The Absurdity of Using Atomic Bombs on Nagasaki and Hiroshima
WorldNews.com
Afghan crash highlights critical, dangerous role of special forces
CNN
Nothing 'mindless' about rioters
Al Jazeera
British riots spread on third night of violence
Yahoo Daily News
Police arrest over 160 in weekend London riots
The Guardian
| Coordinates | 33°51′35.9″N151°12′40″N |
|---|---|
| Name | Universal Pictures |
| Logo | The current Universal Studios logo |
| Type | Subsidiary of NBC Universal |
| Foundation | Los Angeles, California, U.S.(June 8, 1912) | date of birth = June 08, 1912 |
| Location | Universal City, California, U.S.Florida |
| Location city | |
| Location country | |
| Locations | |
| Key people | Carl Laemmle, FounderRonald Meyer, President / Chief Operating Officer |
| Area served | Worldwide |
| Industry | Film |
| Products | Motion pictures |
| Parent | NBC Universal |
| Owner | General Electric (87.66%) Vivendi (12.34%) |
| Homepage | www.universalstudios.com |
| Intl |
Universal Pictures (sometimes called Universal City Studios or Universal Studios for short), a subsidiary of NBC Universal, is one of the six major movie studios.
Founded in 1912 by Carl Laemmle, it is one of the oldest American movie studios still in continuous production. On May 11, 2004, the controlling stake in the company was sold by Vivendi Universal to General Electric, parent of NBC . The resulting media super-conglomerate was renamed NBC Universal, while Universal Studios Inc. remained the name of the production subsidiary. In addition to owning a sizable film library spanning the earliest decades of cinema to more contemporary works, it also owns a sizable collection of TV shows through its subsidiary NBC Universal Television Distribution. It also acquired rights to several prominent filmmakers' works originally released by other studios through its subsidiaries over the years.
Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Pictures is the second-longest-lived Hollywood studio; Viacom-owned Paramount Pictures is the oldest by a month.
Soon Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1911, Laemmle started the Yankee Film Company with partners Abe and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP). Laemmle brok with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl," and actor King Baggot, in what may be the first instance of a studio using stars in its marketing.
On June 8, 1912, Laemmle merged IMP with eight smaller companies to form the Universal Film Manufacturing Company—the first appearance of the word "universal" in the organization's name. Laemmle, as president, was the primary figure in a partnership that included Mark Dintenfass, Charles Baumann, Adam Kessel, and Pat Powers. Eventually all would be bought out by Laemmle. Baumann and Kessel later partnered with Mack Sennett for their highly successful Keystone Film Company. The new Universal studio was a horizontally integrated company, with movie production and distribution capacity (the company lacked a major circuit of exhibition venues, ownership of which would become a central element of film industry integration in the following decade). The company was incorporated as Universal Pictures Company, Inc. in 1925.
Following the westward trend of the industry, by the end of 1912 the company was focusing its production efforts in the Hollywood area. Its first logo was an Earth with a Saturn-like ring and the text in a bold Kentucky font. In 1963, this logo was revamped with mattes and animated models. In 1990, it was replaced by a filmed 3D model, leading ultimately to today's logo (created in 1997) which uses CGI animation. In 1915, Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the biggest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials.
Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Foolish Wives and Blind Husbands, but Universal shrewdly got some of its money back by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a huge drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by Thalberg's cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, something it seldom had during the silent era.
Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades.
In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary.
In 1927, Charles B. Mintz, a film producer and distributor, took control over Margaret J. Winkler's Winkler Pictures after marrying Winkler. He commissioned an all new all-animated series for production that would be distributed through Universal Pictures. The series, Oswald the Lucky Rabbit, was created by animator Ub Iwerks and Walt Disney. A young Disney, in the years before gaining worldwide acclaim with his own studio, earlier entered into a creative contract with Winkler for producing cartoon shorts like "Oswald." Disney tried negotiating a higher fee for the shorts he was making.
Yet while Iwerks created the "Oswald" character, which had enjoyed a successful theatrical run, Universal – and not Disney – owned the rights to it. This gave Mintz leverage in demanding that Disney accept a lower fee for producing the property or he would produce the films with his own group of animators. In the end, Disney refused the offer. As an alternative, he and Iwerks created what became Disney's flagship trademark, Mickey Mouse, which contained some of Oswald's features and soared to popularity following the duo's producing of its first talking short, Steamboat Willie. This moment effectively launched the Disney empire, while Universal became a minor player in movie animation after Oswald.
In 2006, after almost 80 years, NBC Universal sold all Disney-produced Oswald cartoons back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal kept the Oswald cartoons that Walter Lantz produced for them from 1929 to the mid-1930s.
To his credit, "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the 1929 part-talkie version of Edna Ferber's novel Show Boat, the lavish musical Broadway (1929) which included Technicolor sequences; the first all-color musical feature (for Universal), King of Jazz (1930); and All Quiet on the Western Front, winner of the "Best Picture" Academy Award for 1930. Laemmle, Jr. also created a successful niche for the studio, beginning a long-running series of monster movies, affectionately dubbed Universal Horror, among them Frankenstein, Dracula, and The Mummy. The 1931 six-sheet (81-by-81-inch) poster for Frankenstein is considered to be the most valuable movie poster in the world. There is only one copy of this poster known to exist. Other Laemmle productions of this period include Imitation of Life and My Man Godfrey.
The end for the Laemmles came with a lavish remake of its 1929 flop Show Boat, featuring several stars from the Broadway stage version, which began production in late 1935. (This one was firmly based on the Broadway musical version rather than the novel.) Eventually, Carl, Jr.'s spending habits alarmed company stockholders, especially after the costly flop of the western epic Sutter's Gold earlier in the year. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. Production problems resulted in a $300,000 overrun. When Standard called the loan in, a cash-strapped Universal couldn't pay. Standard foreclosed and seized control of the studio on April 2, 1936. Universal's 1936 Show Boat, released a little over a month after Standard seized control, was a great success financially and is widely considered to be one of the greatest film musicals of all time. However, it was not enough to save the Laemmles, who were unceremoniously removed from the company they had founded. Despite the takeover, Show Boat was released with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and the advertising campaign for the film.
Standard Capital's J. Cheever Cowdin took over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, now left. By the start of World War II, the company was concentrating on smaller-budget productions that had been the company's main staples: westerns, melodramas, serials and sequels to the studio's horror pictures.
Producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, came to America and repeated his tried-and-true formula. Sensational teenage songbird Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office success and restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. As Pasternak stopped producing her pictures, and Durbin outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor.
Another hit Universal film of the late 1930s was 1939's Destry Rides Again, starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios.
Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were some of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including W. C. Fields, Edgar Bergen, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) catapulted the former burlesque comedians to worldwide success. Abbott and Costello soon became the biggest movie stars in America, surpassing Durbin's films in popularity and box office success.
During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's customer base was still the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget comedies, musicals, adventures, westerns, and serials. The studio also fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43), the comic adventures of infant Baby Sandy (1938–41), Hugh Herbert comedies (1938–42), horror thrillers with Frankenstein, Dracula, The Wolf Man, The Invisible Man, and The Mummy (1931–45), Basil Rathbone and Nigel Bruce in Sherlock Holmes mysteries (1939–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries (1943–45).
As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio first made use of the new, three-color Technicolor process in 1942, when it released Arabian Nights, starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed, usually starring Montez and Hall.
Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such screen classics as David Lean's Great Expectations and Laurence Olivier's Hamlet. Broadening its scope further, Universal-International branched out into the lucrative nontheatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors.
Goetz sold Universal's pre Universal-International film library to Jack Broeder's Realart Pictures for cinema rerelase but Realart was not allowed to show the films on television.
The production arm of the studio still struggled. While there were to be a few hits like The Egg & I, The Killers, and The Naked City, Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio reverted once more to the low-budget fare it knew best. The inexpensive Francis the Talking Mule and Ma and Pa Kettle series became mainstays of the new company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein, were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio whose product was released with Universal-International's films.
In the 1950s, Universal-International brought back a series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland with many directed by Jack Arnold. Other successes were big budget melodramas produced by Ross Hunter and directed by Douglas Sirk. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy and John Gavin.
Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. case. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73 proved to be a hit, Stewart became a rich man. This arrangement would become the rule for many future productions at Universal, and eventually at other studios as well.
The long-awaited takeover of Universal Pictures by MCA, Inc. finally took place in mid-1962 as part of MCA -Decca Records merger (Universal's then parent company), with MCA as surviving corporation. Universal-International Pictures, the production subsidiary reverted in name back to Universal Pictures. As a last gesture before getting out of the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc. to take over the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed Universal Television in 1962). And so, with MCA in charge, for a few years in the 1960s Universal became what it had never been: a full-blown, first-class movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary (launched in 1964). But it was too late, since the audience was no longer there, and by 1968, the film-production unit began to downsize. Television carried the load, as Universal dominated the American networks, particularly NBC (which later merged with Universal to form NBC Universal; see below), where for several seasons it provided up to half of all prime time shows. An innovation of which Universal was especially proud was the creation in this period of the made-for-television movie.
Though Universal's film unit did produce occasional hits, among them Airport, The Sting, American Graffiti, Earthquake, and a blockbuster that restored the company's fortunes, Jaws, Universal in the 1970s was primarily a television studio. Weekly series production was the workhorse of the company. There would be other film hits like E.T. the Extra-Terrestrial, Back to the Future, and Jurassic Park, but the film business was still hit-and-miss. In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. It was replaced by United International Pictures in 1981, when Metro-Goldwyn-Mayer joined the fold. UIP began distributing films by start-up studio DreamWorks in 1997, and MGM subsequently dropped out of the venture in 2001, letting 20th Century Fox internationally distribute its films. In 1990, MCA created MCA/Universal Home Video Inc. to enter the lucrative videotape and later DVD sales industry.
To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller. (These same properties would be bought back later at greatly inflated prices.) In June 2000, Seagram was sold to French water utility and media company Vivendi (which owns StudioCanal). The media conglomerate became Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States in the last two decades). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide ).
In late 2005, Viacom's Paramount Pictures acquired DreamWorks SKG after acquisition talks between GE and DreamWorks stalled. Universal's long time chairperson, Stacey Snider, left the company in early 2006 to head up DreamWorks. Snider was replaced by then-Vice Chairman Marc Shmuger and Focus Features head David Linde. On October 5, 2009 Marc Shmuger and David Linde were ousted and their co-chairperson jobs consolidated under former president of worldwide marketing and distribution Adam Fogelson becoming the single chairperson. Donna Langley was also upped to co-chairperson.
Over the years, Universal has made deals to distribute and/or co-finance films with various small companies, such as Imagine Entertainment, Media Rights Capital, Amblin Entertainment, Morgan Creek Productions, Spyglass Entertainment, Working Title Films (and DreamWorks), StudioCanal, Relativity Media, Shady Acres Entertainment, Mandalay Entertainment, Marc Platt Productions, and Beacon Communications LLC.
Through subsidiary NBC Universal Television Distribution, it owns the following:
The company also owns the libraries of:
It also owns several films made by others, including some pre-1952 United Artists material, an Alfred Hitchcock feature originally released by Warner Bros. – Rope (later re-released in 1950 by Hitchcock's Transatlantic Pictures, with secondary re-release funding provided by MGM), and the UK rights to most of the RKO Pictures library, as well as the UK rights to the Republic Entertainment theatrical library and Twin Peaks. Through its Focus Features division, Universal owns most ancillary rights to The Return of the Pink Panther (originally a UA release).
Universal also owns the film rights (with Hanna-Barbera Productions) to the Hanna-Barbera films , The Flintstones, and The Flintstones in Viva Rock Vegas. In addition to owning the rights to the footage used on the The Funtastic World of Hanna-Barbera ride. They also own a theme park license for Scooby-Doo and Shaggy Rogers, who appear at Universal Studios Hollywood and Universal Studios Florida.
Universal also owns the DePatie-Freleng Enterprises, Dr. Seuss specials which were previously owned by CBS.
Category:Companies based in Los Angeles County, California Category:Companies established in 1912 Category:Entertainment companies of the United States Category:Film production companies of the United States Category:NBC Universal Category:Film distributors
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
