United Artists Broadcasting

United Artists

Company type	Subsidiary
Industry	Film production and distribution
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
Area served	Worldwide
Products	Motion pictures, television programs
Owner	Amazon MGM Studios

United Artists (UA) is a U.S.-based film production and distribution firm currently owned by Amazon MGM Studios. Established in February 1919 by Charlie Chaplin, D. W. Griffith, Mary Pickford, and Douglas Fairbanks, the company was created to empower performers with greater control over their financial and creative interests, circumventing reliance on traditional commercial studios.

Following multiple changes in ownership, United Artists was purchased by the media giant Metro-Goldwyn-Mayer (MGM) in 1981 for $350 million. On September 22, 2014, MGM acquired a majority stake in One Three Media and Lightworkers Media, merging these entities 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 operations.

The United Artists brand saw a brief revival as United Artists Digital Studios for the web series Stargate Origins, but this label was discontinued after 2019, with MGM opting to use its own branding for later projects.

On October 31, 2017, MGM and Annapurna Pictures initiated a joint distribution venture that was rebranded as United Artists Releasing on February 5, 2019, coinciding with UA’s 100th anniversary. Nevertheless, on March 4, 2023, Amazon—MGM’s parent company—merged UAR back into MGM, citing new theatrical prospects following the commercial success of Creed III.

In July 2024, Amazon MGM Studios announced the revival of United Artists through a multi-year first-look agreement with producer Scott Stuber, who will oversee all releases under the rejuvenated label.

Early years

In 1918, despite his popularity, Charlie Chaplin encountered budget constraints imposed by First National Pictures. Meanwhile, contracts for Mary Pickford and Douglas Fairbanks were nearing expiration without clear renewal offers. Sydney Chaplin, Charlie’s business manager, uncovered plans involving the consolidation of production companies and long-term contracts binding "exhibition companies."

On February 5, 1919, Chaplin, Pickford, Fairbanks, and D. W. Griffith established United Artists as a collaborative enterprise. Each founder held 25% of preferred shares and 20% of common shares; an additional 20% of common stock was allocated to attorney William Gibbs McAdoo. The partnership aimed to grant these industry leaders autonomy over their productions amid increasing studio dominance over salaries and creative control—the rise of the studio system. Initially, cowboy actor William S. Hart joined but withdrew before formal incorporation. Following McAdoo's counsel, headquarters were set up at 729 Seventh Avenue in New York City.

The original plan envisioned each founder producing five films annually; however, by 1921 escalating production expenses and lengthier feature films rendered this goal unattainable.

United Artists’ initial notable success came with His Majesty, the American, featuring Fairbanks. Without public stock offerings, funding depended on advance payments from theater owners, which limited annual output to approximately five films at first.

By 1924, Griffith had departed and the company encountered difficulties. Veteran producer Joseph Schenck assumed the presidency, bringing contracts with stars such as his wife Norma Talmadge, sister-in-law Constance Talmadge, and brother-in-law Buster Keaton. UA also secured agreements with independent producers including Samuel Goldwyn and Howard Hughes. In 1933, Schenck collaborated with Darryl F. Zanuck to form Twentieth Century Pictures, which provided about half of UA's releases.

Schenck also spearheaded theater acquisitions under the United Artists name and expanded international operations to more than 40 countries by the late 1930s.

After being denied ownership stakes in 1935, Schenck resigned and facilitated the merger of Twentieth Century Pictures with Fox Film Corporation to create 20th Century Studios. He was succeeded by Al Lichtman. Throughout the 1930s, UA distributed films for independent producers such as Walt Disney Productions, Alexander Korda, Hal Roach, David O. Selznick, and Walter Wanger. Over time, many partners shifted their distribution elsewhere.

By the late 1930s, UA achieved profitability primarily due to Goldwyn’s productions but became embroiled in legal disputes with him that led to his exit. MGM’s Gone with the Wind was originally planned as a UA release but changed hands due to casting disagreements. That year also marked the passing of Fairbanks.

UA engaged in litigation with Selznick over distribution matters; dissatisfied with UA’s management, Selznick established his own distribution company.

In the 1940s, United Artists suffered financial setbacks amid declining cinema attendance caused by television’s emergence. The company sold its Mexican distribution division to Crédito Cinematográfico Mexicano.

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

In 1941, prominent figures such as Pickford, Chaplin, Disney, Orson Welles, Goldwyn, Selznick, Korda, and Wanger established the Society of Independent Motion Picture Producers (SIMPP) to confront the dominant studio system that controlled production, distribution, and exhibition. SIMPP actively resisted the monopolistic practices enforced by the seven leading studios: MGM, Columbia, Paramount, Universal, RKO, 20th Century-Fox, and Warner Bros.

The following year, SIMPP initiated an antitrust lawsuit against Paramount's United Detroit Theatres for monopolistic behavior. This legal action culminated in the landmark 1948 U.S. Supreme Court Paramount Decision, which compelled studios to divest their theater holdings and cease anti-competitive tactics, effectively breaking up the studio system. After accomplishing its principal goals, SIMPP dissolved by 1958.

Krim and Benjamin

Confronted with financial difficulties in 1950, Pickford and Chaplin appointed Paul V. McNutt as chairman; however, his leadership was short-lived due to inefficacy. On February 15, 1951, Arthur B. Krim and Robert Benjamin—lawyers who had transitioned into producing—proposed assuming control of United Artists (UA) under a decade-long plan that granted them partial ownership contingent on improved profitability.

With a $3 million loan facilitated through Krim and Benjamin from Spyros Skouras, president of 20th Century-Fox, UA reinvented itself as the first studio without dedicated production facilities. Functioning primarily as financiers for independent producers and renting space at Pickford/Fairbanks Studio, UA significantly reduced overhead expenses typical of conventional studios.

Initial successes included collaborations with Sam Spiegel and John Huston's Horizon Productions, resulting in acclaimed films such as The African Queen (1951) and Moulin Rouge (1952). UA also profited from High Noon during its inaugural year under new management, earning $313,000 after previous financial losses. Additional clients comprised Stanley Kramer and Otto Preminger along with actors pursuing independent production ventures.

Despite industry instability following theater divestitures and a steep decline in attendance by 1955—the lowest since 1923—Krim and Benjamin expanded their stake by acquiring Chaplin's 25% share for $1.1 million and Pickford's portion for $3 million.

By the late 1950s, UA produced critically lauded films including Marty (recipient of both the Palme d'Or and Best Picture Oscar) and 12 Angry Men (1957), which achieved enduring international recognition. In 1958, UA reported annual profits reaching $3 million, signifying a remarkable financial turnaround.

Public company

United Artists went public in 1957 through a stock and debenture offering totaling $17 million, producing approximately fifty films each year. In 1958, UA acquired Lopert Pictures Corporation from Ilya Lopert, a company known for distributing foreign films that often faced censorship obstacles.

That same year saw UA establish United Artists Records Corporation and United Artists Music Corporation following an unsuccessful attempt to acquire an existing record label. By 1968, UA Records merged with Liberty Records and its subsidiaries before consolidating into United Artists Records in 1972. The division was eventually purchased by EMI in 1979, which included 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—an era marked by the decline or diversification of major studios—UA flourished, earning eleven Academy Awards including five for Best Picture. Partnerships with the Mirisch brothers, Billy Wilder, and Joseph E. Levine bolstered its industry standing. Notably, West Side Story (1961) secured ten Academy Awards.

Expanding into television further by acquiring Ziv Television Programs in 1960, UA’s TV division produced popular shows such as Gilligan's Island, The Fugitive, Outer Limits, and The Patty Duke Show. The company’s rental library grew through acquisitions like Associated Artists Productions—which owned pre-1950 Warner Bros. content—and a collection of 231 Popeye cartoons from Paramount Pictures in 1958. These assets were distributed under 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 company also introduced American audiences to the Beatles with A Hard Day's Night (1964) and Help! (1965).

By investing $1 million to support Harry Saltzman and Albert Broccoli’s production of Dr. No (1963), UA launched the James Bond franchise—a pivotal element of its enduring global success. Other lucrative projects included the Pink Panther series and Spaghetti Westerns that propelled Clint Eastwood to fame.

UA’s French branch premiered its first production with That Man from Rio in 1964.

In 1965, UA financed George Stevens’ epic The Greatest Story Ever Told, then the most costly film ever made at $20 million. Although it received mixed critical reception and modest box office returns initially, it garnered five Academy Award nominations and later earned recognition for its ambitious biblical portrayal.

Transamerica subsidiary

In 1967, Transamerica Corporation purchased a 98% stake in United Artists, installing David and Arnold Picker as the studio's leaders. UA unveiled a refreshed logo incorporating Transamerica's striped T symbol, initially accompanied by the slogan "Entertainment from Transamerica Corporation," which was later shortened to "A Transamerica Company." The following year, United Artists Associated was renamed United Artists Television Distribution. After recording a $35 million deficit in 1970, control reverted to Krim and Benjamin.

United Artists earned critical acclaim with the 1967 Best Picture winner In the Heat of the Night and managed international distribution for The Graduate. Other significant releases included Fiddler on the Roof (1971) and projects from rising talents such as Woody Allen, Robert Altman, and Sylvester Stallone. Throughout the 1970s, UA leveraged popular franchises like James Bond and Pink Panther to maintain market presence.

In 1973, UA assumed responsibility for MGM’s film sales and distribution across Anglo-American markets and acquired MGM’s music publishing arm Robbins, Feist, Miller. That same year, UA obtained complete ownership of Danjaq, the holding company for the Bond series.

UA’s approach often involved supporting films that other studios overlooked; a prime example is One Flew Over the Cuckoo's Nest (1975), which became UA’s top-grossing title at $163 million and secured the Best Picture Oscar. Subsequently, UA achieved an unprecedented streak by winning Best Picture Oscars three consecutive years with Rocky and Annie Hall, establishing a then-record total of 11 Best Picture awards.

Despite these achievements, Transamerica expressed concerns over UA’s involvement with controversial X-rated films such as Midnight Cowboy and Last Tango in Paris, insisting that its branding be removed from these projects. Although there were discussions about renaming UA to Transamerica Films, this rebranding never materialized. In 1978, after disagreements over financial matters with Transamerica chairman John R. Beckett, key executives including chairman Krim exited to create Orion Pictures, supported by Warner Bros. That year also saw UA form a partnership with Lorimar Productions to distribute Lorimar’s theatrical releases and television adaptations from UA’s catalog.

Under Andy Albeck’s presidency, UA enjoyed a prosperous 1979 with successes like Rocky II, Manhattan, and Moonraker. However, the studio suffered significant setbacks when backing Michael Cimino’s Heaven's Gate, whose production exceeded its $44 million budget drastically, resulting in major financial losses and damaging UA’s standing. Albeck resigned amid the fallout and was succeeded by Norbert Auerbach.

By 1980, Transamerica withdrew from film production and placed United Artists on the market. In 1981, Kirk Kerkorian’s Tracinda Corporation—also owner of Metro-Goldwyn-Mayer—acquired UA, marking a pivotal change in ownership and corporate structure within the industry.

United Artists Classics

In 1981, United Artists Classics shifted its focus from reissuing library titles to distributing first-run art films under Nathaniel T. Kwit, Jr.’s leadership. Tom Bernard took on the role of division director overseeing theatrical sales, while Ira Deutchman managed marketing efforts. Michael Barker and Donna Gigliotti later joined the team. After Deutchman departed to establish Cinecom, Barker and Bernard founded Orion Classics and Sony Pictures Classics. The label concentrated on foreign and independent cinema such as Cutter's Way, Ticket to Heaven, and The Grey Fox, occasionally releasing first-run reissues like director’s cuts of Head Over Heels. Following Barker and Bernard’s exit, the label briefly operated as MGM/UA Classics in 1984 before ultimately ceasing operations by the late 1980s.

MGM/UA Entertainment Company

After the merger, the entity was rebranded as MGM/UA Entertainment Company in 1982, establishing divisions such as MGM/UA Home Entertainment Group, MGM/UA Classics, and MGM/UA Television Group. Kirk Kerkorian sought to purchase the remaining publicly held shares but abandoned the effort due to legal challenges and resistance.

In 1981, InterMedia Entertainment, led by Fred Silverman and George Reeves, secured a production agreement with MGM/UA for both motion pictures and television content. Following the merger, David Begelman transitioned to a role at MGM/UA; however, he was removed in July 1982 after several underperforming film releases. Of the eleven projects initiated under his management, only Poltergeist managed to achieve commercial success.

As part of streamlining operations, MGM shuttered United Artists' historic New York offices in 1983 and divested UA's music publishing arm to CBS Songs within the same year. Profitable titles released in 1983 included WarGames and Octopussy, although Kerkorian remained dissatisfied with the overall financial outcomes. Additionally, WarGames became subject to a legal dispute with EMI Films concerning funding arrangements and international distribution rights.

A corporate restructuring in 1985 resulted in separate production divisions for MGM and UA, each overseen by distinct executives. Industry observers speculated that United Artists might be sold to help fund MGM’s privatization via a stock repurchase. However, after one executive was dismissed, Alan Ladd, Jr. took charge of both divisions, thereby centralizing strategic leadership.

Turner

On August 7, 1985, Ted Turner revealed plans for his Turner Broadcasting System to acquire MGM/UA, intending to secure MGM’s film library for his superstation WTBS amid intricate licensing arrangements. As part of this transaction, Turner intended to promptly resell United Artists back to Kerkorian.

Prior to this division, Kerkorian appointed producer Jerry Weintraub as chairman and CEO of United Artists in November 1985, with former ABC executive Anthony Thomopoulos serving as president. Weintraub's leadership was short-lived; he departed in April 1986 and was succeeded by former Lorimar executive Lee Rich. Concurrently, SLM Production Group shifted its distribution partnership from MGM/UA to United Artists.

On March 25, 1986, Turner finalized the $1.5 billion acquisition of MGM/UA using a combination of cash and stock, rebranding the company as MGM Entertainment Co. Subsequently, Kerkorian reacquired most United Artists assets for approximately $480 million. This series of transactions marked the end of the original United Artists entity; the current UA operates as a new company holding inherited assets but does not represent a legal continuation of the original firm.

United Artists established new headquarters in Beverly Hills starting November 1, 1985. On April 23, 1986, UA entered into a three-film co-production agreement with Australian distributor and cinema chain Hoyts, broadening its international reach.

MGM/UA Communications Company

Confronted with financial strain from debt obligations, Ted Turner sold MGM’s production and distribution operations to United Artists for $300 million on August 26, 1986. The studio lot and laboratory facilities were sold separately to Lorimar-Telepictures. Turner retained ownership of the pre-May 1986 MGM film and television catalogues, including libraries from Associated Artists Productions and RKO Pictures previously acquired by United Artists.

On August 21, 1986, United Artists announced its return to producing films with releases such as Baby Boom and Real Men, planning a slate comprising 26 titles. The company was renamed MGM/UA Communications Company and organized into three divisions: television under David Gerber’s leadership; two film units headed by Anthony Thomopoulous (United Artists) and Alan Ladd, Jr. (MGM). Despite box office hits in 1987 including Spaceballs, The Living Daylights, and Moonstruck, MGM/UA recorded an $88 million loss. The co-production agreement with Hoyts concluded that November.

By April 1988, Kirk Kerkorian offered his 82% ownership stake in MGM/UA for sale; by July that year, MGM and UA separated. An intended sale involving a 25% stake of MGM to Burt Sugarman, Jon Peters, and Peter Guber fell through. Executive resignations increased amid growing dissatisfaction with Kerkorian's management style, resulting in production halts and cancellations by mid-1988. A proposed acquisition by Australian firm Qintex/Seven Network collapsed following Qintex’s bankruptcy; Ted Turner’s efforts to reclaim assets were also unsuccessful. After 1990, United Artists effectively halted film production for several years.

The 1990s

In November 1990, Italian financier Giancarlo Parretti purchased MGM/UA and combined it with his previous enterprise to create MGM-Pathé Communications. Parretti exaggerated his financial standing and obtained loans through deceptive means, which resulted in unpaid obligations, postponed film projects, and internal disputes. Due to financial mismanagement, Crédit Lyonnais, the main creditor, took control of the studio in 1992. Parretti defaulted on his loans and was subsequently found guilty of securities fraud. On July 2, 1992, the company returned to its original name, Metro-Goldwyn-Mayer, Inc.. To restore stability, Crédit Lyonnais increased film production and appointed John Calley as head of UA. Under Calley’s guidance, popular series such as Pink Panther and James Bond were revitalized, and the studio released Showgirls, notable for its NC-17 classification. In 1996, Crédit Lyonnais sold MGM to Kirk Kerkorian’s Tracinda Corporation, which led to Calley’s exit.

In 1999, director Francis Ford Coppola made an unsuccessful bid to acquire UA from Kerkorian; instead, he entered into a production agreement with the studio.

The 2000s to the 2020s

Following MGM's acquisition of The Samuel Goldwyn Company in 1999, UA was repositioned as a specialty division. The Goldwyn brand was retired and incorporated into Metro-Goldwyn-Mayer Pictures; meanwhile, G2 Films was renamed United Artists International. Major franchises like Pink Panther and Rocky transitioned to MGM ownership, although certain titles such as James Bond retained UA copyrights. The first arthouse release under UA was Things You Can Tell Just by Looking at Her.

Bingham Ray became head of United Artists in September 2001. During his tenure, UA produced and distributed critically acclaimed independent films including Bowling for Columbine, Nicholas Nickleby, the Oscar-winning No Man's Land, Undertow, and Hotel Rwanda, which was co-produced with Lions Gate Entertainment. The company also established collaborations with American Zoetrope and Revolution Films. Ray stepped down in 2004.

In 2005, a group consisting of Comcast, Sony, and merchant banking firms acquired MGM and United Artists for $4.8 billion. As a minority stakeholder, Sony shut down MGM’s distribution operations and integrated much of its workforce into Sony Pictures Classics, which assumed distribution responsibilities for films such as Capote, Art School Confidential, and Romance and Cigarettes.

By March 2006, MGM re-entered the domestic distribution market through agreements with companies including The Weinstein Company, Lakeshore Entertainment, Bauer Martinez Entertainment, among others. Concurrently, MGM continued co-producing films with Sony’s Columbia TriStar Motion Picture Group while concentrating on major releases for its own distribution network. Despite Sony holding a minority share, MGM and UA functioned under CEO Stephen Cooper’s strategic management.

United Artists Entertainment

On November 2, 2006, MGM announced that Tom Cruise along with his longtime producing partner Paula Wagner would be relaunching United Artists (UA) following the conclusion of their 14-year production partnership with Viacom-owned Paramount Pictures. Cruise, Wagner, and MGM established United Artists Entertainment LLC with Cruise and Wagner owning a combined 30% interest. Wagner took on the role of CEO responsible for overseeing an annual slate of four films with varied budgets while Cruise acted as producer and occasional lead actor. This arrangement granted them greater authority over development and production.

During the 2007–08 Writers' Strike, UA became the first studio to receive a Writers Guild of America (WGA) waiver, highlighting its distinctive position within the industry.

On August 14, 2008, Wagner departed from UA to pursue independent producing after completing two films starring Cruise: Lions for Lambs and Valkyrie. Her exit sparked speculation regarding potential changes within UA’s organizational structure.

Since that time, UA has co-produced two MGM releases: the 2009 remake of Fame and Hot Tub Time Machine, marking the last original productions under the UA banner. A financial report from 2011 confirmed that MGM had regained full ownership of United Artists. Although primarily functioning as a brand within MGM’s corporate framework today, UA occasionally reissues films theatrically under its label.

United Artists Media Group and United Artists Digital Studios

On September 22, 2014, MGM acquired a majority 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), reestablishing the United Artists brand. Burnett assumed the role of CEO, while Downey was appointed president of Lightworkers Media, UAMG’s division focused on family and faith content. UAMG handled distribution for Mark Burnett Productions shows such as Survivor and announced plans for an over-the-top (OTT) faith-based channel.

On December 14, 2015, MGM completed the acquisition by purchasing the remaining 45% stake in UAMG, folding it into its television operations. In exchange, Hearst, Downey, and Burnett received MGM shares valued at $233 million. Burnett was elevated to president of MGM Television. The envisioned OTT faith channel transformed into Light TV (currently known as TheGrio), a distinct venture co-owned by MGM, Burnett, Downey, and Hearst.

On August 14, 2018, MGM brought back United Artists Digital Studios to produce the web series Stargate Origins, marking the relaunch of the Stargate franchise through a dedicated streaming service called Stargate Command. This move aligned with industry shifts exemplified by platforms such as CBS All Access (now Paramount+).

2024–present: Revival

In July 2024, Scott Stuber approached finalizing an agreement to revive the United Artists label under Amazon MGM Studios after more than ten years. Amazon confirmed Stuber’s multi-year first-look arrangement to develop films under the restored brand for theatrical release or streaming on Amazon Prime Video. Stuber will lead all film projects released under United Artists, reflecting a strategic effort to strengthen the brand’s position in the market.

Film library

The majority of United Artists’ film catalog from after 1952 is currently owned by MGM. Titles produced before 1952 were sold to other entities such as National Telefilm Associates (now part of Melange/Republic Pictures under Paramount Global), with Paramount Pictures handling their distribution, or have entered the public domain. Since UA primarily functioned as a distributor rather than a production company, copyrights remain with the original producers. This explains why certain UA-distributed titles like High Noon (1952) and The Final Countdown (1980) are still copyrighted but not owned by MGM. Films distributed by UA between 1973 and 1982 that originated from MGM are now owned by Turner under Warner Bros.

UA films on video

United Artists initially licensed home video rights to Magnetic Video, recognized as the first home video company. After Fox acquired Magnetic in 1981, it was rebranded as 20th Century-Fox Video. In 1982, a merger between 20th Century-Fox Video and CBS Video Enterprises created CBS/Fox Video. Although MGM owned UA at that time, UA’s licensing agreement with CBS/Fox (including sublabels Key Video and Playhouse Video) persisted. Subsequently, MGM/UA Home Video released select UA titles beginning in the mid-1980s. Prior to MGM’s acquisition, UA had licensed international video rights to Warner Bros. through Warner Home Video; this contract was scheduled to expire in 1991.

In 1986, during his brief ownership of MGM/UA, Ted Turner acquired the pre-1950 Warner Bros. library along with pre-May 1986 MGM titles. As a result, CBS/Fox lost home video rights to these pre-1950 Warner Bros. films, which then were licensed by MGM/UA Home Video from Turner. Following the expiration of the CBS/Fox agreement in 1989, UA titles were issued via MGM/UA Home Video.

Before these arrangements took effect in 1980, United Artists held exclusive rental agreements with smaller labels—VidAmerica in the United States and Intervision Video in the United Kingdom—for home video distribution of approximately twenty titles from its catalog (including The Great Escape, Some Like It Hot, and Hair), alongside select pre-1950 Warner Bros. films.

United Artists Broadcasting

Under the banner of "United Artists Broadcasting," United Artists managed two television outlets: WUAB based in Cleveland, Ohio (officially licensed to Lorain, Ohio), which began operations in 1968, and WRIK-TV located in San Juan, Puerto Rico, acquired in 1969. Additionally, the company possessed a construction permit for a prospective station in Houston, Texas. In 1970, United Artists broadened its media presence by acquiring radio station WWSH in Philadelphia, Pennsylvania.

Beginning in 1977, United Artists systematically withdrew from broadcasting by divesting WUAB to the Gaylord Entertainment Company, selling WWSH to Cox Enterprises, and transferring ownership of WRIK-TV to Tommy Muñiz in 1979. This series of sales signified a deliberate strategic move to concentrate on primary business interests rather than media holdings.

United Artists Releasing

United Artists Releasing, LLC (UAR) emerged as a collaborative film distribution enterprise formed by MGM and Annapurna Pictures on October 31, 2017. It was established by former MGM CEO Gary Barber, entrepreneur and Open Road Films founder Eric Hohl, alongside Annapurna founder Megan Ellison. To commemorate the centennial anniversary of the original United Artists' inception, the venture adopted the name United Artists Releasing on February 5, 2019. Operating out of MGM and Annapurna’s offices in West Hollywood and Los Angeles, California, UAR provided an alternative distribution framework distinct from major studios and streaming platforms, releasing between 10 and 14 films each year.

On May 26, 2021, Amazon completed its acquisition of MGM Holdings—MGM's parent company—for $8.45 billion, finalizing the transaction on March 17, 2022. This acquisition placed United Artists Releasing under the umbrella of Amazon Studios. Later, on March 4, 2023, Amazon consolidated United Artists Releasing into MGM to enhance its theatrical distribution capabilities alongside its video-on-demand service, Amazon Prime Video, capitalizing on box office 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.