Les Artistes Associés

United Artists

Company type	Film production and distribution
Industry	Film industry
Founded	February 5, 1919 (1919-02-05) in United States
Founder	Charlie Chaplin, D. W. Griffith, Mary Pickford, Douglas Fairbanks
Headquarters	New York City , United States
Products	Motion pictures, television programs
Owner	Amazon MGM Studios

United Artists (UA) is a film production and distribution firm based in the United States, currently owned by Amazon MGM Studios. It was established in February 1919 by Charlie Chaplin, D. W. Griffith, Mary Pickford, and Douglas Fairbanks with the intention of granting performers greater authority over their creative and financial affairs, rather than depending on traditional commercial studios.

Following several changes in ownership, United Artists was purchased by the media giant Metro-Goldwyn-Mayer (MGM) in 1981 for around $350 million (adjusted value today unavailable). On September 22, 2014, MGM gained a majority interest in One Three Media and Lightworkers Media, merging them to relaunch United Artists' television production under the name United Artists Media Group (UAMG). By December 2015, UAMG was fully integrated into MGM’s television division.

MGM briefly revived the United Artists brand as United Artists Digital Studios for the web series Stargate Origins, but discontinued the label after 2019, choosing to release subsequent content under the MGM banner.

A collaborative distribution venture between MGM and Annapurna Pictures began on October 31, 2017, later rebranded as United Artists Releasing on February 5, 2019, coinciding with UA’s 100th anniversary. However, on March 4, 2023, Amazon—MGM’s parent company—merged UAR back into MGM, citing enhanced opportunities for theatrical releases following the strong box office debut of Creed III.

In July 2024, Amazon MGM Studios announced plans to revive United Artists through a multi-year first-look agreement with producer Scott Stuber, who will oversee all projects under the reestablished production company.

Early years

In 1918, Charlie Chaplin encountered financial constraints while working with First National Pictures, whereas Mary Pickford and Douglas Fairbanks were nearing the end of their contracts without clear renewal offers. Sydney Chaplin, acting as Charlie’s business manager, uncovered intentions to consolidate production entities and bind exhibition companies into lengthy agreements.

On February 5, 1919, Chaplin, Pickford, Fairbanks, and D. W. Griffith founded United Artists as a joint enterprise. Each founder held 25% of preferred shares and 20% of common shares; the remaining 20% of common stock was owned by attorney William Gibbs McAdoo. This initiative arose from the four stars’ desire for increased autonomy over their work amid the expanding dominance of studio systems. Initially involved was cowboy actor William S. Hart, who withdrew prior to formal establishment. The company’s headquarters were located at 729 Seventh Avenue in New York City.

The original plan called for each star to produce five films annually; however, escalating production expenses and longer feature durations led to abandoning this target by 1921.

UA’s debut production was His Majesty, the American, featuring Fairbanks. Despite limited financing obtained through theater owners’ advance payments, it achieved success. This funding approach resulted in a modest average output of five films per year during UA’s early phase.

By 1924, following Griffith’s exit and financial difficulties, experienced producer Joseph Schenck assumed the presidency. Schenck secured commitments from stars including his wife Norma Talmadge, sister-in-law Constance Talmadge, and brother-in-law Buster Keaton. Agreements with independent producers such as Samuel Goldwyn and Howard Hughes broadened UA’s film lineup. In 1933, Schenck co-founded Twentieth Century Pictures alongside Darryl F. Zanuck, which contributed approximately half of UA’s productions.

Together with Pickford and Chaplin, Schenck acquired theater venues under United Artists and expanded operations internationally into Canada and Mexico. By the late 1930s, UA maintained a presence in over forty countries.

After being denied ownership stakes in 1935, Schenck resigned and played a key role in establishing 20th Century-Fox. He was succeeded by Al Lichtman. Prominent independent producers distributing through UA during the 1930s included Walt Disney Productions, Alexander Korda, Hal Roach, David O. Selznick, and Walter Wanger. Many eventually transitioned to studios such as RKO and Universal.

The late 1930s saw UA become profitable largely due to Goldwyn’s contributions but also involved legal conflicts that led to his departure. MGM's Gone with the Wind was initially intended for release through UA but shifted due to casting disagreements involving Clark Gable.

Disputes with Selznick over distribution prompted him to establish his own distribution company.

During the 1940s, UA encountered financial setbacks caused by poorly received films and declining movie attendance attributed to television’s emergence. During this period, UA divested its Mexican releasing division to Crédito Cinematográfico Mexicano.

Society of Independent Motion Picture Producers (1940s and 1950s)

In 1941, a group including Pickford, Chaplin, Disney, Orson Welles, Goldwyn, Selznick, Korda, and Wanger—many affiliated with United Artists—established the Society of Independent Motion Picture Producers (SIMPP). Subsequent members comprised Hunt Stromberg, William Cagney, Sol Lesser, and Hal Roach.

SIMPP’s mission was to safeguard independent filmmakers from the dominance of the seven major studios: Loew's (MGM), Columbia Pictures, Paramount Pictures, Universal Pictures, RKO, 20th Century-Fox, and Warner Bros.. In 1942, SIMPP initiated an antitrust lawsuit against Paramount’s United Detroit Theatres alleging monopolistic conduct. The landmark 1948 U.S. Supreme Court Paramount Decision compelled studios to divest their theater chains and prohibited anti-competitive practices, effectively dismantling the traditional studio system.

Having fulfilled its objectives, SIMPP disbanded by 1958.

Krim and Benjamin

In 1950, Pickford and Chaplin appointed former Indiana governor Paul V. McNutt as chairman and Frank L. McNamee as president to resolve financial difficulties at UA; however, both were soon replaced due to unsatisfactory performance.

On February 15, 1951, former producers turned attorneys Arthur B. Krim (formerly of Eagle-Lion Films), Robert Benjamin, and Matty Fox proposed managing United Artists under a ten-year agreement with an option to purchase half the company if it became profitable within three years. Their efforts secured a $3 million loan from Spyros Skouras, president of 20th Century-Fox.

Krim and Benjamin redefined UA as the first studio operating without physical production facilities, primarily serving as financiers for independent producers. While UA rented space at Pickford/Fairbanks Studio, it avoided the typical overhead costs associated with traditional studios.

Among their early collaborators were Sam Spiegel and John Huston’s Horizon Productions, which produced acclaimed films like The African Queen (1951) and Moulin Rouge (1952). UA also achieved success with High Noon, earning a $313,000 profit in its first year following a previous loss of $871,000. Other notable clients included Stanley Kramer, Otto Preminger, Hecht-Hill-Lancaster Productions, and actors seeking independent production ventures.

Amid industry upheaval caused by theater divestitures and declining attendance—reaching its lowest point since 1923 in 1955—Chaplin sold his 25% stake to Krim and Benjamin for $1.1 million; Pickford followed suit a year later for $3 million.

During the late 1950s, UA produced critically lauded films such as Marty, which won both the Palme d'Or and Best Picture Oscar in 1955, alongside 12 Angry Men (1957), notable for extensive television broadcasts prior to home video availability. By 1958, UA was generating annual profits of approximately $3 million.

Public company

United Artists went public in 1957 through a $17 million offering of stocks and debentures, producing roughly fifty films each year. In 1958, UA acquired Lopert Pictures Corporation from Ilya Lopert, recognized for distributing provocative foreign films.

That same year saw the creation of United Artists Records Corporation and United Artists Music Corporation following unsuccessful attempts to acquire an existing record label. By 1968, UA Records merged with Liberty Records along with its subsidiaries such as Imperial and Dolton Records. This consolidated entity became United Artists Records in 1972 before being purchased by EMI in 1979, including Blue Note Records.

UA debuted its first television series in 1959 with The Troubleshooters, followed by its inaugural sitcom The Dennis O'Keefe Show. Throughout the 1960s, while some studios declined or diversified their operations, UA prospered—winning eleven Academy Awards including five Best Picture Oscars—and formed collaborations with the Mirisch brothers, Billy Wilder, and Joseph E. Levine. A highlight was the release of West Side Story (1961), which secured ten Academy Awards.

In 1960, UA acquired Ziv Television Programs. Its television division produced popular shows such as Gilligan's Island, The Fugitive, Outer Limits, and The Patty Duke Show. Additionally, it built a lucrative rental library through acquisitions like Associated Artists Productions—which owned Warner Bros.’ pre-1950 features and shorts—as well as 231 Popeye cartoons purchased from Paramount in 1958. This distribution branch became known as United Artists Associated.

In 1963, UA released Stanley Kramer’s films It's A Mad, Mad, Mad, Mad World and A Child Is Waiting. The following years saw UA introduce American audiences to the Beatles through A Hard Day's Night and Help!. Concurrently, UA supported Harry Saltzman and Albert Broccoli’s purchase of Ian Fleming’s James Bond novels for $1 million, initiating the long-lasting James Bond film series beginning with Dr. No (1963).

Additional successful franchises included the Pink Panther series starting in 1964 and Spaghetti Westerns that elevated Clint Eastwood’s career with titles like A Fistful of Dollars, For a Few Dollars More, and The Good, The Bad and The Ugly. In that same year, UA’s French branch Les Productions Artistes Associés released its debut film That Man from Rio.

In 1965, UA premiered George Stevens' epic The Greatest Story Ever Told, then the most costly film ever produced at $20 million. Although it received mixed critical reactions and underperformed financially at the box office, it garnered five Academy Award nominations and later earned recognition for its ambitious biblical narrative.

Transamerica subsidiary

In 1967, Transamerica Corporation purchased 98% of United Artists' shares, installing David and Arnold Picker as the studio's leaders. UA unveiled a refreshed logo incorporating Transamerica's striped T alongside the slogan "Entertainment from Transamerica Corporation," which was later abbreviated to "A Transamerica Company." The following year, United Artists Associated was rebranded as United Artists Television Distribution. After enduring a $35 million deficit in 1970, the Picker brothers were succeeded by Krim and Benjamin.

Among UA's notable releases was the Best Picture Academy Award winner In the Heat of the Night (1967), and it handled international distribution for The Graduate. Other hits included Fiddler on the Roof (1971), though Man of La Mancha (1972) failed to meet expectations. The studio nurtured rising filmmakers such as Woody Allen, Robert Altman, Sylvester Stallone, Saul Zaentz, Miloš Forman, and Brian De Palma. It also distributed Woody Allen’s early works, including Bananas (1971), while maintaining popular franchises like James Bond and Pink Panther throughout the decade.

In 1973, UA assumed control of MGM’s film sales and distribution across Anglo-American markets, acquiring MGM’s music publishing arm Robbins, Feist, Miller. Two years later, Harry Saltzman divested his 50% interest in Danjaq, the holding company for the Bond series.

United Artists agreed to release One Flew Over the Cuckoo's Nest (1975) after it had been rejected by several other studios. Producer Michael Douglas remarked that UA was considered "your last choice" but provided a reasonable deal. The film secured Best Picture honors and grossed $163 million, becoming UA’s top-grossing title. This success was followed by back-to-back Best Picture winners with Rocky and Annie Hall, granting UA three consecutive wins and establishing a then-record eleven Best Picture Oscars.

Transamerica expressed concerns over UA’s releases such as Midnight Cowboy and Last Tango in Paris, which carried X ratings. It insisted on removing "A Transamerica Company" from these films' prints and promotional materials. At one point, there was consideration within Transamerica to replace the UA brand with Transamerica Films. Krim sought to negotiate a spin-off arrangement but was unsuccessful.

In 1978, following disputes over expenditures with Transamerica chairman John R. Beckett, key UA executives including Krim and president Eric Pleskow resigned to launch Orion Pictures, supported by Warner Bros. This exit raised alarms among industry observers who cautioned Transamerica about its strategic misstep. Later that year, UA entered into a partnership with Lorimar Productions, agreeing to distribute Lorimar’s theatrical films while Lorimar developed television adaptations from UA’s catalog.

Andy Albeck was appointed president of UA by Transamerica. In 1979, UA released four successful films: Rocky II, Manhattan, Moonraker, and The Black Stallion.

Albeck championed director Michael Cimino’s Heaven's Gate, whose production costs drastically exceeded its $44 million budget. The movie’s commercial failure prompted Albeck to step down, with Norbert Auerbach taking over as president. This flop resulted in significant financial losses for UA, severely damaging its standing with both Transamerica and Hollywood insiders. Steven Bach highlighted in his book Final Cut that discussions had taken place about renaming United Artists as Transamerica Pictures.

By 1980, Transamerica withdrew from film production and put United Artists on the market. In 1981, Kirk Kerkorian’s Tracinda Corporation, owner of Metro-Goldwyn-Mayer, acquired United Artists.

United Artists Classics

In 1981, United Artists Classics transitioned from merely reissuing existing titles to focusing on distributing art films for their initial theatrical runs, under the leadership of Nathaniel T. Kwit, Jr. Tom Bernard was appointed as the division’s director and head of theatrical sales, while marketing efforts were managed by Ira Deutchman. The team later expanded to include Michael Barker and Donna Gigliotti. After Deutchman departed to establish Cinecom, Barker and Bernard went on to create Orion Classics and Sony Pictures Classics. United Artists Classics mainly specialized in releasing foreign and independent movies such as Cutter's Way, Ticket to Heaven, and The Grey Fox, alongside occasional first-run reissues like director’s cuts of Head Over Heels. Following the exit of Barker and Bernard, the label briefly operated as MGM/UA Classics in 1984 before ultimately shutting down in the late 1980s.

MGM/UA Entertainment Company

Following the merger, the combined entities functioned under the name MGM/UA Entertainment Company, launching various subsidiaries including MGM/UA Home Entertainment Group, MGM/UA Classics, and MGM/UA Television Group in 1982. Kerkorian made an attempt to purchase the remaining publicly held shares but eventually withdrew due to legal obstacles and resistance.

In 1981, InterMedia Entertainment, led by Fred Silverman and George Reeves, secured a production agreement with MGM/UA for both film and television content.

David Begelman’s role shifted from MGM to MGM/UA after the merger; however, his period in charge was marked by predominantly unsuccessful projects, leading to his termination in July 1982. Of the eleven films he approved, only Poltergeist achieved notable box office success.

As part of streamlining operations, MGM closed United Artists’ longstanding New York offices in 1983 and sold UA’s music publishing arm to CBS Songs within the same year.

Although the 1983 releases WarGames and Octopussy brought considerable earnings for MGM/UA, they did not meet Kerkorian’s high expectations. Additionally, WarGames became entangled in legal disputes with EMI Films over financing and overseas distribution rights. In 1985, a reorganization established separate MGM and UA production divisions under distinct leadership; however, after one division head was dismissed, Alan Ladd, Jr. took command of both studios.

Turner

On August 7, 1985, Ted Turner revealed that his Turner Broadcasting System planned to acquire MGM/UA with the intention of securing MGM’s extensive film library for his superstation WTBS, addressing complex licensing challenges. As part of this arrangement, Turner agreed to immediately resell United Artists back to Kerkorian.

Before this separation occurred, Kerkorian appointed film producer Jerry Weintraub as chairman and CEO of United Artists in November 1985, with former ABC executive Anthony Thomopoulos taking on the role of president. Weintraub’s leadership was short-lived; he departed in April 1986 and was succeeded by former Lorimar executive Lee Rich. During this timeframe, SLM Production Group switched its distribution partnership back to United Artists after a brief stint with 20th Century Fox following its exit from MGM/UA.

On March 25, 1986, Turner completed his $1.5 billion cash-and-stock acquisition of MGM/UA, renaming it MGM Entertainment Co. Kerkorian reacquired most United Artists assets for approximately $480 million, effectively dissolving the original United Artists entity and establishing a new company that inherited those assets; consequently, the current UA is not legally considered the successor of the original corporation despite holding similar properties. United Artists had planned a new headquarters in Beverly Hills set to open November 1, 1985, shortly before finalizing the Turner transaction. On April 23, 1986, UA entered into a three-picture co-production agreement with Australian cinema operator and distributor Hoyts.

MGM/UA Communications Company

Confronted with financial challenges due to his outstanding debt, Ted Turner sold MGM's production and distribution divisions to United Artists for $300 million on August 26, 1986. The MGM studio lot and laboratory facilities were sold separately to Lorimar-Telepictures. Turner maintained ownership of the MGM film and television library created before May 1986, which included the libraries of Associated Artists Productions and RKO Pictures, previously acquired by United Artists. On August 21, 1986, United Artists declared its reentry into film production with projects such as Baby Boom and Real Men, aiming to produce a total of 26 new films.

United Artists was rebranded as MGM/UA Communications Company, structured into three divisions: a television production unit headed by David Gerber, alongside two film units managed by Anthony Thomopoulous (United Artists) and Alan Ladd, Jr. (MGM). Despite successful box office performances in 1987 with films like Spaceballs, The Living Daylights, and Moonstruck, MGM/UA reported a loss of $88 million. In November of that year, the co-production agreement between Hoyts and United Artists was terminated.

By April 1988, Kerkorian offered his 82 percent holding in MGM/UA for sale; separation of MGM and UA was completed by July. Efforts to sell a 25 percent stake to Burt Sugarman, Jon Peters, and Peter Guber did not materialize. Growing dissatisfaction with Kerkorian’s management led to increased executive resignations, causing delays and cancellations in production by mid-1988. The anticipated 1989 acquisition of MGM/UA by Australian firm Qintex/Australian Television Network fell through following Qintex's bankruptcy. Ted Turner made another attempt at acquisition but was unsuccessful. After 1990, United Artists became largely inactive, ceasing film releases for several years.

The 1990s

In November 1990, Italian financier Giancarlo Parretti purchased MGM/UA and merged it with his previous company to establish MGM-Pathé Communications Co. Parretti misrepresented his financial status and obtained loans through fraudulent means, resulting in unpaid debts, postponed film releases, and internal disputes. Crédit Lyonnais, the primary lender, foreclosed on the studio in 1992 to mitigate further losses. Parretti defaulted on loans and was convicted of securities fraud. On July 2, 1992, MGM-Pathé Communications reverted to Metro-Goldwyn-Mayer, Inc.. Crédit Lyonnais expanded production efforts and appointed John Calley to oversee UA operations, revitalizing franchises such as Pink Panther and James Bond, while releasing Showgirls, which held the record for the widest NC-17 rated release at that time. In 1996, Crédit Lyonnais sold MGM back to Kirk Kerkorian’s Tracinda Corporation, leading to Calley’s departure.

In 1999, filmmaker Francis Ford Coppola sought to acquire UA from Kerkorian but was declined; instead, he entered into a production agreement with the studio.

The 2000s to the 2020s

Following MGM’s acquisition of The Samuel Goldwyn Company, a leading arthouse distributor, UA was repositioned in 1999 as a specialty label. After Goldwyn's retirement, UA was integrated into Metro-Goldwyn-Mayer Pictures with its London-based specialty operations renamed United Artists International. Prominent franchises like Pink Panther and Rocky were transferred under MGM’s control; however, certain releases—most notably the James Bond series and the Amityville Horror remake—retained UA copyrights. The first arthouse release under this new structure was Things You Can Tell Just by Looking at Her.

On September 1, 2001, UA appointed Bingham Ray as its head. During his tenure, UA produced and distributed acclaimed independent films including Bowling for Columbine, Nicholas Nickleby, Oscar-winning No Man's Land, Undertow, and Hotel Rwanda, co-produced alongside Lions Gate Entertainment. UA also forged alliances with companies such as American Zoetrope and Revolution Films. Ray stepped down in 2004.

In 2005, a group consisting of Comcast, Sony, and various merchant banks acquired both United Artists and MGM for $4.8 billion. Although Sony held a minority share, it shut down MGM’s distribution system and absorbed much of its staff into Sony Pictures Classics. Films either completed or planned under UA—including Capote, Art School Confidential, The Woods, and Romance and Cigarettes—were reassigned to Sony Pictures Classics.

By March 2006, MGM resumed domestic distribution through partnerships with The Weinstein Company, Lakeshore Entertainment, Bauer Martinez Entertainment, among other independents. While continuing limited co-productions with Sony’s Columbia TriStar Motion Picture Group, MGM focused on producing major tent-pole releases for its own distribution division.

Despite Sony’s minority ownership in MGM, both MGM and UA operated under the leadership of CEO Stephen Cooper.

United Artists Entertainment

On November 2, 2006, MGM revealed that Tom Cruise and his longtime collaborator Paula Wagner were bringing United Artists back to life. This announcement came after their departure from a fourteen-year production agreement with Paramount Pictures. Together with MGM, Cruise and Wagner established United Artists Entertainment LLC, where they held a 30% ownership stake, a move sanctioned by MGM's shareholders. This partnership granted them authority over the development and production processes; Wagner assumed the role of CEO, managing an annual lineup of four films spanning various budget ranges, while Cruise served as producer and occasional lead actor.

During the 2007–08 Writers' Strike, UA distinguished itself as the first studio to receive a Writers Guild of America, West (WGA) waiver.

On August 14, 2008, MGM announced Wagner’s exit to pursue independent producing ventures. Her period at UA resulted in two Cruise-led films: Lions for Lambs and Valkyrie. Her departure led to speculation about potential restructuring within United Artists.

Following this, UA co-produced two MGM films: the 2009 remake of Fame and Hot Tub Time Machine, marking the final original productions under the UA label.

A financial statement from 2011 confirmed MGM’s re-acquisition of complete ownership of United Artists. Although MGM suggested possible future projects under the UA name, the brand now primarily exists in title only, occasionally used for theatrical re-releases through MGM.

United Artists Media Group and United Artists Digital Studios

On September 22, 2014, MGM purchased a 55% interest in One Three Media and Lightworkers Media—companies managed by Mark Burnett and Roma Downey and partially owned by Hearst Entertainment. These entities were merged to form United Artists Media Group (UAMG), revitalizing the UA brand. Burnett was appointed CEO of UAMG, with Downey serving as president of Lightworkers Media, focusing on family and faith-based content. UAMG handled distribution for Mark Burnett Productions’ shows such as Survivor and planned to launch an over-the-top streaming channel centered on faith programming.

On December 14, 2015, MGM acquired the remaining 45% stake in UAMG, integrating it into its television division. Hearst, Downey, and Burnett received shares in MGM valued at $233 million. Subsequently, Burnett was elevated to president of MGM Television. The originally planned OTT faith channel evolved into Light TV (currently TheGrio), co-owned by MGM alongside Burnett, Downey, and Hearst.

On August 14, 2018, MGM resurrected the brand as United Artists Digital Studios for the web series Stargate Origins, part of a broader relaunch of its Stargate franchise. This initiative included launching a dedicated streaming service called Stargate Command, modeled similarly to Paramount Global’s CBS All Access (now Paramount+).

2024–present: Revival

In July 2024, Scott Stuber was reported to be close to finalizing an agreement to revive the United Artists label within Amazon MGM Studios. Amazon confirmed Stuber’s multi-year first-look arrangement to produce films under the rejuvenated banner for theatrical release or via Amazon Prime Video. Stuber will oversee all future United Artists film projects going forward.

Film catalog

The majority of United Artists' film collection produced after 1952 is currently owned by MGM, whereas titles made before 1952 were sold to entities such as National Telefilm Associates (now incorporated into Melange/Republic Pictures under Paramount Global, with distribution managed by Paramount Pictures) or have entered the public domain. United Artists mainly functioned as a distributor, attributing copyrights to the original production companies. This arrangement explains why certain UA releases like High Noon (1952) and The Final Countdown (1980) remain copyrighted without being part of MGM's holdings. The MGM films distributed by UA between 1973 and 1982 are presently owned by Turner, a division of Warner Bros..

UA titles on home video

United Artists initially granted home video rights to Magnetic Video, the pioneering home video company. After Fox acquired Magnetic in 1981, it was renamed 20th Century-Fox Video. In 1982, this entity merged with CBS Video Enterprises, creating CBS/Fox Video. Although MGM owned UA at that time, UA's licensing agreement with CBS/Fox (including sublabels such as Key Video and Playhouse Video) remained in effect. Subsequently, MGM/UA Home Video began distributing select UA titles starting in the mid-1980s. Before MGM's acquisition, UA licensed international video rights to Warner Bros. through Warner Home Video, with this contract ending in 1991. Following Ted Turner's 1986 purchase of the pre-1950 Warner Bros. and pre-May 1986 MGM film and television libraries—after briefly owning MGM/UA—CBS/Fox lost home video rights to pre-1950 WB films, which were then licensed to MGM/UA Home Video by Turner. Once CBS/Fox's inherited agreement expired in 1989, UA films were released via MGM/UA Home Video.

Prior to the agreements with Magnetic Video and Warner Home Video in 1980, United Artists maintained exclusive rental contracts with smaller distributors: VidAmerica in the United States and Intervision Video in the United Kingdom for selected titles such as The Great Escape, Some Like It Hot, and Hair, as well as several pre-1950 Warner Bros. productions.

United Artists Broadcasting

United Artists managed two television stations under the brand "United Artists Broadcasting": WUAB located in Cleveland, Ohio (licensed to Lorain, Ohio), which began operations in 1968, and WRIK-TV based in San Juan, Puerto Rico, acquired in 1969. The company also possessed a construction permit for a station in Houston, Texas. In 1970, United Artists expanded into radio by acquiring WWSH in Philadelphia, Pennsylvania.

Starting in 1977, United Artists divested from broadcasting by selling WUAB to Gaylord Broadcasting, WWSH to Cox Enterprises, and WRIK-TV to Tommy Muñiz by 1979.

United Artists Releasing

United Artists Releasing, LLC (UAR) was established as a film distribution partnership between MGM and Annapurna Pictures on October 31, 2017. The venture was founded by former MGM CEO Gary Barber, entrepreneur and founder of Open Road Films Eric Hohl, along with Annapurna founder Megan Ellison. On February 5, 2019, it adopted the name United Artists Releasing to commemorate the centennial anniversary of United Artists. Operating from offices situated in West Hollywood and Los Angeles, UAR offered an alternative distribution approach compared to major studios and streaming platforms, releasing between 10 and 14 films annually.

On May 26, 2021, Amazon announced its acquisition of MGM Holdings—MGM’s parent company—for $8.45 billion; the transaction was finalized on March 17, 2022. This acquisition brought United Artists Releasing under the umbrella of Amazon Studios. Subsequently, on March 4, 2023, Amazon consolidated United Artists Releasing into MGM to enhance its theatrical distribution capabilities alongside its established video-on-demand service, Amazon Prime Video, capitalizing on successes such as Creed III.

See also

• List of United Artists films

Further reading

• Bach, Steven. Final Cut. New York: Morrow, 1985.
• Balio, Tino. United Artists: The Company Built by the Stars. Madison: University of Wisconsin Press, 1976.
• Balio, Tino. United Artists: The Company That Changed the Film Industry. Madison: University of Wisconsin Press, 1987.
• Berg, A. Scott. Goldwyn. New York: Alfred A. Knopf, 1988.
• Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. New York: Crown Publishers, 1988.
• Schickel, Richard. D.W. Griffith: An American Life. New York: Simon & Schuster, 1983.
• Thomson, David. Showman: The Life of David O. Selznick. New York: Alfred A. Knopf, 1992.

External links

• (archived)
• United Artists Corporation Records 1919–1965 — housed at the Wisconsin Center for Film and Theater Research.