Instead, the prince buys the coffin from the dwarfs, and they help him carry it back to his castle (in some versions, the prince's servants assist in doing so). By Mann: Jewell (1982), pp. [53] One of the figures most responsible for that style was another Selznick recruit: Van Nest Polglase, chief of RKO's highly regarded design department for almost a decade. [a] RCA chief David Sarnoff engineered the merger to create a market for the company's sound-on-film technology, RCA Photophone. RKO has long been renowned for its cycle of musicals starring Fred Astaire and Ginger Rogers in the mid-to-late 1930s.
[197] With RKO General dismantling its broadcast business, RKO Pictures Inc., along with the original RKO studio's trademark, remake rights, and other remaining assets, was spun off and put up for sale. [81] He departed RKO in December 1939 after policy clashes with studio president George J. Schaefer, handpicked the previous year by the Rockefellers and backed by Sarnoff. 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 Universal, but the fantasy of the marvelous and adventurous. 422–23; Jewell (1982), p. 32; Crafton (1997), pp. This logo continued to be used during the days when the company was referred to as "RKO Teleradio Pictures." Propelled by the box-office boom of World War II and guided by new management, RKO would make a strong comeback over the next half-decade. [87] The next year saw the commercial failure of Welles's The Magnificent Ambersons—like Kane, critically lauded and overbudget—and the expensive embarrassment of his aborted documentary It's All True. Hailee Steinfeld, Hailee Steinfeld, Samuel Jackson and Sofia Turner.
Gomery, Douglas (1985). RKO (Radio-Keith-Orpheum) Pictures (also known as RKO Productions, Radio Pictures, RKO Radio Pictures, RKO Teleradio Pictures and, for a short time, RKO Pathé) is an American film production and distribution company. Gantman, Howard (November 24, 1986), "Turner Will Temporarily Halt Colorization of RKO Films", UPI (available. [54][55] Film historian James Naremore has described RKO as "chiefly a designer's studio. On post-1954 theatrical re-releases by. The business was formed after the Keith-Albee-Orpheum (KAO) theater chain and Joseph P. Kennedy's Film Booking Offices of America (FBO) studio were brought together under the control of the Radio Corporation of America (RCA) in October 1928. 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. Cooper.
[143] Hughes bought Atlas Corporation's 929,000 shares for $8,825,000. [211] In the early 2000s, the company was involved as a coproducer on TV movies and modestly budgeted features at the rate of about one annually. 315–16. Brunelle, Ray (1996). [199] In 1979, RKO General created the RKO Radio Network, reportedly the first broadcasting web linked via satellite. 306–7. [124] The studio's 1940s list of contract players was filled with noir regulars: Robert Mitchum (who graduated to major star status) and Robert Ryan each made no fewer than ten film noirs for RKO.
By the mid-1940s, the studio was under the control of investor Floyd Odlum. The end title has the RKO Radio Pictures logo in the background with the words "A WALT DISNEY FEATURE Production IN TECHNICOLOR". The industry's two largest companies, Paramount and Loew's/MGM, with two other major studios, Universal and First National, were poised to contract with ERPI for sound conversion as well. In 1959, following the breakup of the movie studio, the media division was given the name it would operate under for the next three decades, RKO General. 216, 226, for confirmation of RKO figures. Its success prompted Hollywood to convert from silent to sound film production en masse. Glick, Mark A., Lara A. Reymann, and Richard Hoffman (2003). [202] However, RKO General's most notable legacy is what may be the longest licensing dispute in television history. [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.
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