></li> <li><a href="/wiki/Atlantic_Entertainment_Group" title="Atlantic Entertainment Group">Atlantic Entertainment Group</a></li> <li><a href="/wiki/The_Cannon_Group,_Inc." title="The Cannon Group, Inc.">Cannon Films</a></li> <li><a href="/wiki/Cinecom" title="Cinecom">Cinecom</a></li> <li><a href="/wiki/Dimension_Pictures_(1970s_company)" title="Dimension Pictures (1970s company)">Dimension Pictures (1970s)</a></li> <li><a href="/wiki/Trans_World_Entertainment_(film_company)#Epic_Productions" title="Trans World Entertainment (film company)">Epic Productions</a></li> <li><a href="/wiki/Filmways" title="Filmways">Filmways</a></li> <li><a href="/wiki/The_Samuel_Goldwyn_Company#G2_Pictures" title="The Samuel Goldwyn Company">G2 Pictures</a></li> <li><a href="/wiki/Goldwyn_Pictures" title="Goldwyn Pictures">Goldwyn Pictures</a></li> <li><a href="/wiki/Hemdale_Film_Corporation" title="Hemdale Film Corporation">Hemdale Film Corporation</a></li> <li><a href="/wiki/List_of_Island_Pictures_films" title="List of Island Pictures films">Island Pictures</a></li> <li><a href="/wiki/Louis_B._Mayer_Pictures" title="Louis B. Mayer Pictures">Louis B. Mayer Pictures</a></li> <li><a href="/wiki/Metro_Pictures" title="Metro Pictures">Metro Pictures Corporation</a></li> <li><a href="/wiki/The_Mirisch_Company" title="The Mirisch Company">Mirisch Company</a></li> <li><a href="/wiki/The_Samuel_Goldwyn_Company" title="The Samuel Goldwyn Company">Samuel Goldwyn Company</a></li> <li><a href="/wiki/Samuel_Goldwyn_Productions" title="Samuel Goldwyn Productions">Samuel Goldwyn Productions</a></li> <li><a href="/wiki/Trans_World_Entertainment_(film_company)" title="Trans World Entertainment (film company)">Trans World Entertainment</a></li> <li><a href="/wiki/United_Artists_Releasing" title="United Artists Releasing">United Artists Releasing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Universal</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/FilmDistrict" title="FilmDistrict">FilmDistrict</a></li> <li><a href="/wiki/Good_Machine" title="Good Machine">Good Machine</a></li> <li><a href="/wiki/Gramercy_Pictures" title="Gramercy Pictures">Gramercy Pictures</a></li> <li><a href="/wiki/Independent_Moving_Pictures" title="Independent Moving Pictures">Independent Moving Pictures</a></li> <li><a href="/wiki/Interscope_Communications" title="Interscope Communications">Interscope Communications</a></li> <li><a href="/wiki/Propaganda_Films" title="Propaganda Films">Propaganda Films</a></li> <li><a href="/wiki/Savoy_Pictures" title="Savoy Pictures">Savoy Pictures</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Paramount</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/CBS_Theatrical_Films" title="CBS Theatrical Films">CBS Theatrical Films</a></li> <li><a href="/wiki/Cinema_Center_Films" title="Cinema Center Films">Cinema Center Films</a></li> <li><a href="/wiki/Comedy_Central_Films" title="Comedy Central Films">Comedy Central Films</a></li> <li><a href="/wiki/Commonwealth_United_Entertainment" title="Commonwealth United Entertainment">Commonwealth United Entertainment</a></li> <li><a href="/wiki/Famous_Players_Film_Company" title="Famous Players Film Company">Famous Players Film Company</a></li> <li><a href="/wiki/Famous_Players%E2%80%93Lasky" title="Famous Players–Lasky">Famous Players–Lasky</a></li> <li><a href="/wiki/Go_Fish_Pictures" title="Go Fish Pictures">Go Fish Pictures</a></li> <li><a href="/wiki/Liberty_Films" title="Liberty Films">Liberty Films</a></li> <li><a href="/wiki/Mascot_Pictures" title="Mascot Pictures">Mascot Pictures</a></li> <li><a href="/wiki/Paramount_Famous_Productions" title="Paramount Famous Productions">Paramount Famous Productions</a></li> <li><a href="/wiki/Paramount_Vantage" title="Paramount Vantage">Paramount Vantage</a></li> <li><a href="/wiki/Rysher_Entertainment" title="Rysher Entertainment">Rysher Entertainment</a></li> <li><a href="/wiki/Sunn_Classic_Pictures" title="Sunn Classic Pictures">Sunn Classic Pictures</a></li> <li><a href="/wiki/United_States_Pictures" title="United States Pictures">United States Pictures</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Sony</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/CBC_Film_Sales_Corporation" title="CBC Film Sales Corporation">Cohn-Brandt-Cohn (CBC) Film Sales Corporation</a></li> <li><a href="/wiki/Embassy_Pictures" title="Embassy Pictures">Embassy Pictures</a></li> <li><a href="/wiki/Empire_International_Pictures" title="Empire International Pictures">Empire International Pictures</a></li> <li><a href="/wiki/First_Independent_Films" title="First Independent Films">First Independent Films</a></li> <li><a href="/wiki/Triumph_Films" title="Triumph Films">Triumph Films</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Warner Bros.</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Fine_Line_Features" title="Fine Line Features">Fine Line Features</a></li> <li><a href="/wiki/First_National_Pictures" title="First National Pictures">First National Pictures</a></li> <li><a href="/wiki/Lorimar_Television" title="Lorimar Television">Lorimar Film Entertainment</a></li> <li><a href="/wiki/Monogram_Pictures" title="Monogram Pictures">Monogram Pictures</a></li> <li><a href="/wiki/National_General_Pictures" title="National General Pictures">National General Pictures</a></li> <li><a href="/wiki/Nelson_Entertainment" title="Nelson Entertainment">Nelson Entertainment</a></li> <li><a href="/wiki/Rooster_Teeth" title="Rooster Teeth">Rooster Teeth</a></li> <li><a href="/wiki/Seven_Arts_Productions" title="Seven Arts Productions">Seven Arts Productions</a></li> <li><a href="/wiki/Warner_Bros.-Seven_Arts" title="Warner Bros.-Seven Arts">Warner Bros.-Seven Arts</a></li> <li><a href="/wiki/Warner_Independent_Pictures" title="Warner Independent Pictures">Warner Independent Pictures</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align:left;">Others</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alchemy_(company)" title="Alchemy (company)">Alchemy</a></li> <li><a href="/wiki/American_Film_Manufacturing_Company" title="American Film Manufacturing Company">American Film Manufacturing Company</a></li> <li><a href="/wiki/Art_Star_Scene_Studios" title="Art Star Scene Studios">Art Star Scene Studios</a></li> <li><a href="/wiki/Astor_Pictures" title="Astor Pictures">Astor Pictures</a></li> <li><a href="/wiki/Aviron_Pictures" title="Aviron Pictures">Aviron Pictures</a></li> <li><a href="/wiki/Aurora_Productions,_Hollywood" title="Aurora Productions, Hollywood">Aurora Productions</a></li> <li><a href="/wiki/Biograph_Company" title="Biograph Company">Biograph Company</a></li> <li><a href="/wiki/Bison_Film_Company" title="Bison Film Company">Bison Film Company</a></li> <li><a href="/wiki/Bluebird_Photoplays" title="Bluebird Photoplays">Bluebird Photoplays</a></li> <li><a href="/wiki/Boxoffice_International_Pictures" title="Boxoffice International Pictures">Boxoffice International Pictures</a></li> <li><a href="/wiki/Bryanston_Distributing_Company" title="Bryanston Distributing Company">Bryanston Pictures</a></li> <li><a href="/wiki/C2_Pictures" title="C2 Pictures">C2 Pictures</a></li> <li><a href="/wiki/Calvin_Company" title="Calvin Company">Calvin Company</a></li> <li><a href="/wiki/Carolco_Pictures" title="Carolco Pictures">Carolco Pictures</a></li> <li><a href="/wiki/Castle_Hill_Productions" title="Castle Hill Productions">Castle Hill Productions</a></li> <li><a href="/wiki/Centaur_Film_Company" title="Centaur Film Company">Centaur Film Company</a></li> <li><a href="/wiki/Champion_Film_Company" title="Champion Film Company">Champion Film Company</a></li> <li><a href="/wiki/Christie_Film_Company" title="Christie Film Company">Christie Film Company</a></li> <li><a href="/wiki/Cinemation_Industries" title="Cinemation Industries">Cinemation Industries</a></li> <li><a href="/wiki/Cinerama_Releasing_Corporation" title="Cinerama Releasing Corporation">Cinerama Releasing Corporation</a></li> <li><a href="/wiki/Compass_International_Pictures" title="Compass International Pictures">Compass International Pictures</a></li> <li><a href="/wiki/Crown_International_Pictures" title="Crown International Pictures">Crown International Pictures</a></li> <li><a href="/wiki/De_Laurentiis_Entertainment_Group" title="De Laurentiis Entertainment Group">De Laurentiis Entertainment Group</a></li> <li><a href="/wiki/DEJ_Productions" title="DEJ Productions">DEJ Productions</a></li> <li><a href="/wiki/Distributors_Corporation_of_America" title="Distributors Corporation of America">Distributors Corporation of America</a></li> <li><a href="/wiki/Eaco_Films" title="Eaco Films">Eaco Films</a></li> <li><a href="/wiki/Eagle-Lion_Films" title="Eagle-Lion Films">Eagle-Lion Films</a></li> <li><a href="/wiki/Edison_Studios" title="Edison Studios">Edison Studios</a></li> <li><a href="/wiki/Educational_Pictures" title="Educational Pictures">Educational Pictures</a></li> <li><a href="/wiki/Essanay_Studios" title="Essanay Studios">Essanay Studios</a></li> <li><a href="/wiki/Dramatic_Feature_Films" title="Dramatic Feature Films">Dramatic Feature Films</a></li> <li><a href="/wiki/Fireworks_Entertainment" title="Fireworks Entertainment">Fireworks Entertainment</a></li> <li><a href="/wiki/First_Look_Studios" title="First Look Studios">First Look Studios</a></li> <li><a href="/wiki/Franchise_Pictures" title="Franchise Pictures">Franchise Pictures</a></li> <li><a href="/wiki/The_Geffen_Film_Company" title="The Geffen Film Company">Geffen Film Company</a></li> <li><a href="/wiki/Open_Road_Films" title="Open Road Films">Global Road Entertainment</a></li> <li><a href="/wiki/Grand_National_Films_Inc." title="Grand National Films Inc.">Grand National Pictures</a> <ul><li><a href="/wiki/Hal_Roach_Studios" title="Hal Roach Studios">Hal Roach Studios</a></li></ul></li> <li><a href="/wiki/Hasbro_Entertainment" title="Hasbro Entertainment">Hasbro Entertainment</a> <ul><li><a href="/wiki/Allspark" title="Allspark">Allspark</a></li></ul></li> <li><a href="/wiki/Jensen_Farley_Pictures" title="Jensen Farley Pictures">Jensen Farley Pictures</a></li> <li><a href="/wiki/The_Ladd_Company" title="The Ladd Company">Ladd Company</a></li> <li><a href="/wiki/Largo_Entertainment" title="Largo Entertainment">Largo Entertainment</a></li> <li><a href="/wiki/Lippert_Pictures" title="Lippert Pictures">Lippert Pictures</a></li> <li><a href="/wiki/Lubin_Manufacturing_Company" title="Lubin Manufacturing Company">Lubin Manufacturing Company</a></li> <li><a href="/wiki/Happy_Madison_Productions" title="Happy Madison Productions">Madison 23 Productions</a></li> <li><a href="/wiki/Manson_International" title="Manson International">Manson International</a></li> <li><a href="/wiki/Newmarket_Films" title="Newmarket Films">Newmarket Films</a></li> <li><a href="/wiki/OddLot_Entertainment" title="OddLot Entertainment">OddLot Entertainment</a></li> <li><a href="/wiki/Pacific_International_Enterprises" title="Pacific International Enterprises">Pacific International Enterprises</a></li> <li><a href="/wiki/Participant_(company)" title="Participant (company)">Participant</a></li> <li><a href="/wiki/PM_Entertainment" title="PM Entertainment">PM Entertainment</a></li> <li><a href="/wiki/Producers_Releasing_Corporation" title="Producers Releasing Corporation">Producers Releasing Corporation</a></li> <li><a href="/wiki/RatPac_Entertainment" title="RatPac Entertainment">RatPac Entertainment</a></li> <li><a href="/wiki/Red_Granite_Pictures" title="Red Granite Pictures">Red Granite Pictures</a></li> <li><a href="/wiki/Regent_Releasing" title="Regent Releasing">Regent Releasing</a></li> <li><a href="/wiki/Schneider%27s_Bakery" title="Schneider's Bakery">Schneider's Bakery</a></li> <li><a href="/wiki/Scotti_Brothers_Records" title="Scotti Brothers Records">Scotti Bros. Pictures</a></li> <li><a href="/wiki/Section_Eight_Productions" title="Section Eight Productions">Section Eight Productions</a></li> <li><a href="/wiki/Seed_Productions" title="Seed Productions">Seed Productions</a></li> <li><a href="/wiki/Strike_Entertainment" title="Strike Entertainment">Strike Entertainment</a></li> <li><a href="/wiki/ThinkFilm" title="ThinkFilm">ThinkFilm</a></li> <li><a href="/wiki/This_Is_That_Productions" title="This Is That Productions">This Is That Productions</a></li> <li><a href="/wiki/Virtual_Studios" title="Virtual Studios">Virtual Studios</a></li> <li><a href="/wiki/The_Weinstein_Company" title="The Weinstein Company">Weinstein Company</a> <ul><li><a href="/wiki/Dimension_Films" title="Dimension Films">Dimension Films</a></li></ul></li> <li><a href="/wiki/Weintraub_Entertainment_Group" title="Weintraub Entertainment Group">Weintraub Entertainment Group</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/Template:Animation_industry_in_the_United_States" title="Template:Animation industry in the United States">List of American animation studios</a></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q267282#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata1177" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q267282#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata1177" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <a href="https://www.wikidata.org/wiki/Q267282#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://isni.org/isni/0000000105013829">ISNI</a></li><li><a rel="nofollow" class="external text" href="https://viaf.org/viaf/157264654">VIAF</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n50082580">United States</a></li><li><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb131943112">France</a></li><li><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb131943112">BnF data</a></li><li><a rel="nofollow" class="external text" href="https://www.nli.org.il/en/authorities/987007322971205171">Israel</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://pic.nypl.org/constituents/3915">Photographers' Identities</a></li><li><a rel="nofollow" class="external text" href="https://adp.library.ucsb.edu/names/102172">Discography of American Historical Recordings</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://www.idref.fr/035522038">IdRef</a></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img 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Hughes</a></li><li><a href="/wiki/Category:American_companies_established_in_1929" title="Category:American companies established in 1929">American companies established in 1929</a></li><li><a href="/wiki/Category:Mass_media_companies_disestablished_in_1959" title="Category:Mass media companies disestablished in 1959">Mass media companies disestablished in 1959</a></li><li><a href="/wiki/Category:Mass_media_companies_established_in_1929" title="Category:Mass media companies established in 1929">Mass media companies established in 1929</a></li><li><a href="/wiki/Category:Re-established_companies" title="Category:Re-established companies">Re-established companies</a></li><li><a href="/wiki/Category:1929_establishments_in_California" title="Category:1929 establishments in California">1929 establishments in California</a></li><li><a href="/wiki/Category:Recipients_of_the_Scientific_and_Technical_Academy_Award_of_Merit" title="Category:Recipients of the Scientific and Technical Academy Award of Merit">Recipients of the Scientific and Technical Academy Award of Merit</a></li><li><a href="/wiki/Category:Academy_Award_for_Technical_Achievement_winners" title="Category:Academy Award for Technical Achievement winners">Academy Award for Technical Achievement winners</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Pages_with_login_required_references_or_sources" title="Category:Pages with login required references or sources">Pages with login required references or sources</a></li><li><a href="/wiki/Category:CS1:_unfit_URL" title="Category:CS1: unfit URL">CS1: unfit URL</a></li><li><a href="/wiki/Category:CS1_maint:_numeric_names:_authors_list" title="Category:CS1 maint: numeric names: authors list">CS1 maint: numeric names: authors list</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short 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