RKO Pictures

RKO Pictures

Company type	Private
Industry	Film, television, stage entertainment
Predecessor	Keith-Albee-Orpheum theater chain, Film Booking Offices of America, Pathé Exchange
Founded	1928
Founder	Joseph P. Kennedy (initially as RKO Radio Pictures, Inc.)
Fate	Production ended 1957; dissolved 1959; revived 1978; acquired by Concord Originals in 2025
Successor	RKO Pictures Inc. (revived), RKO Pictures LLC.
Headquarters	New York City , United States
Area served	United States
Key people	David Sarnoff (RCA executive), Floyd Odlum (investor), Howard Hughes (industrialist)
Products	Films, television shows, stage productions
Owner	Concord Originals (as of 2025)

RKO Pictures, frequently abbreviated as RKO, is a United States-based production company involved in film, television, and stage entertainment, currently owned by Concord. Initially founded as RKO Radio Pictures, Inc., it ranked among Hollywood's "Big Five" film studios during the Golden Age of Hollywood. The studio originated in 1928 through the merger of the Keith-Albee-Orpheum theater chain and Joseph P. Kennedy's Film Booking Offices of America studio, both brought under the control of the Radio Corporation of America (RCA). This consolidation was engineered by RCA executive David Sarnoff to advance RCA’s sound-on-film innovation, the RCA Photophone, with production commencing under the RKO banner—an acronym for Radio-Keith-Orpheum—in 1929. By 1931, Pathé Exchange was absorbed into RKO as well. By the mid-1940s, investor Floyd Odlum had gained control over the studio.

During the 1930s, RKO earned acclaim for its musical films starring icons such as Fred Astaire and Ginger Rogers. It played a pivotal role in launching actors like Katharine Hepburn and Robert Mitchum, while fostering enduring partnerships with stars including Cary Grant, particularly in screwball comedies. The studio's budget-conscious horror division, overseen by producer Val Lewton, along with its contributions to what later became recognized as film noir, received critical praise. RKO was responsible for landmark films such as King Kong and Orson Welles’ Citizen Kane. Additionally, it co-produced timeless titles like It's a Wonderful Life and Notorious, and handled distribution for projects from animation pioneer Walt Disney and independent producer Samuel Goldwyn. Although RKO operated with relatively modest budgets for premier talent and directors, its technical staff—including composer Max Steiner, cinematographers Nicholas Musuraca and Gregg Toland, and art director Van Nest Polglase—were regarded as leaders in their fields.

In 1948, industrialist Howard Hughes acquired RKO, but his management brought financial difficulties. The studio was subsequently sold in 1955 to the General Tire and Rubber Company, which innovated by licensing much of RKO’s film catalog for television broadcast rights. Production under the original RKO Pictures label ended in 1957, with the company dissolving by 1959. The brand was revived in 1978 by broadcaster RKO General, a corporate successor, reestablishing itself as RKO Pictures Inc., and resumed filmmaking activities by 1981. Following a sale in 1989, it became RKO Pictures LLC., functioning independently until its acquisition by Concord Originals in 2025.

Origin

The release of The Jazz Singer by Warner Bros. in October 1927—the first feature-length movie with synchronized dialogue—triggered Hollywood's swift transition to sound films. RCA controlled an advanced optical sound-on-film technology called Photophone, developed by General Electric, RCA’s parent company. However, Warner Bros. and Fox had already aligned with ERPI, a subsidiary of AT&T's Western Electric division. Major studios such as Paramount, Loew's/MGM, First National Pictures, and Universal intended to secure contracts for ERPI’s Vitaphone and Movietone systems to convert their productions to sound.

To commercialize Photophone technology, RCA general manager David Sarnoff approached financier Joseph P. Kennedy late in 1927 about incorporating it into Kennedy’s Film Booking Offices of America (FBO). Kennedy had transformed FBO into a profitable studio specializing in low-budget features. These discussions led to RCA acquiring a significant stake in FBO, aligning with Sarnoff’s goal to position the studio centrally within the industry to maximize revenue from Photophone. Concurrently, Kennedy sought to acquire theater chains similar to those controlled by major Hollywood studios.

Meanwhile, the Keith-Albee and Orpheum circuits—originally focused on vaudeville—were shifting toward motion pictures. In 1926, they purchased a 50% interest in Producers Distributing Corporation (PDC), a smaller but more prestigious studio managed by director Cecil B. DeMille. PDC faced financial challenges and struggled to secure access to first-run theaters dominated by larger studios. Early in 1927, PDC merged into Pathé Exchange, known primarily for newsreels and short subjects. Investment banker Elisha Walker’s Blair & Co., which controlled Pathé, installed John J. Murdock—general manager of Keith-Albee—as studio president. By January 1928, the Keith-Albee-Orpheum (KAO) theater circuit was formed through merger.

With Pathé experiencing financial difficulties, Murdock enlisted Kennedy’s assistance to restructure and consolidate Pathé with PDC; both parties aimed to remove Edward Albee from control. This alignment coincided with Sarnoff’s vision of creating a new major studio—a plan supported by both Kennedy and Walker.

Supported by Blair & Co., Kennedy linked KAO and FBO by selling KAO a large stake in FBO while acquiring significant shares in KAO himself; he soon assumed chairmanship of KAO’s board. DeMille departed after receiving a substantial payout in April 1928 before signing with MGM. Sarnoff and Kennedy discussed establishing a holding company financed through RCA cash and KAO securities; however, negotiations faltered due to Kennedy's hesitance to fund Photophone development at FBO and Pathé. Kennedy’s brief attempt to reorganize First National—which was aligned with ERPI—further strained relations and risked excluding Photophone technology from industry adoption.

While Kennedy was traveling in Europe during September 1928, Sarnoff negotiated with Walker to merge the exhibition circuit with Film Booking Offices under RCA's control. Upon Kennedy’s return, he completed the transaction by selling his shares in FBO and KAO at considerable profit. On October 23, 1928, RCA announced the formation of Radio-Keith-Orpheum Corp., appointing Sarnoff as board chairman. Kennedy stepped down from executive duties but retained co-ownership of Pathé and PDC assets.

RCA initially held a controlling interest in RKO—starting at 22% and increasing up to approximately 60% during the early 1930s. On January 25, 1929, RKO Productions Inc., led by former FBO vice-president Joseph I. Schnitzer, was introduced as the studio’s production division. A week afterward, it applied for trademark registration under the name "Radio Pictures".

Foundational Period

During the transition of the primary FBO studio to sound production, short films commenced at the newly established RKO Gramercy studio located in New York. RCA's NBC radio network introduced The RKO Hour to promote the studio's film offerings. The studio's initial two feature films were musicals: Syncopation and Street Girl, with the latter marking RKO’s first production filmed in Hollywood. William LeBaron, the studio head, was instrumental in producing numerous early titles. RKO achieved its first significant hit with Rio Rita, renowned for its extravagant Technicolor segments and credited with initiating the era of filmed Broadway musicals. By the end of that year, RKO secured a 500-acre movie ranch near Encino for filming exteriors and constructing large-scale sets.

Films produced by RKO Productions were distributed through its affiliate, RKO Distributing Corp., which released twelve features in its inaugural year, increasing to twenty-nine by 1930. In July of that year, RKO Productions Inc. was rebranded as RKO Radio Pictures Inc., while British distribution was managed by RKO Pictures Ltd. Buoyed by Rio Rita's success, the studio invested heavily in expensive musicals incorporating Technicolor sequences such as Dixiana and Hit the Deck. However, public disinterest in musicals led to cancellation of projects like Radio Revels.

Following the financial failure of her musical sequel, star Bebe Daniels' contract was sold to Warner Bros. Despite waning audience enthusiasm, RKO fulfilled commitments by producing two all-Technicolor non-musical films, The Runaround and Fanny Foley Herself, both of which did not perform well commercially.

Facing economic difficulties, RKO expanded its theater holdings and acquired a 50% interest in Van Beuren Studios in 1930, a company specializing in cartoons and short subjects. To safeguard bondholder investments while withdrawing from direct film production, Kennedy orchestrated RKO's acquisition of Pathé on January 29, 1931. This merger created the semiautonomous entity RKO Pathé Pictures Inc., which brought additional contract actors and facilities but also introduced financial burdens due to undisclosed liabilities within Pathé.

The consolidation brought prominent stars such as Constance Bennett, Ann Harding, and Helen Twelvetrees, enhancing box office appeal. Under both "Radio Pictures" and "RKO Pathé," the studio produced over forty features annually. The film Cimarron won Best Picture but initially lost nearly half of its $1.4 million budget. Actress Irene Dunne rose to prominence with significant contractual influence; other notable performers included Joel McCrea, Ricardo Cortez, Dolores del Río, and Mary Astor. Richard Dix remained a dependable lead in B-movies throughout the early 1940s.

Achievements During Selznick's Tenure

In October 1931, Sarnoff appointed twenty-nine-year-old David O. Selznick as head of production to enhance film quality and reduce expenses through implementation of the unit production system, which granted producers greater autonomy. Selznick recruited acclaimed directors such as George Cukor, Merian C. Cooper, producer Pandro S. Berman, and signed actress Katharine Hepburn.

By November 1931, Pathé’s distribution operations were integrated into RKO’s network; by September 1932, promotional materials featured the "RKO Radio Pictures" brand exclusively. The company relocated its headquarters to the newly constructed Art Deco-style RKO Building in New York City.

Selznick resigned after fifteen months due to conflicts over creative control with president Merlin Aylesworth but left behind a legacy of improved production quality and cost efficiency—forty-one films were produced for $10.2 million in 1932 compared to forty-two costing $16 million the previous year. He supported successful releases including A Bill of Divorcement and the groundbreaking King Kong, famous for Willis O'Brien's innovative special effects.

Despite artistic accomplishments, financial instability continued during the Great Depression; both RKO and Paramount entered receivership in January 1933.

Leadership Under Cooper

Following Selznick’s departure, Merian C. Cooper assumed control over production, supervising hits starring Hepburn like Morning Glory, which earned her first Academy Award, alongside commercially successful films such as Little Women. Cooper enforced stricter budget management on B pictures including Wheeler & Woolsey comedies.

Ginger Rogers gained prominence after being cast opposite Fred Astaire in Flying Down to Rio (1933), initiating their celebrated partnership characterized by elegant Art Deco musicals like The Gay Divorcee (1934) and Top Hat (1935). Alongside Columbia Pictures, RKO became a center for screwball comedies.

The studio’s design department under Van Nest Polglase played a crucial role in establishing a distinctive visual style focused on fantasy and adventure rather than horror themes. Costume designer Walter Plunkett excelled at period wardrobe creations; Sidney Saunders advanced rear projection techniques.

On June 13, 1935, RKO released Becky Sharp, notable as the first feature shot entirely using three-strip Technicolor—a technical breakthrough despite receiving mixed reviews.

Composer Max Steiner scored over one hundred films during this period at RKO, earning an Oscar for The Informer. Audio effects innovator Murray Spivack further developed rerecording methods initially introduced in King Kong.

Briskin and Berman Era

In October 1935 financier Floyd Odlum purchased a fifty percent stake in RKO from RCA; members of the Rockefeller family increased their involvement as well. Leading performers such as Ann Sothern, Barbara Stanwyck, and Cary Grant starred in numerous films under freelance agreements—a practice uncommon at that time.

Production chief Samuel Briskin secured an important distribution agreement with Walt Disney beginning with Snow White, which held the record as Hollywood’s top-grossing film until 1939.

In February 1937, Selznick leased RKO’s Culver City studios; his MGM co-production Gone with the Wind was predominantly filmed there.

Despite Disney’s flourishing success, RKO’s own productions declined under Briskin’s leadership; he departed by late 1937. Pandro Berman briefly resumed producing notable titles such as Gunga Din, Love Affair, and The Hunchback of Notre Dame. Charles Laughton starred in several features; Maureen O'Hara made her debut here before appearing in ten films through 1952.

Freelance contracts allowed stars like Fred Astaire to depart after eight collaborations with Rogers; George O'Brien became a leading figure in B Westerns including the successful Simon Templar detective series starting with The Saint in New York (1938). Comedy duos such as Wheeler & Woolsey ended following Woolsey’s illness; new B comedy talents emerged including Lupe Vélez and Leon Errol.

RKO maintained strong technical departments; Vernon Walker’s special effects unit excelled at optical printing and matte painting techniques culminating with 1941’s acclaimed Citizen Kane.

"Kane" and Schaefer's Challenges

Pandro Berman left amid conflicts with president George J. Schaefer who took effective control over production backed by Rockefeller interests. Schaefer sought partnerships with independent producers like Samuel Goldwyn whose films received Oscar nominations but generated limited profits due to favorable contract terms.

David O. Selznick loaned director Alfred Hitchcock for two successful projects: Mr. & Mrs. Smith and Oscar-winning Suspicion.

In May 1941, Orson Welles was granted nearly full creative freedom for Citizen Kane. Although now hailed as a cinematic masterpiece, it initially lost money and provoked hostility from media tycoon William Randolph Hearst.

Welles’ subsequent projects—while critically praised—were financially damaging, costing RKO approximately $2 million amid overall deficits during World War II’s early years. Leading stars such as Ginger Rogers pursued freelance contracts yet remained among the studio’s most frequent performers until 1943.

Schaefer resigned in June 1942 leaving a weakened company poised for recovery driven by wartime box office growth.

Recovery Under Koerner

By mid-1942 financier Floyd Odlum acquired majority control through Atlas Corporation; Charles Koerner was appointed head of production bringing stability until his death in February 1946.

Profits increased dramatically from $736,000 in 1942 to nearly $7 million in 1943 as Rockefeller family members exited ownership alongside RCA divesting interests ending Sarnoff’s involvement.

RKO established a television subsidiary in 1944 producing pioneering made-for-TV movies such as Talk Fast, Mister. A partnership with Mexican businessman Emilio Azcárraga Vidaurreta led to creation of Estudios Churubusco in Mexico City.

Koerner prioritized star-centered productions despite limited exclusive contracts—leading actors like Cary Grant and Maureen O'Hara were shared among studios while freelance "pay or play" agreements attracted talents including Bing Crosby, Henry Fonda, John Wayne, Gary Cooper, Claudette Colbert, Ingrid Bergman, Randolph Scott, Alfred Hitchcock, Jean Renoir, Orson Welles ("The Stranger"), Frank Capra ("It's a Wonderful Life"), John Ford ("The Fugitive," "Fort Apache")—all contributing either box office hits or enduring classics despite budget constraints.

Director Edward Dmytryk emerged as notable creator of profitable low-budget war-themed films during this era.

Emphasis on B Films

RKO heavily relied on B movies to populate its release schedule—ten out of thirty-one titles released in 1944 had budgets under $200K—minimizing financial risk but also limiting potential gains.

This approach provided opportunities for emerging directors like Mark Robson, Robert Wise, Anthony Mann working under producer Val Lewton’s atmospheric horror unit featuring directors such as Jacques Tourneur; their moody style is now highly esteemed.

Tim Holt succeeded George O’Brien as leading cowboy star appearing in forty-six B Westerns beginning in 1940; other series included Lum and Abner comedies along with detective franchises like The Falcon starring George Sanders then Tom Conway.

Film noir became a defining genre supported by cinematographer Nicholas Musuraca and design chief Albert D’Agostino who crafted classic noir aesthetics showcased in films starring Robert Mitchum and Robert Ryan alongside actresses Gloria Grahame and Jane Greer.

Noteworthy noirs include high-budget classics like Out of the Past directed by Jacques Tourneur featuring many frequent collaborators; Nicholas Ray began directing noirs at RKO including his debut feature They Live by Night.

HUAC Impact and Hughes Ownership

RKO experienced its most profitable year ever in 1946 aided by Goldwyn’s Academy Award-winning release The Best Years of Our Lives. However industry-wide challenges emerged: antitrust rulings compelled studios to end exclusive theater ownership; foreign taxes diminished overseas income; television surfaced as competitive entertainment causing profits to decline sharply by 27% from 1946 to 1947.

RKO sold its signature newsreel division to Warner Bros., while House Un-American Activities Committee hearings led to blacklisting key figures including director Edward Dmytryk and producer Adrian Scott following their refusal to cooperate—they were dismissed consistent with industry-wide Waldorf Statement agreements despite their successful work on Crossfire.

Floyd Odlum began divesting his holdings amid these pressures; Loretta Young won Best Actress Oscar for an RKO coproduction—the studio’s last major Academy Award achievement.

In May 1948 eccentric industrialist Howard Hughes acquired controlling interest for $8.8 million after outbidding British magnate J. Arthur Rank. Hughes’s erratic leadership resulted in widespread layoffs halting production for six months while shelving socially conscious projects championed by outgoing chief Dore Schary who resigned immediately along with N. Peter Rathvon.

RKO’s profits plunged from $5.1 million in 1947 to just $0.5 million under Hughes—the lowest since early years—and annual production fell drastically from about thirty films pre-Hughes to twelve by 1949.

Despite controversies such as Robert Mitchum’s drug conviction—which Hughes surprisingly overlooked—the studio struggled financially while Hughes agreed to dismantle Radio-Keith-Orpheum into separate production-distribution and theater entities per antitrust consent decree following Supreme Court rulings that ended classical Hollywood studio dominance.

Instability During Hughes Era

Production resumed gradually after 1949 but Hughes heavily interfered promoting actresses personally contracted like Jane Russell and Faith Domergue while alienating executives resulting in resignations of successive production heads Sid Rogell then Sam Bischoff—the latter being last before Hughes sold stock holdings.

Notable releases included B noirs such as Robert Wise’s award-winning The Set-Up, science fiction landmark The Thing from Another World, Fritz Lang’s final American works ‘‘Rancho Notorious’’ and ‘‘Clash by Night’’, along with collaborations with Ida Lupino—the era's sole female director—whose suspense films including directorial debut ‘‘The Hitch-Hiker’’ received critical acclaim.

RKO also distributed Akira Kurosawa’s influential ‘‘Rashomon’’ introducing Asian cinema broadly to U.S audiences during this period while only two major hits originated from external producers: Goldwyn’s ‘‘Hans Christian Andersen’’ (1952) followed by Disney’s ‘‘Peter Pan’’ (1953).

Hughes intensified ideological scrutiny amid HUAC pressures firing screenwriter Paul Jarrico over alleged Communist ties while establishing security offices screening all creative personnel—a measure criticized as cost-cutting disguised as anti-Communist purges.

After briefly selling controlling interest to an inexperienced Chicago syndicate whose chaotic management lasted only months before Hughes reacquired shares early 1953 losses exceeded $10 million with minimal internal productions completed during this turmoil leading Samuel Goldwyn to terminate his distribution deal alongside producers Wald-Krasna exiting contracts prematurely; Encino ranch closed permanently following its sale by 1953 while Hughes divested theater assets fulfilling consent decree obligations though minority shareholders sued him alleging mismanagement during this period prompting Disney to sever distribution ties establishing Buena Vista Pictures independently mid-1950s.

Hughes attempted full acquisition of remaining shareholders but was blocked by Floyd Odlum who prevented majority purchase needed for tax loss write-offs ultimately forcing Hughes to sell RKO Radio Pictures Corp. itself for $25 million to General Tire leaving only liquid assets behind marking end of his quarter-century Hollywood involvement described by historian Betty Lasky as “systematic seven-year rape.”

General Tire Ownership and Decline

General Tire's acquisition re-established connections between RKO's film library and broadcasting assets following its ownership of regional radio networks including Yankee Network since 1943 plus West Coast Don Lee Broadcasting System acquired in 1950 along with New York-based Bamberger Broadcasting Service owning WOR radio/TV stations granting majority control over Mutual Broadcasting System consolidated into General Teleradio subsidiary seeking programming content for television outlets launching successful syndicated formats like WOR-TV's Million Dollar Movie which aired individual films repeatedly generating substantial revenue prompting sale of rights package containing over seven hundred titles controlled by General Teleradio subsidiary C&C Television Corp., later offered nationwide syndication boosting revenue significantly influencing other studios’ library monetization strategies mid-century onward while retaining broadcast rights where owned stations existed.

Despite initial revival efforts hiring veteran producer William Dozier planning seventeen-film slate including Fritz Lang's final American works ‘‘While the City Sleeps’’ & ‘‘Beyond a Reasonable Doubt’’, decades of mismanagement drove many directors/producers/stars away favoring costly flops associated with Hughes-era titles such as ‘‘Pearl of the South Pacific’’ & ‘‘The Conqueror’’ whose limited success failed profitability criteria even after Hughes repurchased rights at premium prices forcing dissolution of longtime subsidiaries including RKO Pathé by early-mid-1956 culminating January 1957 announcement closing domestic distribution offices transferring most releases to Universal marking end of active production operations under General Tire ownership followed by overseas sales dissolving British Commonwealth Film Corporation partnership & sale of Hollywood/Culver City properties originally acquired during FBO era eventually absorbed into Desilu Productions later merged into Paramount lot leaving Culver City site an independent facility while former theater chains sold off creating RKO–Stanley Warner Theatres eventually acquired by Cinerama consolidating exhibition assets industry-wide shifting focus solely toward financing independent productions yielding fewer than half a dozen releases before final theatrical release ‘‘Verboten!’’ through outside distributors ending original corporate identity renaming holding company RKO General reflecting sole broadcasting focus while maintaining trademarks/remake rights but losing physical film rights held elsewhere preserving company profile despite instability.

Subsequent Revivals

In 1978 General Tire launched a new division RKO Pictures Inc., engaging in co-productions starting with ’’Carbon Copy’’ (1981). Collaborations with Universal yielded five films over three years featuring major stars including Burt Reynolds & Dolly Parton but achieved limited commercial impact.

After GenCorp reorganization halted production amid hostile takeover attempts management partnered with Wesray Capital Corporation acquiring majority ownership via Entertainment Acquisition Co., forming joint venture linking Six Flags amusement parks branding as RKO/Six Flags Entertainment Inc.; no productions materialized before another sale occurred in 1989.

The 1998 remake ’’Mighty Joe Young’’, co-produced/distributed through Disney’s Buena Vista division marked a notable release followed by sporadic television movies/modestly budgeted features averaging one per year through early millennium including Broadway adaptation ’’Never Gonna Dance’’ based on Astaire–Rogers classic ’’Swing Time’’.

Following Dina Merrill’s passing in May 2017 independent producer Keith Patterson filed suit alleging obstruction regarding reboot plans controlled through executive proxies maintaining access/options post-Hartley tenure who remained publicly active into advanced age.

In 2025 Concord acquired RKO Pictures LLC along with derivative rights portfolio exceeding five thousand titles preserving company identity operating imprint within Concord Originals division.

Library

RKO Pictures LLC possesses a collection of copyrights, trademarks, and story rights that include over five hundred produced screenplays along with around nine hundred unproduced scripts from its original catalog up to the acquisition cutoff date.

The distribution rights for theatrical, video, and television formats are held separately due to earlier licensing and sales agreements. After the bankruptcy auction involving the US and Canadian TV/video rights—originally owned by TransBeacon's successor C&C Television—these rights were divided between United Artists and Marian B. Subsequently, parts were reacquired through subsidiaries during GenCorp's restructuring, which facilitated Turner Broadcasting System's purchase of the MGM/UA library. This acquisition included numerous original negatives and rights, enabling colorization projects amid resolved legal disputes that allowed selective restorations, except for titles restricted by creator contracts such as Citizen Kane.

Disney maintains exclusive control over titles it originally distributed, including Swiss Family Robinson before its remake. Meanwhile, most Samuel Goldwyn productions are managed separately through partnerships with Warner Bros. and Miramax. This arrangement reflects a complex fragmentation of rights among various studios and estates, affecting notable works like It’s a Wonderful Life, Notorious, as well as certain early sound era releases that have entered the public domain due to Hughes' failure to renew rights on select pre-1956 titles.

European rights

Television and video distribution rights in Europe differ by country: UK rights transitioned from Universal Studios to Warner Bros.; German rights moved through KirchMedia’s bankruptcy to EOS Entertainment and Kineos joint ventures; French rights shifted from Éditions Montparnasse to Warner Bros.; Italian distribution is overseen by Rome-based Red Film; while Spanish rights are controlled by Vértice360. These regional variations stem from diverse legacy licensing practices that influence worldwide availability.

Logos

From 1929 through 1957, most RKO releases opened with a distinctive logo featuring a rotating globe topped by a radio tower inspired by Nikola Tesla’s electrical amplifier tower, which transmitted Morse code signals such as “A Radio Picture” or the wartime “V for Victory.” Orson Welles regarded this emblem as a dependable creative symbol representing vigilance. Variations included substituting the tower with the Pathé rooster emblem on newsreels and shorts.

The closing logo typically displayed an inverted triangle containing a thunderbolt symbol—a common representation of energy or electricity at the time—which was often replaced in reissues by Disney or MGM/Goldwyn logos but restored on DVD releases. During the Hartley–Merrill era, a CGI version of the logo was commissioned to refresh the brand’s identity.

See also

• List of RKO Pictures films

Sources

• Extensive bibliography supporting article information.

External links

• Main Logos gallery
• List of classic theaters
• Additional materials regarding preservation and rights issues