From Wikipedia, the free encyclopedia Major film studio

Major film studio

A major film studio is a movie production output and frequent reliance on outside dis-
and distribution company that releases a sub- tributors. In 2006, DreamWorks was ac-
stantial number of films annually and consist- quired by Viacom, Paramount’s corporate
ently commands a significant share of box-of- parent. In autumn 2008, DreamWorks once
fice revenues in a given market. In the North again became an independent production
American, Western, and global markets, the company; its films will be distributed by
major film studios, often simply known as the Disney.
majors, are commonly regarded as the six di- The major studios are today primarily
versified media conglomerates whose various backers and distributors of films whose actu-
movie production and distribution subsidiar- al production is largely handled by independ-
ies command approximately 90 percent of the ent companies—either long-running entities
U.S. and Canadian box office. The term may or ones created for and dedicated to the mak-
also be applied more specifically to the ing of a specific film. The specialty divisions
primary movie business subsidiary of each re- often simply acquire distribution rights to
spective conglomerate. The "Big Six" majors, pictures with which the studio has had no
whose movie operations are based in or prior involvement. While the majors do a
around Hollywood, are all centered in film modicum of true production, their activities
studios active during Hollywood’s Golden are focused more in the areas of develop-
Age of the 1930s and 1940s. In three ment, financing, marketing, and
cases—20th Century Fox, Warner Bros., and merchandising.
Paramount—the studios were one of the "Big
Five" majors during that era as well. In two
cases—Columbia and Universal—the studios
Today’s Big Six
were also considered majors, but in the next Conglomerate Parent Major Studio O
tier down, part of the "Little Three." In the Division Subsidiary s
sixth case, Walt Disney Studios was an inde- S
pendent production company during the
Golden Age; it was an important Hollywood
entity, but not a major.
Time Warner Warner Bros. Warner Bros. N
Most of today’s Big Six also include
Entertainment Pictures C
formerly independent companies that have
Group, HBO F
been acquired and brought in under the cor-
R
porate umbrella—for instance, Disney’s
ta
Miramax Films. The majors have also estab-
T
lished a variety of specialty divisions to con-
ta
centrate on arthouse pictures (e.g., Fox
W
Searchlight) or genre films (e.g., Sony’s
A
Screen Gems). The six major movie studios
are contrasted with smaller movie production Viacom Paramount Paramount Pictures N
and/or distribution companies, which are Motion Pic- M
known as independents or "indies." The lead- tures Group F
ing independent producer/distribut- Sony Sony Pictures Columbia Pictures S
ors—Lionsgate, Summit Entertainment, and A
former major studio MGM—are sometimes
referred to as "mini-majors," along with
fledgling studio Overture Films and the fad-
ing Weinstein Company. From 1998 through
2005, DreamWorks SKG commanded a large
enough market share to arguably qualify it as
a seventh major, despite its relatively small

1
From Wikipedia, the free encyclopedia Major film studio

News Fox Filmed 20th Century Fox MGM, 20th after decadesFox
Century as a major studio, 12.
Corporation Entertainment continues to distribute motion
Fox Animation, Searchlight pictures and
television
Foxcontent
Faith, as a minor, privately held
media Newcompany.
RegencyIn April 2005, it was pur-
chased (20%
from equity)
Kirk Kerkorian’s Tracinda Cor-
poration by a consortium including Sony,
General Elec- NBC Universal Studios Universal An- Focus 12.
cable company Comcast, Providence Equity
tric / Vivendi Universal imation Features
Partners, and three other private investment
SA Studios
firms. While Sony continues to hold a minor-
The Walt Dis- Walt Disney Walt Disney Pic- Pixar
ity equity Anima-
stake Miramax MGMHollywood
in the company, has a 10.
ney Company Motion Pic- tures/Touchstone tion Studios, Films
deal with 20th Century Fox for the distribu-Pictures
tures Group Pictures (unified
tion of Walt
home Disney
video and overseas theatrical
business with sep-
product.Animation
[4] MGM Stu-is also the majority share-
arate brands) holder dios,of the latest incarnation of United
Artists,Disneynature
whose other lead owners are Tom
Note 1: Warner Bros. (Prev. totals: Cruise and Paula Wagner. Via its original
2007—19.7%; 2006—14.9%; 2005—21.7%; 1981 merger with UA, MGM controls the
2004—17.7%) rights to the James Bond franchise. Columbia
Note 2: Paramount (Prev. totals: codistributed the first two Bond films star-
2007—15.5%; 2006—11.0%; 2005—9.8%; ring Daniel Craig after the 2005 purchase,
2004—6.8%) but MGM will resume sole distribution con-
Note 3: Sony/Columbia (Prev. totals: trol with the next film in the series.[5]
2007—12.9%; 2006—19.3%; 2005—11.1%; Overture Films, whose primary equity
2004—16.8%) holder is Liberty Media, was founded in the
Note 4: 20th Century Fox: 10.5%; Fox fall of 2006. It released its first movie in
Searchlight 2.2% (Prev. totals: 2007—11.9%; January 2008;[6] by year’s end, it was the
2006—17.0%; 2005—16.5%; 2004—11.7%) fourth most successful independent studio.
Note 5: Universal: 11.0%; Focus Features: The Weinstein Company was founded in
1.4% (Prev. totals: 2007—12.2%; late 2005 by brothers Harvey and Bob Wein-
2006—10.9%; 2005—13.2%; 2004—10.8%) stein after their departure from Miramax,
Note 6: Disney (Prev. totals: 2007—15.3%; which they had founded in 1979. In 1993,
2006—16.7%; 2005—14.6%; 2004—16.5%) they sold control of Miramax to the Walt Dis-
ney Company, continuing to run the studio in

The "mini-majors" quasi-independent fashion under the Disney

umbrella. When the Weinsteins left Disney,
Lions Gate Entertainment, which moved in they retained the right to the Dimension
2006 from Vancouver, British Columbia, to Films brand, which is used by The Weinstein
Santa Monica, California, was the most suc- Company (as it was by Miramax) for genre
cessful North American movie studio based films. The studio has not had a hit since
outside of the Los Angeles metropolitan area 1408, released in June 2007.[7] It experi-
before its relocation. Now known as enced several high-level executive defections
Lionsgate, it traces its roots back to the pro- in 2008, and announced major layoffs in
duction company Lion’s Gate Films, founded November.[8]
by director Robert Altman in the 1970s. The DreamWorks SKG was founded in 1994 by
studio controls the highly profitable Saw Steven Spielberg, Jeffrey Katzenberg, and
franchise. David Geffen. Once again independent after
Summit Entertainment, founded as an in- two-and-half years under the Viacom/Para-
dependent production and overseas sales mount corporate umbrella, it is now backed
company in 1996, was reconstituted as a full- by India’s Reliance ADA Group.[9]
fledged studio ten years later.[2] It saw its DreamWorks will not be a full-service stu-
first major success with Twilight in autumn dio—it will produce and finance films, but as
2008. Though it is based in Universal City it did for most its first era as an independent,
and has a deal with Universal Studios for the it will arrange distribution through the ma-
distribution of home entertainment media,[3] jors. In February 2009, after dropping out of
Summit’s ownership and theatrical distribu- a deal with Universal, DreamWorks struck
tion operation are fully independent. such a deal with Disney, though Paramount

2
From Wikipedia, the free encyclopedia Major film studio

will continue to release the DreamWorks pic- New York–based Trust was arguably the first
tures developed there through the end of major North American movie conglomerate.
2009.[10] Katzenberg, who is completely di- The independents’ fight against the Trust
vested from the new DreamWorks, now runs was led by Carl Laemmle, whose Chicago-
DreamWorks Animation as a totally separate based Laemmle Film Service, serving the
business. The company maintains a close-knit Midwest and Canada, was the largest distri-
distribution deal with Paramount that runs bution exchange in North America.
through 2012.[11] Laemmle’s efforts were rewarded in 1912
In 2008, Lionsgate led the mini-majors when the U.S. government ruled that the
with $436.8 million in total box office Trust was a "corrupt and unlawful associ-
grosses, giving it a 4.5% market share. Three ation" and must be dissolved. On June 8,
other companies had over $100 million in box 1912, Laemmle organized the merger of his
office grosses: Summit (2.4% market share), production division, IMP (Independent Mo-
MGM/UA (1.7% market share), and Overture tion Picture Company), with several other
(1.1% market share).[12] In 2007, Lionsgate filmmaking companies, creating the studio
and MGM/UA were virtually tied for the posi- that would soon be named Universal. By the
tion of most successful mini-major in terms of end of the year, Universal was making
market share, each with 3.8%. No other inde- movies at two Los Angeles facilities: the
pendent studio had even a 1% market former Nestor Film studio in Hollywood, and
share.[13] In 2006, Lionsgate had a 3.6% mar- another studio in Edendale. The first Holly-
ket share, The Weinstein Company had a wood major was in business.[18]
2.5% market share, and MGM/UA had a 1.8% In 1916, a second powerful Hollywood stu-
market share.[14] In 2005, the still independ- dio was established when Adolph Zukor
ent DreamWorks SKG had 5.7% and merged his Famous Players movie production
Lionsgate had 3.2%. Of MGM/UA’s four house with the Jesse L. Lasky Company to
significant money-earners during 2005, it re- form Famous Players–Lasky. The combined
leased three before its acquisition by the studio acquired Paramount Pictures as a dis-
Sony-led consortium; MGM/UA’s total market tribution arm and eventually adopted its
share for the year was 2.1%. The Weinstein name. Paramount quickly surpassed Univer-
Company, in its first three months of opera- sal as Hollywood’s dominant company. In
tion, gained 0.5% of the year’s total market 1916 as well, William Fox relocated his Fox
share.[15] In 2004, DreamWorks SKG had Film Corporation from the East Coast to Hol-
10.0% (more than the Paramount Motion Pic- lywood and began expanding.[19] Between
tures Group), Newmarket had 4.3% (due al- 1924, when Metro Pictures combined with
most entirely to The Passion of the Christ), Goldwyn Pictures and Louis B. Mayer Pro-
Lionsgate had 3.2%, and MGM/UA had ductions to form MGM (Metro-Goldwyn-May-
2.1%.[16] er), and 1928, the year in which the U.S. film
industry converted en masse to sound film,
History Hollywood had a Big Two: Paramount and
Loew’s Incorporated, owner of America’s
largest theater circuit and parent company to
The majors before the Golden MGM. Through 1927, the next three largest
Age studios were Fox, Universal, and First Na-
In 1909, Thomas Edison, who had been fight- tional (founded in 1917). Propelled by the
ing in the courts for years for control of fun- great success of The Jazz Singer (1927), the
damental motion picture patents, won a ma- first important feature-length "talkie," small
jor decision. This led to the creation of the Warner Bros. (founded in 1919) quickly
Motion Picture Patents Company, widely entered the big leagues and acquired First
known as the Trust. Comprising the nine National in 1928. Fox, in the forefront of
largest U.S. film companies, it was "designed sound film along with Warners, was also ac-
to eliminate not only independent film produ- quiring a sizable circuit of movie theaters to
cers but also the country’s 10,000 independ- exhibit its product.
ent [distribution] exchanges and exhibit-
ors."[17] Though its many members did not
consolidate their filmmaking operations, the

3
From Wikipedia, the free encyclopedia Major film studio

The majors during the Golden market and all the smaller companies com-
bined had a total of 4%.[21]
Age
For more details on this topic, see Studio The majors after the Golden Age
system.
Between late 1928, when RCA’s David 1950s–1960s
Sarnoff engineered the creation of the RKO The end of the Golden Age had been signaled
(Radio-Keith-Orpheum) studio, and the end of by the majors’ loss of a federal antitrust case
1949, when Paramount divested its theater that led to the divestiture of the Big Five’s
chain—roughly the period considered Holly- theater chains. Though this had virtually no
wood’s Golden Age—there were eight Holly- immediate effect on the eight majors’ box-of-
wood studios commonly regarded as the "ma- fice domination, it somewhat leveled the
jors." Of these eight, the so-called Big Five playing field between the Big Five and the
were integrated conglomerates, combining Little Three. In November 1951, Decca Re-
ownership of a production studio, distribution cords purchased 28% of Universal; early the
division, and substantial theater chain, and following year, the studio became the first of
contracting with performers and filmmaking the classic Hollywood majors to be taken
personnel: Loew’s/MGM, Paramount, Fox over by an outside corporation, as Decca ac-
(which became 20th Century-Fox after a quired majority ownership.[22] The 1950s
1935 merger), Warner Bros., and RKO. The saw two substantial shifts in the hierarchy of
remaining majors were sometimes referred the majors: RKO, perennially the weakest of
to as the Little Three or the "major-minors." the Big Five, declined rapidly under the mis-
Two—Universal and Columbia (founded in management of Howard Hughes, who had
1919)—were organized similarly to the Big purchased a controlling interest in the studio
Five, except for the fact that they never in 1948. By the time Hughes sold it to the
owned more than small theater circuits (a General Tire and Rubber Company in 1955,
consistently reliable source of profits). The the studio was a major by outdated reputa-
third of the lesser majors, United Artists tion alone. In 1957, virtually all RKO movie
(founded in 1919), owned a few theaters and operations ceased and the studio was dis-
had access to production facilities owned by solved in 1959. (Revived on a small scale in
its principals, but it functioned primarily as a 1981, it was eventually spun off and now op-
backer-distributor, loaning money to inde- erates as a minor independent company.) In
pendent producers and releasing their films. contrast, there was United Artists, which had
During the 1930s, the eight majors averaged long operated under the financing-distribu-
a total of 358 feature film releases a year; in tion model the other majors were now pro-
the 1940s, the four largest companies shifted gressively shifting toward. Under Arthur
more of their resources toward high-budget Krim and Robert Benjamin, who began man-
productions and away from B movies, bring- aging the company in 1951, UA became con-
ing the yearly average down to 288 for the sistently profitable. By 1956—when it re-
decade.[20] leased one of the biggest blockbusters of the
Among the significant characteristics of decade, Around the World in 80 Days—it
the Golden Age was the stability of the Holly- commanded a 10% market share. By the
wood majors, their hierarchy, and their near- middle of the next decade, it had reached
complete domination of the box office. At the 16% and was the second-most profitable stu-
midpoint of the Golden Age, 1939, the Big dio in Hollywood. Despite RKO’s collapse, the
Five had market shares ranging from 22% majors still averaged a total yearly release
(MGM) to 9% (RKO); each of the Little Three slate of 253 feature films during the dec-
had around a 7% share. In sum, the eight ma- ade.[20]
jors controlled 95% of the market and all the The 1960s were marked by a spate of cor-
smaller companies combined had a total of porate takeovers. MCA, under Lew Wasser-
5%. Ten years later, the picture was largely man, acquired Universal in 1962;
the same: the Big Five had market shares Gulf+Western took over Paramount in 1966;
ranging from 22% (MGM) to 9% (RKO); the and the Transamerica Corporation purchased
Little Three had shares ranging from 8% United Artists in 1967. Warner Bros.
(Columbia) to 4% (United Artists). In sum, underwent large-scale reorganization twice
the eight majors controlled 96% of the in two years: a 1967 merger with the Seven

4
From Wikipedia, the free encyclopedia Major film studio

Arts company preceded a 1969 purchase by brand reputation, but little more. MGM,
Kinney National, under Stephen J. Ross. however, was not the only studio to trim its
MGM, in the process of a slow decline, release line. By the mid-1970s, the industry
changed ownership twice in the same span as had rebounded and a significant philosophic-
well, winding up in the hands of financier al shift was in progress. As the majors fo-
Kirk Kerkorian. The majors almost entirely cused increasingly on the development of the
abandoned low-budget production during this next hoped-for blockbuster and began
era, bringing the annual average of features routinely opening each new movie in many
released down to 160.[20] The decade also hundreds of theaters (an approach called
saw an old name in the industry secure a pos- "saturation booking"), their collective yearly
ition as a leading player. In 1923, Walt Dis- release average fell to 81 films during
ney had founded the Disney Brothers Cartoon 1975–84.[20] The classic set of majors was
Studio with his brother Roy and animator Ub shaken further in late 1980, when the dis-
Iwerks. Over the following three decades Dis- astrously expensive flop of Heaven’s Gate ef-
ney became a powerful independent focusing fectively ruined United Artists. The studio
on animation and, from the late 1940s, an in- was sold the following year to Kerkorian, who
creasing number of live-action movies. In merged it with MGM. After a brief resur-
1954, the company—now Walt Disney Pro- gence, the combined studio again declined.
ductions—established Buena Vista Film Dis- From the mid-1980s on, MGM/UA has been
tribution to handle its own product, which at best a "mini-major," to use the present-day
had been distributed for years by various ma- term.
jors, primarily United Artists and then RKO. Meanwhile, a new member was finally ad-
(Disney’s 1937 Snow White and the Seven mitted to the club of major studios and two
Dwarfs, released by RKO, was the second significant contenders emerged. With the es-
biggest hit of the 1930s.) In its first year, tablishment of its Touchstone Pictures brand
Buena Vista had a major success with 20,000 and increasing attention to the adult market
Leagues Under the Sea, the third biggest in the mid-1980s, Disney/Buena Vista se-
movie of 1954. In 1964, Buena Vista had its cured acknowledgment as a full-fledged ma-
first blockbuster, Mary Poppins, Hollywood’s jor. The two contenders were both newly
biggest hit in half a decade. The company formed companies. In 1978, Krim, Benjamin,
achieved a 9% market share that year, more and three other studio executives departed
than Fox and Warner Bros. Though over the UA to found Orion Pictures as a joint venture
next two decades, Disney/Buena Vista’s share with Warner Bros. It was announced optim-
of the box-office would again hit similar istically as the "first major new film company
marks, its relatively small output and exclus- in 50 years."[24] Tri-Star Pictures was created
ive focus on family movies meant that it was in 1982 as a joint venture of Columbia Pic-
not generally considered a major despite its tures (then owned by Coca-Cola), HBO (then
success. owned by Time Inc.), and CBS. In 1985, Ru-
pert Murdoch’s News Corporation acquired
1970s–1980s 20th Century-Fox, the last of the five relat-
The early 1970s were difficult years for all ively healthy Golden Age majors to remain in-
the majors. Movie attendance, which had dependent throughout the entire Golden Age
been declining steadily since the Golden Age, and after.
hit an all-time low in 1971. In 1973, MGM In 1986, the combined share of the six
president James T. Aubrey Jr. drastically classic majors—at that point Paramount,
downsized the studio, slashing its production Warner Bros., Columbia, Universal, Fox, and
schedule and eliminating its distribution arm MGM/UA—fell to 64%, the lowest since the
(UA would distribute the studio’s films for the beginning of the Golden Age. Disney was in
remainder of the decade). From fifteen re- third place, behind only Paramount and
leases in 1973, the next year MGM was down Warners. Even including it as a seventh ma-
to five; its average for the rest of the 1970s jor and adding its 10% share, the majors’
would be even lower. The cutbacks, in the control of the North American market was at
words of historian Joel Finler, "reduced the a historic ebb. Orion, now completely inde-
once proud studio to a Hollywood also- pendent of Warner Bros., and Tri-Star were
ran."[23] Like RKO in its last days under well positioned as mini-majors, each with
Hughes, MGM remained a major in terms of North American market shares of around 6%.

5
From Wikipedia, the free encyclopedia Major film studio

Smaller independents garnered 13%—more independent companies split a pool amount-

than any studio aside from Paramount. In ing to 2.3%.[25] In 2008, New Line Cinema
1964, by comparison, all of the companies lost its independent status within Time
beside the then seven majors and Disney had Warner and became a subsidiary of Warner
combined for a grand total of 1%. As Finler Bros. Time Warner also announced that it
wrote in his study The Hollywood Story would be shutting down its two specialty
(1988), "It will be interesting to see whether units, Warner Independent and Picture-
the old-established studios will be able to house.[26] In 2008 as well, Paramount Vant-
bounce back in the future, as they have done age’s production, marketing, and distribution
so many times before, or whether the newest departments were folded into the parent stu-
developments really do reflect a fundamental dio.[27]
change in the US movie industry for the first
times since the 20s."[21]
Organizational lineage
1990s–present
With the exception of MGM/UA—whose posi- The eight Golden Age majors
tion was effectively filled by Disney—the old- The eight major film studios of the Golden
established studios did bounce back. The pur- Age have gone through the following signific-
chase of Fox by Murdoch’s News Corp. pres- ant ownership changes ("independent" mean-
aged a new round of corporate acquisitions. ing customarily identified as the primary
Between 1989 and 1994, Paramount, commercial entity in its corporate structure;
Warners, Columbia, and Universal all "purchased" meaning acquired anything from
changed ownership in a series of conglomer- majority to total ownership):
ate purchases and mergers that brought
them new financial and marketing muscle. By Columbia Pictures
the early 1990s, both Tri-Star and Orion were • independent as CBC Film Sales,
essentially out of business: the former consol- 1919–1924 (founded by Harry Cohn, Joe
idated into Columbia, the latter bankrupt and Brandt, and Jack Cohn)
sold to MGM. The most important contenders • independent, 1924–1982 (company
to emerge during the 1990s, New Line, the changes name; goes public in 1926)
Weinsteins’ Miramax, and DreamWorks SKG, • Coca-Cola, 1982–1987 (purchased by
were likewise sooner or later brought into Coca-Cola; Tri-Star Pictures, a joint
the majors’ fold, though DreamWorks is now venture with HBO and CBS initiated in
independent again. The very successful anim- 1982—CBS drops out in 1984)
ation production house Pixar, whose films • independent as Columbia/Tri-Star (or
were distributed by Buena Vista, was ac- Columbia Pictures Entertainment),
quired by Disney in 2006. 1987–1989 (divested by Coca-Cola; also in
The development of in-house pseudo-indie 1987, HBO drops out of Tri-Star, which
subsidiaries by the conglomerates—sparked merges with Columbia)
by the 1992 establishment of Sony Pictures • Sony, 1989–present (purchased by Sony)
Classics and the success of Pulp Fiction
(1994), Miramax’s first project under Disney 20th Century-Fox
ownership—significantly undermined the pos- • Independent as Fox, 1915–1935 (founded
ition of the true independents. The majors’ by William Fox; Fox forced to sell off
release schedule rebounded: the six primary controlling interest in now-public company
studio subsidiaries alone put out a total of in 1930)
124 films during 2006; the three largest sec- • Independent, 1935–1985 (merges with
ondary subsidiaries (New Line, Fox Search- Twentieth Century Pictures; fully
light, Focus Features) accounted for another purchased by Marc Rich and Marvin Davis
30. Box-office domination was fully restored: in 1981; Rich’s interest purchased by
in 2006, the six major movie conglomerates Davis in 1984; half of Davis’s interest
combined for 89.8% of the North American purchased by Rupert Murdoch’s News
market; Lionsgate and Weinstein were al- Corporation in March 1985)
most exactly half as successful as their 1986 • News Corporation, 1985–present
mini-major counterparts, sharing 6.1%; MGM (purchases the remainder of Davis’s
came in at 1.8%; and all of the remaining shares in September)

6
From Wikipedia, the free encyclopedia Major film studio

Warner Bros. Universal Pictures

• Independent as Warner Brothers West • independent, 1912–1946 (founded as
Coast Studio, 1919–1923 (founded by Jack public company via merger of Carl
L. Warner, Harry Warner, Albert Warner, Laemmle’s Independent Motion Picture
and Sam Warner) Co., Pat Powers’s Powers Picture Co.,
• Independent, 1923–1929 (company Adam Kessel and Charles Baumann’s
changes name and goes public, brothers Bison Life Motion Pictures, Mark
maintain controlling interest; Sam Warner Dintenfass’s Champion Film Co., William
dies in 1927) Swanson’s Rex Picture Co., and the Nestor
• Independent as Warner Bros.–First Film Co.)
National, 1929–1967 (acquires First • independent as Universal-International,
National Pictures; syndicate led by Serge 1946–1952 (merges with International
Semenenko of First National Bank of Pictures)
Boston and Charles Allen Jr. purchases • Decca, 1952–1962 (purchased by Decca)
controlling interest from Harry and Albert • MCA, 1962–1990 (MCA purchases Decca)
Warner in 1956) • Matsushita Electric, 1990–1995
• Warner Bros.–Seven Arts, 1967–1969 (Matsushita purchases MCA)
(purchased by and merged with Seven • Seagram, 1995–2000 (purchased by
Arts Productions) Seagram from Matsushita)
• Kinney National Company, 1969–1975 • Vivendi, 2000–2004 (Vivendi purchases
(Kinney purchases Warner Bros.–Seven Seagram)
Arts) • General Electric, 2004–present
• Warner Communications, 1975–1989 (purchased by GE from Vivendi and
(Kinney changes name) merged with NBC to form NBC Universal)
• Time Warner, 1989–present (Warner
merges with Time Inc.; from 2000 to 2003, Metro–Goldwyn–Mayer
the parent company was known as AOL • Loew’s Incorporated, 1924–1959 (founded
Time Warner, following merger with AOL) via merger of Loew’s-owned Metro
Pictures with Goldwyn Pictures and Louis
Paramount Pictures B. Mayer Productions; controlling interest
• Independent as Famous Players–Lasky, in Loew’s purchased by William Fox in
1916–1921 (founded as public company 1929; Fox forced to sell off interest in
via merger of Adolph Zukor’s Famous 1930; operational control ceded by Loew’s
Players and Jesse L. Lasky, Samuel to studio management in 1954)
Goldfish (later Goldwyn), Dustin Farnum, • independent, 1959–1981 (fully divested by
and Cecil B. DeMille’s Jesse L. Lasky Loew’s; purchased by Edgar Bronfman Sr.
Feature Play Company, followed by in 1967; purchased by Kirk Kerkorian in
acquisition of Paramount Pictures 1969)
distribution house) • independent as MGM/UA, 1981–1992
• Independent, 1922–1966 (company adopts (United Artists purchased by Kerkorian
distribution division’s name) and merged into MGM; purchased by Ted
• Gulf and Western Industries, 1966–1989 Turner in 1986; repurchased by Kerkorian
(purchased by Gulf+Western) seventy-four days later; purchased by
• Paramount Communications, 1989–1994 Giancarlo Parretti in 1990)
(Gulf+Western changes name after selling • Crédit Lyonnais, 1992–1997 (foreclosed
nonentertainment assets) upon by bank after Parretti defaulted)
• Viacom, 1994–2005 (Viacom purchases • Tracinda Corporation, 1997–2005
Paramount) (repurchased by Kerkorian)
• Viacom, 2006–present (Viacom splits into • Sony/Comcast/4 private equity firms,
two companies: "new" Viacom—with 2005–present (purchased by Sony,
Paramount Pictures, MTV, BET, and other Comcast, and private investment
cable channels—and CBS firms—Providence Equity Partners, in fact,
Corporation—which includes CBS currently owns the greatest number of
Paramount Television; both companies are shares—and privately held as a minor
controlled by National Amusements)

7
From Wikipedia, the free encyclopedia Major film studio

media company independent of Sony/ Communications; no films produced or

Columbia) distributed from 1993 through 1997)

United Artists (merged into MGM) Other significant, formerly inde-

• independent, 1919–1967 (founded by pendent entities
Charles Chaplin, Douglas Fairbanks, D. W.
• Artisan Entertainment – Purchased in
Griffith, and Mary Pickford; operational
2003 by Lions Gate Entertainment
control by Arthur Krim and Robert
• Castle Rock Entertainment – Purchased in
Benjamin from 1951; fully purchased by
1994 by Turner Broadcasting System; TBS
Krim and Benjamin in 1956)
in 1996 merged with Time Warner
• Transamerica, 1967–1981 (purchased by
• DreamWorks SKG – Purchased in 2006 by
Transamerica)
Viacom (parent company of Paramount);
• MGM/UA, 1981–1992 (purchased by Kirk
became independent again in 2008
Kerkorian from Transamerica and merged
• The Samuel Goldwyn Company –
into MGM; see above for further detail)
Purchased in 1996 by John
RKO Radio Pictures (defunct Kluge/Metromedia International;
1960–80, dormant 1993–97) purchased in 1997 by MGM
• Miramax Films – Purchased in 1993 by the
• RCA/investment consortium, 1928–1935
Walt Disney Company
(founded as public company via merger of
• New Line Cinema – Purchased in 1994 by
Film Booking Offices of America studio
Turner Broadcasting System; TBS in 1996
and Keith-Albee-Orpheum theater chain;
merged with Time Warner; merged into
majority ownership by RCA from ca. 1930)
Warner in 2008 as an in-name-only film
• independent, 1935–1955 (half of RCA’s
distributor
interest purchased by Floyd Odlum,
• October Films – Purchased in 1997 by
control split between RCA, Odlum, and
Universal; purchased in 1999 by Barry
Rockefeller brothers; controlling interest
Diller and merged with Gramercy Pictures
purchased by Odlum in 1942; controlling
into USA Films; USA in 2001 acquired by
interest purchased by Howard Hughes in
Vivendi (then parent company of
1948; Hughes interest purchased by
Universal) and merged with Good
Stolkin-Koolish-Ryan-Burke-Corwin
Machine and Universal Focus into Focus
syndicate in 1952; interest repurchased by
Features
Hughes in 1953; fully purchased by
• Orion Pictures – Purchased in 1988 by
Hughes in 1954)
Kluge/Metromedia; purchased in 1997 by
• General Tire and Rubber, 1955–1984
MGM
(purchased by General Tire and
• Pixar – Purchased in 1986 by Steve Jobs;
Rubber—coupled with General Tire’s
purchased in 2006 by the Walt Disney
broadcasting operation as RKO Teleradio
Company
Pictures; production and distribution
• Tri-Star Pictures – Consolidated in 1987
halted in 1957; movie business dissolved
into Columbia (one of the partners in the
in 1959 and RKO Teleradio renamed RKO
joint venture that created it)
General; RKO General establishes RKO
• Alliance Entertainment Corporation
Pictures as production subsidiary in 1981)
Canadian film company; mostly
• GenCorp, 1984–1987 (reorganization
distributor; merges with Atlantis
creates holding company with RKO
Communications in 1998 to become
General and General Tire as primary
Alliance Atlantis; joint purchase between
subsidiaries)
CanWest and GS Capital Partners in 2007
• Wesray Capital Corporation, 1987–1989
(spun off from RKO General, purchased by
Wesray—controlled by William E. Simon See also
and Ray Chambers—and merged with
• Big Four – the four major music
amusement park operations to form RKO/
corporations: Universal Music Group,
Six Flags Entertainment)
Sony Music Entertainment, Warner Music
• independent, 1989–present (split off from
Group, and EMI; formerly the Big Six, but
Six Flags, purchased by Dina Merrill and
Ted Hartley, and merged with Pavilion

8
From Wikipedia, the free encyclopedia Major film studio

Universal acquired PolyGram in 1998, and content_display/news/

Sony and BMG merged in 2004 e3i8e47fc3e1fcb41bfa66529852d374e2a.
Retrieved on 2008-12-19.
Notes [9] Thompson, Anne, and Tatiana Siegel
(2008-09-19). "DreamWorks, Reliance
[1] Studio Market Share (2008) part of Close Deal". Variety.
BoxOfficeMojo.com. For previous years’ http://www.variety.com/
data in section notes, see VR1117992505.html. Retrieved on
http://www.boxofficemojo.com/studio/ 2008-12-23.
?view=company&view2=yearly&yr=2007&p=.htm [10] Graser, Marc, and Tatiana Siegel
Studio Market Share (2007)], Studio (2009-02-09). "Disney Signs Deal with
Market Share (2006), Studio Market DreamWorks". Variety.
Share (2005), and Studio Market Share http://www.variety.com/article/
(2004). Retrieved March 3, 2009. VR1117999836.html?categoryid=13&cs=1.
[2] Barnes, Brooks (2008-11-19). "For Retrieved on 2009-02-14.
Studio, Vampire Movie Is a Cinderella [11] Fritz, Ben (2008-09-26). "DreamWorks
Story". New York Times. Toons Stay Put". Variety.
http://www.nytimes.com/2008/11/20/ http://www.variety.com/
business/media/20summit.html. VR1117992976.html. Retrieved on
Retrieved on 2008-12-19. 2008-12-23.
[3] "Summit Entertainment Announces [12] Studio Market Share (2008) part of
Distribution Agreement with Universal BoxOfficeMojo.com. Retrieved March 3,
Studios". Summit Entertainment. 2009.
2007-05-16. http://www.summit-ent.com/ [13] Studio Market Share (2007) part of
news.php?news_id=51. Retrieved on BoxOfficeMojo.com. Retrieved March 3,
2008-12-19. 2009.
[4] Halbfinger, David M. (2008-06-08). [14] Studio Market Share (2006) part of
"MGM: A Lion or a Lamb?". New York BoxOfficeMojo.com. Retrieved May 14,
Times. http://www.nytimes.com/2008/06/ 2007 (with Premier Pass allowing access
08/business/media/08mgm.html. to data of all distributors, rather than
Retrieved on 2008-09-29. universally accessible top 12).
[5] Barnes, Brooks, and Michael Cieply [15] Studio Market Share (2005) part of
(2008-11-16). "A Studio, a Star, a Fateful BoxOfficeMojo.com. Retrieved May 14,
Bet". New York Times. 2007 (with Premier Pass allowing access
http://www.nytimes.com/2008/11/17/ to data of all distributors, rather than
business/media/ universally accessible top 12).
17cruise.html?scp=2&sq=%22harry%20sloan%22%20mgm&st=cse.
[16] Studio Market Share (2004) part of
Retrieved on 2008-12-19. BoxOfficeMojo.com. Retrieved May 14,
[6] Halbfinger, David M. (2008-01-10). "An 2007 (with Premier Pass allowing access
Upstart in Films With Many Fast Moves". to data of all distributors, rather than
New York Times. universally accessible top 12).
http://www.nytimes.com/2008/01/10/ [17] Hirschhorn (1983), p. 9.
movies/10over.html. Retrieved on [18] Hirschhorn (1983), p. 11.
2008-09-29. [19] Thomas and Solomon (1985), p. 12
[7] Teodorczuk, Tom (2008-07-25). [20] ^ Finler (1988), p. 280.
"Weinsteins’ Hollywood Star Begins to [21] ^ Finler (1988), p. 35.
Fade". Telegraph. [22] Hirschhorn (1983), p. 157.
http://www.telegraph.co.uk/finance/ [23] Finler (1988), p. 119.
newsbysector/ [24] Cook (2000), p. 319.
mediatechnologyandtelecoms/2793494/ [25] Studio Market Share (2006) part of
Weinsteins’-Hollywood-star-begins-to- BoxOfficeMojo.com. Retrieved May 20,
fade.html. Retrieved on 2008-12-19. 2007.
[8] Goldstein, Gregg (2008-11-21). [26] Hayes, Dade, and Dave McNary
"Weinstein Co. Lets Go of 24". Hollywood (2008-05-08). "Picturehouse, WIP to
Reporter. Close Shop". Variety.
http://www.hollywoodreporter.com/hr/ http://www.variety.com/article/

9
From Wikipedia, the free encyclopedia Major film studio

VR1117985299.html?categoryid=13&cs=1. • Finler, Joel W. (1988). The Hollywood

Retrieved on 2009-01-18. Story (New York: Crown). ISBN
[27] Goldsmith, Jill, and Tatiana Siegel 0-517-56576-5
(2008-12-04). "Viacom Lays Off 850 • Hirschhorn, Clive (1983). The Universal
Staffers". Variety. Story (London: Crown). ISBN
http://www.variety.com/article/ 0-517-55001-6
VR1117996816.html?categoryid=3284&cs=1.
• Hirschhorn, Clive (1999). The Columbia
Retrieved on 2009-02-23. Story (London: Hamlyn). ISBN
0-600-59836-5
Sources • Jewell, Richard B., with Vernon Harbin
(1982). The RKO Story (New York:
• Cook, David A. (2000). Lost Illusions: Arlington House/Crown). ISBN
American Cinema in the Shadow of 0-517-54656-6
Watergate and Vietnam, 1970–1979 • Schatz, Thomas (1998 [1989]). The Genius
(Berkeley, Los Angeles, and London: of the System: Hollywood Filmmaking in
University of California Press). ISBN the Studio Era (London: Faber and Faber).
0-520-23265-8 ISBN 0-571-19596-2
• Eames, John Douglas (1985). The • Thomas, Tony, and Aubrey Solomon
Paramount Story (New York: Crown). (1985). The Films of 20th Century-Fox
ISBN 0-517-55348-1 (Secaucus, N.J.: Citadel). ISBN
0-8065-0958-9

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Categories: Film studios

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