Part 2 of 2
Studio libraryAs copyright holder, RKO Pictures LLC is the owner of all the trademarks and logos connected with RKO Radio Pictures Inc., as well as the rights concerning stories, screenplays (including 800 to 900 unproduced scripts), remakes, sequels, and prequels connected with the RKO library.[219] Although RKO still holds the film library's copyright, the television, video, and theatrical distribution rights, however, are in other hands: The U.S. and Canadian TV—and consequently, video—rights to most of the RKO film library were sold at auction in 1971 after the holders, TransBeacon (a corporate descendant of C&C Television), went bankrupt. The auctioned rights were split between United Artists 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.[220]
In the meantime, United Artists had been acquired by MGM. In 1986, MGM/UA's considerable library, including its RKO rights, was bought by Turner Broadcasting System for its new Turner Entertainment division. When Turner announced plans to colorize ten of the RKO films, GenCorp resisted, claiming copyright infringement, leading to both sides filing lawsuits.[221] 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.[222] The new owners of RKO also allowed Turner to move forward with colorization of the library.[223] 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, however, that plan was abandoned.[224] In October 1996, Turner Broadcasting was merged into Time Warner (now WarnerMedia), which now controls distribution of the bulk of the RKO library in North America.[225]
Ownership of the major European TV and video distribution rights to RKO's library is divided on a virtual country-by-country basis: In the UK, many of the RKO rights are currently held by Universal Studios.[226] In 1981, RAI, the public broadcasting service, acquired the Italian rights to the RKO library, which it now shares with Silvio Berlusconi's Fininvest.[227] In France, the rights are held by Ariès.[228] The German rights were acquired in 1969 by KirchGruppe on behalf of its KirchMedia division, which went bankrupt in 2002.[229] EOS Entertainment's Beta Film purchased many of KirchMedia's rights in 2004, and the library is now distributed by Kineos, created in 2005 as a Beta Film–KirchMedia joint venture.[230]
The Disney pictures originally distributed by RKO are owned and fully controlled by The Walt Disney Company.[231] Rights to many other independent productions distributed by the studio, as well as some notable coproductions, are in new hands. Most Samuel Goldwyn films are owned by his estate and are administered by Warner Bros. in North America and Miramax internationally.[232] It's a Wonderful Life, coproduced by Frank Capra's Liberty Films,[233] and The Bells of St. Mary's, coproduced by Leo McCarey's Rainbow Productions,[234] are now owned by Viacom, through its indirect acquisition of Republic Pictures, the former National Telefilm Associates.[235] Notorious, a coproduction between RKO and David Selznick's Vanguard Films, is now owned by ABC (under Walt Disney Studios Motion Pictures)[236] while home video rights are currently controlled by The Criterion Collection.[237] The Stranger, from William Goetz's International Pictures, has been in the public domain since 1973.[238] Eighteen films produced by RKO itself in 1930–31, including Dixiana, were also allowed to fall into the public domain, as were several later in-house productions, including high-profile releases such as The Animal Kingdom, Bird of Paradise, Of Human Bondage, Love Affair, The Hunchback of Notre Dame, and They Knew What They Wanted.[239] In the late 1950s, Hughes bought his beloved Jet Pilot and The Conqueror back from RKO Teleradio; in 1979, Universal acquired the rights to the latter.[240]
Idents
Classic closing ident of RKO Radio PicturesMost of the films released by RKO Pictures between 1929 and 1957 have an opening ident displaying the studio's famous trademark, the spinning globe and radio tower, nicknamed the "Transmitter." It was inspired by a two-hundred-foot tower built in Colorado for a giant electrical amplifier, or Tesla coil, created by inventor Nikola Tesla.[241] Orson Welles referred to the design as his "favorite among the old idents, not just because it was so often a reliable portent. ... It reminds us to listen."[242] The studio's closing ident, a triangle enclosing a thunderbolt, was also a well-known trademark.[243] Instead of the Transmitter, many Disney and Goldwyn films released by the studio originally appeared with colorful versions of the RKO closing ident as part of the main title sequence. For decades, re-releases of these films had Disney/Buena Vista and MGM/Goldwyn ident replacing the RKO insignia, but the originals have been made available in some of the Blu-ray and DVD editions.[244] The Hartley–Merrill RKO Pictures has created new versions of the Transmitter and the closing thunderbolt ident.
See also• List of RKO Pictures films
Notesa. The current online edition of Encyclopædia Britannica erroneously claims 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 RKO Radio Pictures, Inc. entry. Retrieved 2010-05-03. Many other online resources make the same false claim or similar ones (e.g., that the RCA Photophone business was made part of RKO).
Note also the following:
o Many 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 Orpheum Circuit Inc. Edward F. Albee was Benjamin F. Keith's right-hand man. He took over the company after the deaths of its founder, in 1914, and his son, A. Paul Keith, four years later.[245]
o Many sources incorrectly give FBO's full name as "Film Booking Office of America"; the proper name is Film Booking Offices of America, which may be confirmed by examining its official logo.[246] As an example of the many erroneous descriptions of RKO's early history that are routine even in reputable sources, take the summary history of the company's origins in Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939, by Tino Balio (Berkeley, Los Angeles, and London: University of California Press, 1995 [1993]), p. 16. The following corrections must be made to a single paragraph:
o FBO's full name was not "Film Booking Office" (see above).
o RCA Photophone was not "amalgamated" with FBO and KAO under the Radio-Keith-Orpheum holding company.[247]
o The company did not "contain" anything close to "three hundred theaters" (see note b, below).
o Until its acquisition of Pathé in 1931, RKO did not "contain ... four studios" in either sense of the term—production company (it "contained" one: FBO) or permanent production facility (it had, even by a generous count, three: FBO's Hollywood studio, the small New York studio FBO shared with Pathé, and the Encino movie ranch RKO established in 1929).
b. The reference in Jewell (1982) to "the 700 K-A-O Theatres in the US and Canada" (p. 10) is inaccurate. Time (1927) indicates that as of May 1927, Keith-Albee (legally the B. F. Keith Corp.) had 50 theaters and Orpheum had 47. Crafton (1997) claims KAO had "200 theaters" at the time of RKO's founding (p. 141), though he references no contemporary source. He does cite Film Daily in a description of RKO as controlling 250 theaters in 1930, following a "buying binge" (p. 256). Schatz (1998) describes an "RKO chain of 161 theaters" around the time David O. Selznick became production chief in October 1931 (p. 128). 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). 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.[248] Lasky (1989) indicates that a 1953 Fortune 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).
c. The standard history and 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.
d. Only one previous sound film had cost more than $1 million, and just barely: Noah's Ark (1929), from Warner Bros.[249]
e. For the switch to the RKO Radio Pictures brand at the beginning of the 1932–33 exhibition season for U.S. print advertising, see, e.g., this original poster for The Most Dangerous Game, which premiered September 9, 1932.[250]
f. Among still-ascendant male stars, Grant was preceded by the more established Fredric March as a freelancer. For other freelance Hollywood performers of the mid-1930s, see Balio (1995), p. 155.
g. 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.
h. Schatz's (1999) brief description of Mr. and Mrs. Smith as a "critical and commercial failure" (p. 89) is evidently incorrect. According to historian Leonard Leff, "Mr. and Mrs. Smith had a happy ending: good reviews and modest box office success."[251] Ed Sikov agrees, calling it a "solid commercial hit".[252] Donald Spoto's report on its release lends further support to this position.[253]
i. 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.[224][254]
j. 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.[255] Note that 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.[256]
k. Jewell (1982) states that it "attracted $3,355,000 in film rentals" (p. 181); Lasky (1989) refers to an article in The Hollywood Reporter 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 Variety 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, a very impressive feat for a movie with a B budget and star (Tim Holt).
l. 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.
References1. "RKO Radio Pictures, Inc". Encyclopædia Britannica. Retrieved November 7, 2018.
2. Jewell (1982), p. 9; Lasky (1989), pp. 22–24; Gomery (1985), p. 60; Crafton (1997), pp. 129–31.
3. Goodwin (1987), pp. 375–79; Jewell (1982), pp. 9–10; Lasky (1989), pp. 25–27; Gomery (1985), pp. 63–65; Crafton (1997), pp. 136–39, 193–94.
4. "Cinemerger", Time, May 2, 1927 (available online).
5. Lasky (1989), pp. 28–29.
6. Crafton (1997), p. 210.
7. Jewell (2012), pp. 20, 18, 25.
8. "Radio Pictures Trademark Information". Trademarkia. Retrieved January 11, 2018.
9. Goodwin (1987), pp. 422–23; Jewell (1982), p. 32; Crafton (1997), pp. 208, 210.
10. Barrios (1995), p. 87; "$250,000 for Construction Program at RKO Studio". Film Daily. January 23, 1929. p. 6. Retrieved December 5, 2015.
11. Koszarski (2008), pp. 169–71; Barrios (1995), pp. 86–88, 209.
12. Jewell (1982), p. 20; Lasky (1989), pp. 46–47; Barrios (1995), pp. 209, 226.
13. Lasky (1989), pp. 42–47; Barrios (1995), pp. 225–29.
14. Barrios (1995), p. 225.
15. Jewell (2012), p. 22.
16. Jewell (1982), pp. 20, 24.
17. Catalogue of Copyright Entries (1930), p. 369 et al.
18. Barrios (1995), p. 127; Lasky (1989), p. 52.
19. 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.
20. Bradley (1996), p. 279.
21. Jewell (1982), pp. 38, 41. For Technicolor contracts during this era, see Kalmus, Herbert (October 28, 1938). "Technicolor Adventures in Cinemaland". Widescreen Museum. Retrieved May 3, 2010.
22. Crafton (1997), p. 210; Barrier (2003), p. 169.
23. Crafton (1997), p. 552; Lasky (1989), p. 55.
24. Jewell (1982), p. 30.
25. Finler (2003), pp. 221, 223.
26. Finler (2003), p. 214.
27. Lasky (1989), p. 74.
28. Lasky (1989), pp. 58–59.
29. Jewell (1982), p. 44.
30. Lasky (1989), pp. 67–70.
31. Bordwell et al. (1985), p. 321.
32. Lasky (1989), pp. 74–76; Jewell (1982), p. 17.
33. Lasky (1989), pp. 77–80, 93.
34. Kroessler (2002), p. 219.
35. Schatz (1998), pp. 131–33; Lasky (1989), pp. 81–82.
36. Schatz (1998), p. 133; Lasky (1989), p. 83.
37. Mueller (1986), p. 7.
38. Schatz (1998), pp. 131.
39. Lasky (1989), pp. 78–79, 93–95; Jewell (1982), pp. 52, 60.
40. Lasky (1989), pp. 81–82.
41. Finler (2003), p. 221.
42. Lasky (1989), pp. 100–1.
43. Finler (2003), p. 219.
44. Lasky (1989), pp. 98–99.
45. Jewell (1982), p. 69.
46. Lasky (1989), p. 112.
47. Finler (2003), p. 229.
48. Harvey (1998), p. 290.
49. See, e.g., Di Battista (2001), p. 90.
50. Lasky (1989), pp. 109–10.
51. Finler (2003), p. 224.
52. Jewell (1982), pp. 71, 84, 103, 126, 128, 134, 168, 172, 196, 228, 241, 283.
53. Jewell (1982), pp. 77, 88; Lasky (1989), p. 117.
54. Finler (2003), p. 227.
55. Albrecht, Donald (June 2009). "The Art of RKO—Van Nest Polglase and the Modern Movie Set: A Pioneer Who Changed the Cinematic Landscape". Architectural Digest. Retrieved May 3, 2010.
56. Naremore (1989), pp. 17–18.
57. Rode (2007), pp. 58–59.
58. Morton (2005), p. 43.
59. Cotta Vaz and Barron (2002), p. 59.
60. "What? Color in the Movies Again?" Fortune, October 1934 (available online); Morton (2005), pp. 111–12; Lasky (1989), p. 104.
61. Jewell (1982), p. 87; Lasky (1989), pp. 115–16.
62. Finler (2003), p. 231.
63. Brunelle (1996); Morton (2005), pp. 75–77, 108–9.
64. Lasky (1989), pp. 118–19; Jewell (1982), p. 19.
65. McCann (1998), pp. 79–80, 144.
66. Finler (2003), p. 215.
67. Dickstein (2002), p. 48.
68. Barrier (2003), p. 170; Lasky (1989), p. 137; Jewell (1982), p. 92.
69. Finler (2003), pp. 36, 47, 319.
70. "News of the Screen," New York Times, February 16, 1937; Schatz (1998), p. 181.
71. Jewell (1982), pp. 18–19, 102.
72. "Briskin Resigns as RKO Radio Production Head". The Film Daily. November 4, 1937. p. 1. Retrieved November 9,2015.
73. Lasky (1989), pp. 154–57; Jewell (1982), pp. 19, 128–29, 138.
74. Jewell (1982), pp. 138, 152, 171, 178, 181, 246, 260.
75. Jewell (1982), pp. 138, 148, 150, 158, 178, 186, 206, 217, 235, 264.
76. Lasky (1989), pp. 153–54.
77. Finler (2003), pp. 214–15.
78. Jewell (1982), p. 136.
79. Bordwell et al. (1985), p. 349. For Walker's earlier work on King Kong: Morton (2005), pp. 30, 43, 52.
80. "100 Best Films of the 20th Century". Village Voice. Filmsite.org. 2001. Archived from the original on March 31, 2014. Retrieved August 29, 2009. "Top Ten Poll". Sight and Sound. BFI. 2002. Archived from the original on May 25, 2012. Retrieved August 29, 2009.
81. Kear (2009), p. 144.
82. Lasky (1989), pp. 152, 156–57; Jewell (1982), p. 116.
83. For Breen's position, see Jeff and Simmons (2001), pp. 119, 122–125.
84. Jewell (1982), p. 140.
85. Jewell (1982), p. 304.
86. Schatz (1999), p. 57; Jewell (1982), p. 142.
87. Lasky (1989), pp. 161–65.
88. Lasky (1989), pp. 167, 176–80.
89. 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), p. 156; Schatz (1999), p. 57.
90. "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.
91. Jewell (1982), pp. 142, 168.
92. Lasky (1989), pp. 167–68, 174–76.
93. McBride (2006), p. 63; Server (2002), p. 78.
94. Jewell (1982), pp. 142, 168, 208.
95. Jewell (1982), pp. 168, 178.
96. Lasky (1989), p. 187.
97. Fein (2000), passim; Lasky (1989), p. 228.
98. Jewell (1982), p. 213.
99. Finler (2003), p. 222.
100. Lasky (1989), p. 176.
101. Jewell (1982), pp. 200, 208, 226.
102. Jewell (1982), pp. 187, 198, 204, 211, 225, 241, 259, 286, 290, 295.
103. Jewell (1982), pp. 164, 168, 192, 203, 232.
104. Jewell (1982), pp. 209, 211, 241, 248, 283.
105. Jewell (1982), p. 206; Finler (2003), p 177.
106. Jewell (1982), pp. 212, 247, 232.
107. Jewell (1982), pp. 184, 196, 203, 211, 218, 229.
108. Jewell (1982), pp. 212, 178, 220.
109. Thomson (1997), p. 268; Brady (1990), pp. 378–81.
110. Jewell (1982), p. 215. For its later status, see, e.g., "100 Best Films of the 20th Century". Village Voice. Filmsite.org. 2001. Archived from the original on March 31, 2014. Retrieved January 11, 2018. (Sixteenth overall, fifth among Hollywood movies made between 1927 and 1959.)
111. Jewell (1982), pp. 228, 241, 248.
112. 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.
113. Jewell (1982), p. 186.
114. Schatz (1999), p. 173, table 6.3.
115. Schatz (1999), p. 232; Ballinger and Graydon (2007), p. 23.
116. 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.
117. Finler (2003), pp. 219–20.
118. Jewell (1982), p. 190.
119. Finler (2003), pp. 214–15, 221–22.
120. Jewell (1982), pp. 151, 171, 180, 186, 197, 211.
121. Jewell (1982), p. 164.
122. See, e.g., Ballinger and Graydon (2007), p. 19; Finler (2003), p. 216.
123. Finler (2003), p. 216.
124. Cook (2007), p. 22; Stephens (1995), p. 102; Jacobs (2007), pp. 315–16.
125. 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.
126. Ballinger and Graydon (2007), pp. 100–2, 152, 189–90, 210; Lasky (1989), p. 198; Schwartz (2005), p. 60.
127. Jewell (1982), pp. 205, 216.
128. See, e.g., Ballinger and Graydon (2007), pp. 56, 151–52; Schatz (1999), p. 364; Ottoson (1981), p. 132.
129. Finler (2003), p. 225.
130. Dixon (2005), p. 112.
131. Langdon-Teclaw (2007), p. 168.
132. Finler (2003), p. 357; Jewell (1982), p. 214.
133. Glick, Reymann, and Hoffman (2003), pp. 35–36; Schatz (1999), pp. 16–17.
134. Lasky (1989), pp. 203–4.
135. Lasky (1989), pp. 192–93, 195.
136. Schatz (1999), pp. 299, 331; Lasky (1989), p. 202.
137. Jewell (1982), p. 216.
138. Schatz (1999), pp. 290–91.
139. Friedrich (1997), pp. 333–36; Lasky (1989), pp. 198–202.
140. Lasky (1989), pp. 194–98, 202.
141. Brown and Broeske (2004), p. 281.
142. Finler (2003), p. 231; Jewell (1982), pp. 306–7.
143. Lasky (1989), pp. 204–5.
144. Dietrich, Noah; Thomas, Bob (1972). Howard, The Amazing Mr. Hughes. Greenwich: Fawcett Publications, Inc. pp. 235–237.
145. Lasky (1989), p. 206, 216–17.
146. Lasky (1989), pp. 216–17, 221–22; Jewell (1982), p. 143.
147. Analysis based on Schatz (1999), p. 330, table 10.2. See Jewell (1982), pp. 216, 226, for confirmation of RKO figures.
148. Finler (2003), p. 220.
149. Jewell (1982), p. 226.
150. Lasky (1989), pp. 218–20, 223, 227; "Part 6: The Supreme Court Verdict That Brought an End to the Hollywood Studio System, 1948". The Independent Producers and the Paramount Case, 1938–1949. Society Of Independent Motion Picture Producers. Retrieved July 22, 2006. Italic or bold markup not allowed in: |work= (help)
151. Lasky (1989), pp. 205, 219.
152. Server (2002), pp. 219–22.
153. Jewell (1982), pp. 246, 254.
154. Jewell (1982), p. 237.
155. Ottoson (1981), p. 155.
156. See, e.g., Finler (2003), p. 216.
157. Lasky (1989), pp. 220–21.
158. Jewell (1982), pp. 262, 266.
159. Muller (1998), pp. 176–77; Jewell (1982), pp. 251, 257, 271.
160. Jewell (1982), p. 265.
161. Finler (2003), pp. 358–59.
162. Quoted in Lasky (1989), p. 224.
163. Jewell (1982), p. 243; Lasky (1989), pp. 223–24.
164. Jewell (1982), pp. 243–44, 262, 270; Lasky (1989), pp. 225–26; "An Old Flame Returns", Time, February 23, 1953 (available online).
165. Jewell (1982), p. 262.
166. Jewell (1982), pp. 246, 262; Lasky (1989), pp. 221, 223, 225.
167. Crosby (2009), p. 75.
168. Conant (1981), p. 567.
169. Quoted in Lasky (1989), p. 226.
170. Collins, Keith (October 26, 2003). "Disney timeline". Variety. Retrieved September 29, 2017.
171. Jewell (1982), pp. 244, 276; Lasky (1989), pp. 226–27.
172. Jewell (1982), pp. 244–45; Lasky (1989), pp. 218–19, 223, 227–28.
173. Jewell (1982), p. 245; Lasky (1989), pp. 228–29.
174. Lasky (1989), p. 229.
175. Jewell (1982), p. 290; Lasky (1989), pp. 219, 221, 223, 228.
176. "Rubber Yankee," Time, January 18, 1943 (available online).
177. 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.
178. "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.
179. "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.
180. 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.
181. Segrave (1999), pp. 40–41.
182. "An Open Letter to TV Station Owners and Managers", Billboard, September 8, 1956.
183. Hilmes (1990), pp. 160–61; Boddy (1990), p. 138.
184. Jewell (1982), p. 245.
185. Jewell (1982), p. 280.
186. Jewell (1982), p. 284.
187. Jewell (1982), pp. 282, 286.
188. "RKO Shift to U Set for Feb. 1". Variety. January 23, 1957. p. 3. Retrieved June 12, 2019 – via Archive.org.
189. Jewell (1982), p. 245; Lasky (1989), p. 3.
190. "About Us—Studio History". The Culver Studios. Archived from the original on October 31, 2012. Retrieved February 28, 2010.
191. "Initial Plans for Movie Studio Backlot Approved", Los Angeles Times, May 1, 1975.
192. Conant (1981), pp. 567–68.
193. Jewell (1982), p. 296.
194. O'Neill (1966), p. 180.
195. Jewell (1982), p. 15.
196. "Disney, British Firm Co-Own RKO Japan, Ltd". Motion Picture Daily (Vol. 86 No. 3). Quigley Publishing Company, inc. July 6, 1957. pp. 1, 6. Retrieved April 12, 2018.
197. "GenCorp Inc.—Company History". Funding Universe. Retrieved April 12, 2010.
198. Fong-Torres (2001), pp. 172–76; Denisoff (1986), pp. 242–51.
199. Keyes (2004), p. 99.
200. Cox (2009), p. 198.
201. For the early history of Million Dollar Movie and WOR's film programming, see Segrave (1999), pp. 40, 48; "News of TV and Radio; 'Studio One' Returns for the Winter Season", New York Times, September 19, 1954 (excerpted online); "WOR-TV Acquires 10 Selznick Films; It Pays Record $198,000 for 'Package'—Will Be Shown on 'Million Dollar Movie' Discord Theme of Show", New York Times, February 25, 1956; "2 Feature Films Bought By WOR-TV; Station Adds 'Champion' and 'Home of the Brave' to its 'Million Dollar Movie,'" New York Times, June 16, 1956.
202. "Fee-Vee," Time, July 6, 1962 (available online); "Payday, Some Day," Time, December 27, 1968 (available online); Mullen, Megan, "The Prehistory of Pay Cable Television: An Overview and Analysis," Historical Journal of Film, Radio and Television, vol. 19, no. 1 (January 1, 1999).
203. "Turning Off RKO's Licenses," Time, August 24, 1987 (available online); "RKO Appeals F.C.C. Ruling," New York Times, October 20, 1987 (available online); "KHJ Enveloped in Scandal". Metropolitan News-Enterprise. December 5, 2002. Retrieved April 12, 2010.
204. Jewell (1982), p. 245; Lambert, Bruce (August 12, 1993). "C. R. Manby, 73, Ex-Chairman and President of RKO Pictures". New York Times. Retrieved May 19, 2010.
205. Al, Delugach (September 18, 1987). "Wesray to Rescue: RKO Management Finds Backer for Movie Firm Buyout". Los Angeles Times. Retrieved January 11, 2018.
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232. Fritz, Ben (March 31, 2012). "Warner Bros. to Release Classic Samuel Goldwyn Movies". Los Angeles Times. Retrieved January 11, 2018. "Miramax to Manage Films from Samuel Goldwyn's Library". Deadline. April 2, 2012. Retrieved August 17, 2016.
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234. "Rainbow Sold NTA by Para, Price 775G", Billboard, October 20, 1956, p. 17.
235. Slide (1998), p. 173; Jeffrey, Don (February 19, 1994), "Blockbuster Tops $2 Billion", Billboard, p. 62; Fitzpatrick, Eileen (September 6, 1997), "Shelf Talk: Spelling Ends Republic's Rentals", Billboard, p. 96; Holt (2011), p. 152
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237. Kehr, Dave (February 10, 2012), "In Hitchcock's World of Fallible Morals", New York times, p. AR18 (available online).
238. McCarthy, Gail (October 8, 2010). "Return of 'The Stranger': Showing Spotlights Local Man's Restoration". Gloucester Times. Retrieved January 11, 2018.
239. Pierce, David (June 2007). "Forgotten Faces: Why Some of Our Cinema Heritage Is Part of the Public Domain". Film History: An International Journal. 19 (2): 133, 137. doi:10.2979/FIL.2007.19.2.125. JSTOR 25165419. OCLC 15122313.
240. "AFI Catalog of Feature Films: The Conqueror (1956)". American Film Institute. Retrieved January 11, 2018.
241. Deyo and Leibowitz (2003), pp. 5–6.
242. Quoted in Thomson (1997), p. 170.
243. Nye (1992), p. 157.
244. Culhane (1999), passim.
245. Haupert (2006), p. 17.
246. See also Sherwood (1923), pp. 150, 156, 158–59.
247. See, e.g., Lasky (1989), p. 120.
248. Huettig (1944), p. 296.
249. Crafton (1997), p. 549.
250. Senn (1996), p. 109.
251. Leff (1999), p. 92.
252. Sikov (1996), p. 152.
253. Spoto (1983), p. 250.
254. Carringer (1985), pp. 1, p. 151 n. I-1.
255. 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.
256. Jewell (1982), p. 168.
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External links• RKO Radio Pictures on IMDb
• RKO Pictures on IMDb
RKO Radio Pictures history• The Early Sound Films of Radio Pictures comprehensive listing of RKO (and FBO sound) features through 1935, with stars and release dates—see also The Early Sound Films of Pathé for the RKO-Pathé films of 1931–32; both part of Vitaphone Video Early Talkies website
• RKO Theater Chain list of classic movie houses belonging to RKO chain; part of Cinema Treasures website
RKO Pictures LLC• RKO Pictures the Hartley–Merrill company's website
• Ted Hartley personal website of RKO Pictures LLC's chairman and CEO
• "Newman Helms Doc" article by Michael Fleming on planned Hartley documentary, Variety.com, September 11, 2003
RKO library and logos• C&C RKO 16 mm Prints extensive discussion of RKO preservation and rights issues, by David Chierichetti; part of eFilmCenter website
• The RKO Logo essay by Rick Mitchell; part of Hollywood: Lost and Found website
• RKO Pictures Logos detailed descriptions by Nicholas Aczel and Sean Beard