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New World Pictures (also known as New World Entertainment, New World Communications Group, Inc., and New World International) was an American independent production, distribution, and (in its final years as an autonomous entity) multimedia company. It was founded in 1970 by Roger Corman and Gene Corman as New World Pictures, Ltd., a producer and distributor of motion pictures, eventually expanding into television production in 1984. New World eventually expanded into broadcasting with the acquisition of seven television stations in 1993, with the broadcasting unit expanding through additional purchases made during 1994.

Key Information

20th Century Fox (then solely owned by News Corporation), controlled by Rupert Murdoch, became a major investor in 1994 and purchased the company outright in 1997; the alliance with Murdoch, specifically through a group affiliation agreement with New World reached between the two companies in May 1994, helped to cement the Fox network as the fourth major U.S. television network.

Although effectively defunct, it continues to exist as holding companies within the Fox Corporation corporate structure along with various regional subsidiaries (e.g., "New World Communications of Tampa").

New World Pictures' co-founder Gene Corman died at his home in Beverly Hills, California, on September 28, 2020, at the age of 93.[2] Roger Corman later died at his home in Santa Monica, California, on May 9, 2024, at the age of 98.[3][4]

History

[edit]

New World Pictures (1970–1987)

[edit]

Founded on July 8, 1970, New World Pictures, Ltd. was co-founded by B-movie director Roger Corman and his brother Gene, following their departure from American International Pictures (AIP).[5] As the last remaining national low-budget film distributor at the time, New World quickly became one of the most successful independent companies in the nation. [citation needed] Corman hoped to continue AIP's formula at New World, making low-budget films by new talent and distributing them internationally. However, it started with only ten domestic offices, and one each in Canada and the United Kingdom; its films were distributed regionally by other companies.[6]

New World initially made exploitation films such as The Student Nurses and other small-scale productions. Corman helped launch the filmmaking careers of Jonathan Demme (Caged Heat, Crazy Mama), Jonathan Kaplan (White Line Fever), Ron Howard (Grand Theft Auto), Paul Bartel (Death Race 2000) and Joe Dante (Piranha), all of whom made some of their early films as interns for the company.[6] New World also released foreign films from acclaimed directors such as Ingmar Bergman (Cries and Whispers, Autumn Sonata), Federico Fellini (Amarcord) and Akira Kurosawa (Dersu Uzala). Corman conceived the distribution of such films to disassociate New World from being an exhibitor of exploitation films.[6] New World would also acquire and re-edit foreign films for American audiences, such as 1973's Nihon Chinbotsu, released in 1975 as Tidal Wave during the height of the disaster film era.

In 1983, Corman sold New World to Larry Kupin, Harry E. Sloan and Larry A. Thompson for $16.5 million; the three new owners decided to take the company public. Corman retained the film library, while New World acquired home video rights to the releases. In 1984, Robert Rehme – who formerly served as CEO of Avco Embassy Pictures and Universal Pictures and had previously worked for New World as its VP of sales in the 1970s – returned to the company as its new CEO. Later that year, Thompson left the company to form his firm.[7] On February 21, 1984, New World Pictures added 3 new pictures to produce a minimum of 14 releases per year, and had plans to start their regional network.[8]

In 1984, the company created three new divisions: New World International, which would handle distribution of New World's productions outside the United States; New World Television, a production unit focusing on television programs (the first television programs produced by the unit were the soap opera Santa Barbara and the made-for-TV movie Playing With Fire); and New World Video, which would handle home video distribution of films produced mainly by New World Pictures. It would eventually see the success of its video division in its first few months of operation.[9]

In 1986, New World acquired the post-production facility Lions Gate Studios for $4.4 million, as well as the Marvel Entertainment Group (MEG), the corporate parent of Marvel Comics from the liquidated Cadence Industries.[10][11]

New World Entertainment (1987–1992)

[edit]

In July 1967, William "Bill" Deneen left Encyclopædia Britannica Films to start up the Learning Corporation of America, a rival company with Columbia Pictures.[12] It would quickly become one of EBF's biggest rivals in the 16mm field. During his past decade with EBF, William Deneen's specialty was geography films. He was the owner of an independent film company since 1950, which was distributing through EBF until they absorbed his company and made him VP. Among his most famous in-depth looks of everyday life overseas were a series on Japan, Hungary and Communism and a trio shot on Samuel Bronston's sets of Fall of the Roman Empire, including Claudius: Boy of Ancient Rome. Despite being made very economically, these were undoubtedly the most expensive-looking school films of the era.

In 1987, New World acquired educational film company Learning Corporation of America and independent film studio Highgate Pictures.[13] By this time New World Pictures changed its name to New World Entertainment to better reflect its range of subsidiaries besides the film studio, including its purchase of Marvel Comics, and partner Harry Sloan said that the name change would have the revised banner "more accurately reflects the business the company is in".[14] Also that year New World almost purchased two toy companies, Kenner Parker Toys and Mattel, but both planned acquisitions never materialized (although Tonka would acquire Kenner in 1987).

Around this time, New World faced a significant financial slump, and the company began restructuring itself. This began with the sale of Marvel Entertainment Group to Andrews Group (run by financier Ronald Perelman) on January 6, 1989; Marvel Productions was excluded from the sale.[15] After a failed bid by Giancarlo Parretti's Pathé Communications, New World was sold to the Andrews Group in April 1989; Perelman indicated that, while New World's television operations would continue, their motion picture and home video activity would be cut back, if not scrapped entirely.[16] The bulk of its film and home video holdings were sold in January 1990 to Trans-Atlantic Pictures, a newly formed production company founded by a consortium of former New World executives (Trans-Atlantic was sold to Lakeshore Entertainment in 1996).[17] Highgate Pictures and Learning Corporation of America were shut down in 1990.[citation needed] On October 7, 1991, New World sold much of its "network" television assets to Sony Pictures Entertainment, who used these assets to relaunch TriStar Television.[18][19] Some television programs produced by New World such as Santa Barbara and The Wonder Years would remain in production by the company until their cancellations in 1993; New World would not return to producing programs for the major broadcast television networks until early 1995.

New World Communications (1992–1997)

[edit]
"New World Communications" redirects here; not to be confused with News World Communications.

On February 17, 1993, Perelman purchased a majority stake in SCI Television, taking over control of the company from George Gillett.[20] SCI's stations included CBS affiliates WAGA-TV in Atlanta, WJBK-TV in Detroit, WJW-TV in Cleveland, WITI-TV in Milwaukee; NBC affiliate KNSD in San Diego; and independent WSBK-TV in Boston.[21] The core of the group was the former television properties of Storer Communications, which Gillett bought in 1987 financed through junk bonds that soured after Black Monday, putting him in a 10:1 debt-to-profit ratio.[22][23] WTVT in Tampa, also affiliated with CBS and owned directly by Gillett, was included.[24] Perelman folded SCI Television into New World Entertainment, forming New World Communications.[25][26]

In 1993, New World Entertainment purchased ownership stakes in syndication distributor Genesis Entertainment through Four Star Television and made a direct purchase of infomercial production company, Guthy-Renker.[27][28][29]

The company agreed to purchase Argyle Television in May 1994 and its four stations: CBS affiliates KTBC-TV in Austin, Texas, and KDFW-TV in Dallas; NBC affiliate WVTM-TV in Birmingham, Alabama; and ABC affiliate KTVI in St. Louis.[30] At the same time, New World acquired four stations owned by Citicasters: ABC affiliates WBRC-TV in Birmingham and WGHP-TV in High Point, North Carolina; NBC affiliate WDAF-TV in Kansas City, Missouri; and CBS affiliate KSAZ-TV in Phoenix.[31] Due to WBRC and WVTM being in the same market, New World opted to placed WBRC and WGHP in a blind trust and sought buyers for both.[32]

Affiliation agreement with Fox, acquisition by News Corporation, and transfer to Disney

[edit]
Further information: 1994–1996 United States broadcast television realignment

The biggest deal involving New World Communications would aid in changing the face of American broadcasting. In the wake of Fox's landmark $1.58-billion deal with the National Football League (NFL) on December 17, 1993, which awarded it the television rights to the National Football Conference (NFC) beginning with the league's 1994 season,[33][34] the network began seeking agreements with various station groups such as SF Broadcasting to affiliate with VHF stations that had established histories as affiliates of the Big Three (ABC, CBS and NBC) and therefore had higher value with advertisers (compared to its predominately UHF affiliate body, the vast majority of which were independent stations before joining the network), in an effort to bolster the network's newly acquired package of NFL game telecasts.[35]

Shortly after the Citicasters acquisition announcement, on May 23, 1994, New World Communications and Fox reached a multi-year affiliation agreement in which New World would switch most of its television stations to the network beginning that fall. The deal would include most of the stations that New World was acquiring from Argyle and Citicasters, with all of the affected stations joining Fox after existing affiliation contracts with their then-current network partners concluded. In exchange, Fox parent News Corporation agreed to purchase a 20% interest in New World for $500 million.[1][36][30][37] New World was approached by Fox in part due to the group's expanding presence in several primary and secondary markets of NFC teams. New World, meanwhile, was concerned about the effect that the network's loss of NFC rights to Fox would have on both CBS, which was near the bottom of the network ratings at the time, and on the group's CBS-affiliated stations.

The stations that became Fox affiliates had to acquire or produce additional programming to fill their broadcast days, as Fox programmed significantly fewer hours of network content (prime time programming for two hours on Monday through Saturdays and three hours on Sundays, the Monday through Saturday children's block Fox Kids, and an hour of late night programming on Saturdays) than its three established major network competitors; on top of that, most of the New World stations (with KTVI later becoming the lone exception) declined to carry the Fox Kids block. The time vacated by news programs, daytime shows and children's programs from each station's former network was filled by additional syndicated programming, particularly local newscasts. The deal as a whole (as well as a second affiliation agreement that was struck one month after the New World deal through the purchase of four stations by a joint venture with Savoy Pictures) caused a domino effect that resulted in various individual and group affiliation deals involving all four networks (primarily CBS, Fox, and ABC) affecting television stations in more than 70 media markets; in most of those areas, New World did not own a station.

Three New World stations were excluded from the Fox affiliation deal. In Boston, where New World owned WSBK-TV, Fox was already affiliated with WFXT (channel 25). WVTM was exempted in Birmingham, as, in the summer of 1995, New World sold WBRC and WGHP to Fox Television Stations, with WBRC switching to Fox after its affiliation contract with ABC expired on August 31, 1996. KNSD (also a UHF station) also did not switch as Fox was already affiliated with a VHF station in the San Diego market, Tijuana, Baja California, Mexico-based XETV-TV (channel 6). KNSD and WVTM retained their NBC affiliations, although in 1995, its contract was renewed for 10 years.[38] New World planned to sell all 3 stations as well, to comply with the FCC's 12-station ownership limit.[39] In November 1994, New World sold WSBK-TV to the Paramount Stations Group subsidiary of Viacom for $100 million.[40]

Later that year, Brandon Tartikoff, who helped NBC out of its ratings doldrums in the 1980s in his former role as President of Entertainment at NBC, joined New World Communications in an executive position; concurrently, New World acquired Tartikoff's production company Moving Target Productions.[41][42] New World also acquired the remaining interest in Genesis Entertainment, which expanded upon New World's production assets into television distribution (Genesis has subsequently renamed New World-Genesis Distribution following the closure of the purchase). After New World took over Moving Target Productions, the production company was renamed to MT2 Services.[43] In 1995, Stone Stanley Productions was signed an exclusive agreement with New World Entertainment.[44] 1995 also saw the acquisitions of Cannell Entertainment[45][46] and entertainment magazine Premiere.

In May 1996, New World sold WVTM and KNSD to NBC Television Stations for $425 million.[47][48] On July 17, 1996, Fox parent News Corporation announced it would acquire the remainder of New World Communications for $2.48 billion in stock.[49][50][51][52][53][54] When the merger with News Corporation was finalized on January 22, 1997, New World's television production and distribution arms folded into 20th Century Fox Television and 20th Television, respectively and the former New World television stations were transferred into its Fox Television Stations subsidiary, turning the former group's 12 Fox affiliates into owned-and-operated stations of the network, joining WGHP and WBRC. The New World Animation and Marvel Films Animation libraries were acquired by Saban Entertainment and Fox Kids Worldwide (in turn acquired by Disney through its 2001 purchase of Fox Family Worldwide) following News Corporation's acquisition of New World.

As part of the acquisition of 21st Century Fox by The Walt Disney Company, the New World library was transferred to TFCF America, Inc., a subsidiary of The Walt Disney Company, effective March 20, 2019,[55] while the New World holding companies remained with Fox Corporation.[56]

Legacy

[edit]

New World is noted for the number of its cult movies it distributed. Filmink have argued "in the history of Hollywood, few studios are as beloved by fans as Corman era New World."[57]

Former stations

[edit]
Stations owned by New World Communications
Media market State Station Purchased Sold Notes
Birmingham Alabama WBRC-TV 1994 1995 [a]
WVTM-TV 1995 1996 [b]
Phoenix Arizona KSAZ-TV 1994 1997
San Diego California KNSD 1993 1996 [b]
Tampa–St. Petersburg Florida WTVT 1993 1997
Atlanta Georgia WAGA-TV 1993 1997
Boston Massachusetts WSBK-TV 1993 1995 [b]
Detroit Michigan WJBK-TV 1993 1997
Kansas City Missouri WDAF-TV 1994 1997
St. Louis KTVI 1995 1997
High Point–Greensboro–Winston-Salem North Carolina WGHP-TV 1994 1995 [a]
Cleveland Ohio WJW-TV 1993 1997
Austin Texas KTBC-TV 1995 1997
K13VC 1994 1997
Dallas–Fort Worth KDFW-TV 1995 1997
KDFI-TV 1995 1997 [b][c]
Milwaukee Wisconsin WITI-TV 1993 1997
  1. ^ a b Placed in a trust and sold to Fox.
  2. ^ a b c d Not included in the groupwide affiliation agreement with Fox.
  3. ^ Owned by a third party and operated by New World.

Films

[edit]
Release date Title Notes
June 1970 Angels Die Hard First film from New World Pictures
August 1970 The Student Nurses established the "nurse" cycle
1971 Angels Hard as They Come
Beast of the Yellow Night
Bury Me an Angel
Creature with the Blue Hand
Private Duty Nurses
Scream of the Demon Lover
Women in Cages
April 30, 1971 The Big Doll House established the "women in prison" cycle
June 1971 The Velvet Vampire
October 22, 1971 Lady Frankenstein
1972 Night Call Nurses
January 1, 1972 Night of the Cobra Woman
May 31, 1972 The Final Comedown
May 1972 The Hot Box
July 1972 The Big Bird Cage
October 1972 The Cremators
November 1972 The Woman Hunt
December 21, 1972 Cries and Whispers Academy Award for Best Picture nominee
1973 The Big Bust Out
Fly Me
The Young Nurses
January 1973 Sweet Kill
February 8, 1973 The Harder They Come
May 1973 Savage!
June 1973 Stacey
The Student Teachers
September 1973 Seven Blows of the Dragon
December 1, 1973 Fantastic Planet
1974 Caged Heat
Candy Stripe Nurses
Cockfighter
The Last Days of Man on Earth
Summer School Teachers
January 15, 1974 The Arena
July 8, 1974 Down and Dirty Duck
September 19, 1974 Amarcord Academy Award for Best Foreign Language Film winner
Big Bad Mama
October 1974 Tender Loving Care
1975 Cover Girl Models
Darktown Strutters
The Romantic Englishwoman
January 1975 Street Girls
April 27, 1975 Death Race 2000
May 1975 Tidal Wave Shortened US version of Nihon Chinbotsu, with seven minutes of new footage featuring Lorne Greene.
June 1975 Crazy Mama
July 7, 1975 T.N.T. Jackson
October 10, 1975 The Lost Honour of Katharina Blum
December 22, 1975 The Story of Adele H.
1976 Foxtrot
Nashville Girl
Eaten Alive
February 1976 Hollywood Boulevard
April 1976 Eat My Dust!
Jackson County Jail
July 6, 1976 Cannonball
July 1976 The Great Texas Dynamite Chase
October 1, 1976 Small Change
October 22, 1976 God Told Me To
November 15, 1976 Lumiere
1977 Blonde in Black Leather
Dersu Uzala Academy Award for Best Foreign Language Film winner
Moonshine County Express
The Tigress
April 8, 1977 Rabid
Andy Warhol's Bad
April 20, 1977 Black Oak Conspiracy
Catastrophe
April 29, 1977 The Ransom
May 27, 1977 Too Hot to Handle
June 18, 1977 Grand Theft Auto
July 14, 1977 I Never Promised You a Rose Garden
September 30, 1977 A Little Night Music
1978 Autumn Sonata Produced by ITC Entertainment
Blackout
Jokes My Folks Never Told Me
February 3, 1978 A Hero Ain't Nothin' but a Sandwich
March 8, 1978 The Evil
March 1978 Leopard in the Snow
April 12, 1978 Deathsport
August 3, 1978 Piranha
August 30, 1978 Avalanche
November 17, 1978 The Bees
December 2, 1978 Outside Chance
1979 The Green Room
Love on the Run
March 7, 1979 Starcrash
April 27, 1979 Saint Jack
June 1, 1979 The Brood
June 15, 1979 The Kids Are Alright
June 29, 1979 Up from the Depths
July 1979 The Lady in Red
August 24, 1979 Rock 'n' Roll High School
November 1979 The Prize Fighter
1980 The Tin Drum Academy Award for Best Foreign Language Film winner
Breaker Morant
My American Uncle
Something Waits in the Dark
April 17, 1980 The Private Eyes
May 16, 1980 Humanoids from the Deep
July 25, 1980 Ruckus
September 8, 1980 Battle Beyond the Stars
November 8, 1980 The Georgia Peaches
November 11, 1980 Shogun Assassin
1981 Firecracker
Quartet
Richard's Things
June 26, 1981 Screamers
August 8, 1981 Galaxy Express Recut of Galaxy Express 999
August 14, 1981 Saturday the 14th
October 1981 Smokey Bites the Dust
October 23, 1981 Galaxy of Terror
1982 Sorceress
Christiane F.
Three Brothers Academy Award for
Best Foreign Language Film nominee
The Personals
Fitzcarraldo
April 23, 1982 Tag: The Assassination Game
May 7, 1982 Forbidden World
Paradise Canada version
May 14, 1982 Battletruck
September 10, 1982 The Slumber Party Massacre
October 8, 1982 Murder by Phone
October 16, 1982 Android
November 12, 1982 Jimmy the Kid
November 1982 Time Walker
1983 Screwballs
May 1983 Savage Attraction
July 1983 The Funny Farm
Space Raiders
September 2, 1983 Deathstalker
Escape 2000
Stryker
September 16, 1983 Wavelength
September 23, 1983 Last Plane Out
November 3, 1983 The Being
November 4, 1983 The Prey
November 18, 1983 Cross Country
1984 The Pit
January 13, 1984 Covergirl
Angel
January 27, 1984 Love Letters
March 9, 1984 Children of the Corn
March 11, 1984 Warriors of the Wind 1984 recut of Nausicaä of the Valley of the Wind
Nausicaä director Hayao Miyazaki's distaste of the recut
is said to have led to Studio Ghibli's stringent "no cuts" policy
for international distribution of their works.
April 13, 1984 Suburbia
April 24, 1984 Hambone and Hillie
April 27, 1984 They're Playing with Fire
April 28, 1984 The Initiation
June 1984 Rare Breed
August 3, 1984 The Philadelphia Experiment
August 31, 1984 C.H.U.D.
August 31, 1984 Highpoint
September 28, 1984 Body Rock
October 1984 Bad Manners also known as Growing Pains
October 19, 1984 Crimes of Passion
November 16, 1984 Night Patrol
January 11, 1985 Tuff Turf
January 11, 1985 Avenging Angel
January 1985 The Annihilators
January 1985 The Highest Honor US distribution only; produced by Southern International Films
February 8, 1985 Lust in the Dust
March 1, 1985 Certain Fury
March 15, 1985 Def-Con 4
April 12, 1985 Fraternity Vacation
April 12, 1985 Girls Just Want to Have Fun
May 1985 Out of Control
May 15, 1985 The Zoo Gang
June 14, 1985 The Stuff
August 23, 1985 Godzilla 1985 1985 American re-cut of The Return of Godzilla, originally produced and released by Toho in 1984
September 28, 1985 Steaming
September 1985 Stand Alone
October 1985 The Boys Next Door
November 8, 1985 Transylvania 6-5000
December 6, 1985 House
December 27, 1985 Making Contact
January 10, 1986 Black Moon Rising
February 1986 The Gladiator
February 14, 1986 Knights of the City
March 1986 The Aurora Encounter
March 14, 1986 Mountaintop Motel Massacre
April 1986 Star Crystal
April 18, 1986 Torment
May 2, 1986 No Retreat, No Surrender
May 30, 1986 Jake Speed
June 6, 1986 Not Quite Paradise US distribution only; produced by Acorn Pictures and Gilead
July 18, 1986 Vamp
August 22, 1986 Reform School Girls
August 29, 1986 Code Name: Wild Geese US distribution only
September 26, 1986 Shadow Play
October 17, 1986 Dancing in the Dark Distribution only; produced by Brightstar Films,
Film Arts, and Film House Group
October 24, 1986 Soul Man
December 19, 1986 Miss Mary
January 9, 1987 Return to Horror High
January 16, 1987 Wanted: Dead or Alive
February 20, 1987 Death Before Dishonor
February 27, 1987 Beyond Therapy
April 3, 1987 Nice Girls Don't Explode
May 1, 1987 Creepshow 2 co-production with Laurel Entertainment
May 1987 The Great Land of Small
August 28, 1987 House II: The Second Story
September 10, 1987 Hellraiser
October 23, 1987 The Killing Time
November 20, 1987 Flowers in the Attic
November 1987 Heart
December 25, 1987 Pinocchio and the Emperor of the Night Produced by Filmation
January 22, 1988 The Telephone
January 1988 Hell Comes to Frogtown
February 5, 1988 Sister, Sister
February 5, 1988 Slugs
April 8, 1988 18 Again!
April 22, 1988 Return of the Killer Tomatoes
May 6, 1988 Dead Heat
May 13, 1988 The Wrong Guys
September 2, 1988 Freeway
September 30, 1988 Elvira, Mistress of the Dark co-production with NBC Productions
November 10, 1988 Angel III: The Final Chapter
December 23, 1988 Hellbound: Hellraiser II co-production with Film Futures Troopstar
January 26, 1989 Felix the Cat: The Movie
January 27, 1989 Pin distribution only; produced by Image Organization,
Lance Entertainment, Malofilm, and Telefilm Canada
March 31, 1989 Heathers distribution only; produced by Cinemarque Entertainment
April 14, 1989 Under the Boardwalk
June 1989 Curfew
February 16, 1990 Revenge co-production with Rastar; distributed by Columbia Pictures
1990 Checkered Flag
January 1, 1991 Killer Tomatoes Eat France
January 11, 1991 Warlock produced by; distributed by Trimark Pictures
February 1, 1991 Meet the Applegates
April 25, 1991 The Punisher distributed in North America by Carolco Television
and Live Entertainment
August 25, 1993 Die Watching Final film from New World Pictures

Television programs

[edit]
Series
Title Original run Network Notes
Spider-Woman 1979-1980 ABC co-produced with DePartie-Frelang Enterprises and Marvel Comics Animation
Maximum Security 1984–1985 HBO co-production with Major H
Santa Barbara 1984–1993 NBC co-production with Dobson Productions
Crime Story 1986–1988 co-production with Michael Mann Productions
Sledge Hammer! ABC
Rags to Riches 1987–1988 NBC co-production with Leonard Hill Films
The Bold and the Beautiful 1987–present CBS International distributor for the first 9 seasons; produced and currently owned by Bell-Phillip Television Productions Inc.
Mariah 1987 ABC
Once a Hero co-production with Garden Party Productions
Tour of Duty 1987–1990 CBS co-production with Braun Entertainment Group
Distributed by Sony Pictures Television
The Wonder Years 1988–1993 ABC co-production with The Black-Marlens Company
Dino-Riders 1988 Syndicated Distribution only; produced by Marvel Productions
RoboCop
Murphy's Law 1988–1989 ABC co-production with Zev Braun Productions and Michael Gleason Productions
A Fine Romance 1989 co-production with Phoenix Entertainment Group
The Robert Guillaume Show co-production with Guillaume-Margo Productions
Tales from the Crypt 1989–1996 HBO U.S. distribution only; produced by Tales from the Crypt Holdings
Currently owned by Warner Bros. Television Studios
Rude Dog and the Dweebs 1989 CBS Distribution only; produced by Marvel Productions and AKOM
Zorro 1990–1993 The Family Channel co-production with Goodman/Rosen Productions, Ellipse Programme and Zorro Productions, inc.
Grand Slam 1990 CBS co-production with Bill Norton Productions
Elvis ABC
Bagdad Cafe 1990–1991 CBS co-production with Mort Lachman and Associates, Zev Braun Pictures and CBS Entertainment Productions
Currently owned by CBS Media Ventures
Top Cops 1990–1993 Distribution only; produced by Grosso-Jacobson Productions and CBS Entertainment Productions
Currently owned by CBS Media Ventures
Get a Life 1990–1992 Fox co-production with TriStar Television (season 2)
The Adventures of Mark & Brian 1991–1992 NBC co-production with Don Mischer Productions and Frontier Pictures for TriStar Television
Silk Stalkings 1991–1999 USA Network seasons 5–6 only; co-production with Stu Segall Productions and Cannell Entertainment
Charlie Hoover 1991 Fox co-production with Ian Gurvitz Productions and Brillstein-Grey Entertainment for TriStar Television
The Boys of Twilight 1992 CBS co-production with Echo Cove Productions for TriStar Television
Renegade 1992–1997 Syndication/USA Network seasons 3–5 only; co-production with Stu Segall Productions and Cannell Entertainment
Real Stories of the Highway Patrol 1993–1998 Syndicated seasons 1–4 only; co-production with Leap Off Productions and Mark Massari Productions
Paradise Beach 1993–1994 U.S. distribution only; produced and currently owned by Village Roadshow Pictures
Biker Mice from Mars 1993–1996 produced by Marvel Productions/New World Animation, Brentwood Television Funnies, Worldwide Sports & Entertainment, inc. and Philippine Animation Studios
Valley of the Dolls 1994 co-production with Take A Meeting Productions
Fantastic Four 1994–1996 produced by New World Animation, Marvel Films and Wang Film Productions/Philippine Animation Studios
Iron Man produced by New World Animation, Marvel Films and Rainbow Animation Korea
Spider-Man 1994–1998 Fox produced by New World Animation, Marvel Films and TMS-Kyokuchi Corporation
The Clinic 1995 Comedy Central
The Mark Walberg Show 1995–1996 Syndicated co-production with Four Point Entertainment
Strange Luck Fox co-production with MT2 Services and Unreality, Inc.
Weekly World News 1996 USA Network co-production with American Media, Inc. and MT2 Services
Second Noah 1996–1997 ABC co-production with Longfeather Entertainment and MT2 Services
Profit 1996 Fox co-production with Greenwalt/McNamara Productions and Stephen J. Cannell Productions
Big Deal co-production with Stone Stanley Productions
The Incredible Hulk 1996–1997 UPN Distribution only for season 1; produced by New World Animation and Marvel Films/Marvel Studios
Access Hollywood 1996–present Syndicated Distribution only for season 1; produced by NBC Studios
Miniseries
Title Release date Network Notes
Sins February 2–3, 1986 CBS
Monte Carlo November 9, 1986
Queenie May 10–11, 1987 ABC
Echoes in the Darkness November 1–2, 1987 CBS
Beryl Markham: A Shadow on the Sun May 15–17, 1988
Voices Within: The Lives of Truddi Chase May 20–21, 1990 ABC co-production with ItzBinso Long Productions and P.A. Productions
Stay the Night April 26–27, 1992 co-production with Stan Margulies Productions
Judith Krantz's Secrets July 22–29, 1992 GEMS co-production with Steve Krantz Productions
Murder in the Heartland May 3–4, 1993 ABC co-production with O'Hara-Horowitz Productions
Tom Clancy's Op Center February 26–27, 1995 NBC co-production with Jack Ryan Partnership and Moving Target Productions
Movies
Title Release date Network Notes
Playing with Fire April 14, 1985 NBC co-production with Zephyr Productions
Easy Prey October 26, 1986 ABC
Penalty Phase November 18, 1986 CBS
Poker Alice May 22, 1987
After the Promise October 11, 1987
The Incredible Hulk Returns May 22, 1988 NBC co-production with Bixby-Brandon Productions
The Secret Life of Kathy McCormick October 7, 1988
Goddess of Love November 20, 1988
The Hijacking of the Achille Lauro February 13, 1989 co-production with Spectacor Films and Tamara Asseyev Productions
Original Sin February 20, 1989
Peter Gunn April 23, 1989 ABC co-production with The Blake Edwards Company
The Trial of the Incredible Hulk May 7, 1989 NBC co-production with Bixby-Brandon Productions
Nick Knight August 20, 1989
False Witness October 23, 1989 co-production with Entertainment Professionals and Valente / Kritzer
Little White Lies November 27, 1989 co-production with Larry Thompson Organization
The Death of the Incredible Hulk February 18, 1990 co-production with B & B Productions
The Bride in Black October 21, 1990 ABC co-production with Barry Weitz Films and Street Life Productions
She'll Take Romance November 25, 1990
The Stranger Within November 27, 1990 CBS
In Broad Daylight February 3, 1991 NBC co-production with Force Ten Productions
Miles from Nowhere January 7, 1992 CBS
Moment of Truth: Cradle of Conspiracy May 2, 1994 NBC co-production with O'Hara-Horowitz Productions
XXX's & OOO's June 21, 1994 CBS co-production with John Wilder Nightwatch and Moving Target Productions
Moment of Truth: A Mother's Deception October 17, 1994 NBC co-production with O'Hara-Horowitz Productions
A Child Is Missing October 1, 1995 CBS co-production with Moore-Weiss Productions and Cannell Entertainment
The Surrogate October 22, 1995 ABC co-production with Moore-Weiss Productions and Cannell Entertainment
Generation X February 20, 1996 Fox co-production with MT2 Services, Inc., Marvel Films and Marvel Entertainment Group
Pilots
Title Release date Network Notes
X-Men: Pryde of the X-Men September 16, 1989 Syndicated Distribution only; produced by Marvel Productions
Ghost Writer August 15, 1990 Fox co-production with Rumar Films
Currently owned by Shamrock Holdings
Power Pack September 28, 1991 co-production with Marvel Enterprises and Paragon Entertainment Corporation
Moe's World July 19, 1992 ABC co-production for TriStar Television
The Best Defense June 19, 1995

Genesis Entertainment

[edit]

Storer Broadcasting/Rhodes Productions/Blair Entertainment

[edit]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

New World Pictures

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New World Pictures was an American independent film production and distribution company founded in 1970 by filmmaker and his brother Gene Corman, following their departure from , with a focus on low-budget exploitation, horror, and genre films. Under Corman's leadership until 1983, the company produced and distributed over 100 films, achieving profitability through quick-turnaround projects like its debut Angels Die Hard (1970) and early hits such as The Student Nurses (1970), which grossed $1 million on a $120,000 budget. Notable cult classics included Boxcar Bertha (1972, directed by Martin Scorsese), Caged Heat (1974), Death Race 2000 (1975, starring Sylvester Stallone), Hollywood Boulevard (1976), Piranha (1978, directed by Joe Dante), Rock 'n' Roll High School (1979, featuring the Ramones), and The Slumber Party Massacre (1982). To balance its genre output and appeal to broader audiences, New World also distributed acclaimed international art films in the U.S., including Ingmar Bergman's (1972), Federico Fellini's (1974), and Akira Kurosawa's (1977), which earned an Academy Award for Best Foreign Language Film. The company became renowned for nurturing emerging talent, providing early opportunities to directors like Scorsese, Dante, , and (whose Rabid and it distributed), as well as writers such as and artists including , who worked in its art department on (1980). In February 1983, sold New World Pictures for $16.5 million to investors Lawrence Kuppin, Harry E. Sloan, and Lawrence A. Thompson, retaining to his film library; the company then rebranded as New World Entertainment, shifting toward family-oriented content, television production, and before being acquired by Ronald Perelman's Andrews Group in 1989 and later by in 1997, after which its assets were integrated into .

History

Founding and Early Film Production (1970–1983)

New World Pictures was established on July 8, 1970, by filmmaker and his brother Gene Corman as an independent production and distribution company, following their departure from . The company was formed to give Corman greater creative and financial control over his projects, allowing him to produce and distribute low-budget films without relying on larger studios. From its inception, New World Pictures operated on a dual business model: producing exploitation films targeted at drive-in theaters and urban grindhouse audiences, while also acquiring and distributing international art films to broader U.S. markets. This approach enabled the company to balance quick-turnaround genre pictures with prestige imports, generating revenue through high-volume output and diverse exhibition channels. The debut production, Angels Die Hard (1970), set the tone for early releases. An early key film, The Student Nurses (1970), directed by Stephanie Rothman, exemplified this strategy by blending exploitation elements like sex and social issues with a modest budget of approximately $150,000. Subsequent key films included Boxcar Bertha (1972), a Depression-era crime drama directed by Martin Scorsese that incorporated social commentary on labor struggles, and Death Race 2000 (1975), a satirical dystopian action film by Paul Bartel featuring David Carradine, which critiqued media violence and authoritarianism through fast-paced, low-cost thrills. These productions emphasized rapid filmmaking—often completed in weeks—to capitalize on timely trends, launching careers for talents like Scorsese, Jonathan Demme, and Joe Dante. On the distribution side, New World secured U.S. rights to acclaimed foreign films, starting with Ingmar Bergman's (1972), which Corman acquired for $75,000 and marketed to art-house audiences despite its stark themes of family dysfunction and mortality. This was followed by Federico Fellini's (1974), a semi-autobiographical about that further established New World's reputation for bridging exploitation and arthouse cinema. By focusing on volume—releasing multiple titles annually—the company achieved consistent profitability, producing or distributing over 100 films by 1983 through efficient operations and targeted marketing. In January 1983, sold New World Pictures to entertainment lawyers Lawrence L. Kupin, Harry E. Sloan, and Larry A. Thompson for $16.5 million, ending his direct involvement and allowing him to focus on new ventures. This transaction marked the close of the company's foundational era, during which it had solidified its niche in independent filmmaking.

Diversification into Television and (1983–1992)

Following the 1983 sale of New World Pictures by founder to entertainment lawyers Lawrence L. Kupin, Harry E. Sloan, and Larry A. Thompson, the new ownership implemented a strategic pivot away from the company's earlier focus on low-budget exploitation films toward content and syndication to broaden revenue streams and appeal to mainstream audiences. Under leaders Ed Gradinger and in the newly formed New World Television division, the company emphasized prime-time and daytime programming, ranking as the third-largest supplier of network TV content by 1987 with 4.5 hours of primetime shows. This shift capitalized on syndication rights retention for international markets and ancillary income from videocassettes, using low-overhead co-financing models to mitigate risks in high-stakes productions. New World entered television production in 1984 with the launch of the daytime Santa Barbara, co-produced with Dobson Productions for , which became a flagship series running until 1993 and marking the company's first major network success after turning an initial $2.3 million deficit into a $3 million annual profit. Subsequent ventures included primetime family dramas like (1988–1993), co-produced with The Black-Marlens Company for ABC, which explored coming-of-age themes in a nostalgic 1960s–1970s setting and helped solidify New World's reputation for wholesome, relatable content. These efforts aligned with the owners' vision of diversifying beyond , briefly referencing the Corman-era legacy of genre movies only as a foundational library for ongoing syndication. Corporate structure evolved through targeted expansions, including the 1984 establishment of New World Video for distribution of its growing TV and film catalog, and acquisitions like the $50 million purchase of Marvel Entertainment Group in 1986, which brought as an animation subsidiary focused on family-oriented animated series. Further changes came in 1987 with the acquisition of educational film producer Learning Corporation of America and independent studio Highgate Pictures, prompting a rebranding to Entertainment to encompass its widened scope in TV, , and home entertainment beyond theatrical films. Mid-1980s financial pressures mounted due to aggressive expansion and box-office underperformance, leading to a cash decline of $107 million by late 1987 and a $29 million loss in early 1988 amid high debt from acquisitions. These challenges were addressed through selective project financing, such as co-production deals that shared costs and risks, alongside retaining syndication revenues from hits like Santa Barbara to stabilize operations without full-scale retrenchment.

Broadcasting Expansion and Acquisition (1992–1997)

This shift followed the company's entry into station ownership, beginning with the 1993 acquisition of a controlling stake in the bankrupt SCI Television group for approximately $100 million, which included seven VHF stations serving major markets. In 1993, New World Entertainment rebranded its operations to New World Communications to reflect its growing focus on alongside film and television production. Key examples among these were affiliate WAGA-TV in and WTVT in Tampa, providing New World with established outlets in high-revenue areas and access to valuable network affiliations. The broadcasting portfolio expanded rapidly through additional purchases, reaching 12 stations by 1995 and covering about 37% of U.S. television households. This growth included further acquisitions in markets such as (WJBK-TV) and others, enhancing New World's leverage in affiliation negotiations. In May 1994, New World secured a landmark multi-year affiliation agreement with the , converting most of its stations to Fox affiliates in exchange for a $500 million investment from Fox, including a 20% equity stake. The deal affected 12 stations across cities like , , , and , stripping affiliations from (eight stations), ABC (three), and (one), and significantly boosting New World's revenue through Fox's rising NFL broadcasts and prime-time programming. New World's independent era concluded with its acquisition by News Corporation, the parent of Fox, announced on July 17, 1996, in a $2.48 billion stock transaction. The deal integrated New World's 10 Fox-affiliated stations into Fox Television Stations, creating the largest U.S. station group with coverage of nearly 40% of households, while the production assets were absorbed into 20th Century Fox Television. The merger closed on January 22, 1997, dissolving New World Communications as an independent entity and marking the end of its standalone operations.

Film Productions

Exploitation and Genre Films

New World Pictures specialized in low-budget exploitation and during its early years, focusing primarily on horror, action, , and women-in-prison subgenres, with production costs typically kept under $1 million to maximize profitability through drive-in and theaters. These films capitalized on timely pop culture trends, such as parodies of blockbusters, while adhering to the company's model of rapid production and niche marketing. Under founder Roger Corman's guidance, New World employed efficient production techniques emphasizing speed and resourcefulness, including shooting schedules of just two to three weeks per film and the reuse of sets, props, and costumes across multiple projects to minimize expenses. This approach allowed the studio to produce a high volume of content, often shot on practical locations or modest soundstages, fostering an improvisational style that prioritized energetic storytelling over polished aesthetics. Among the company's standout entries in the women-in-prison genre was (1974), directed by in his feature debut, which became a surprise hit by blending exploitation tropes with satirical elements critiquing institutional abuse, grossing modestly but establishing the subgenre's viability for New World. The horror-comedy (1978), a direct riff on Jaws, exemplified the studio's knack for timely spoofs; produced on a $660,000 budget, it earned approximately $3 million domestically through its blend of gore and humor, achieving cult status for practical effects like animatronic fish.) Science fiction efforts included (1980), Corman's most ambitious genre outing at $2 million, which homaged Star Wars with a ragtag team of pilots defending a planet; despite its relatively higher cost, it recouped with $11 million in worldwide earnings, praised for innovative model work and on a shoestring. Musical action-comedy (1979) further highlighted New World's commercial success, grossing over $6 million on a sub-$1 million budget by incorporating energy from The Ramones and appealing to youth audiences with its rebellious high school rebellion plot, earning enduring acclaim for its irreverent tone and . These films often received mixed critical reviews for their formulaic elements but gained retrospective appreciation for resourceful filmmaking that punched above its weight in visual spectacle and . New World Pictures also served as a launching pad for emerging talent, with directors like honing their craft on projects such as Fighting Mad (1976), an action thriller about rural that showcased his empathetic character work amid exploitation violence. Similarly, actors including broke through in Death Race 2000 (1975), a dystopian action satire where he played a ruthless driver, helping to build his early career momentum before mainstream stardom. By the mid-1980s, as New World shifted toward and higher-profile distributions, its exploitation output declined, though these genre films left a lasting imprint on independent cinema.

Art Film Distributions and Later Works

In the early 1970s, New World Pictures expanded its portfolio by partnering with international producers to distribute acclaimed to American audiences, marking a strategic pivot from its exploitation roots to bolster the company's prestige and revenue streams. This initiative began with the acquisition of Ingmar Bergman's in 1972, a visually striking about family anguish and mortality that Corman secured for $75,000 and which ultimately generated $2 million in theatrical rentals. The move surprised industry observers, as New World—known for low-budget genre fare—positioned itself as a conduit for high-art foreign films, leveraging partnerships with European distributors to bring works by renowned to U.S. theaters. Key releases under this strategy included Perry Henzell's Jamaican reggae crime drama The Harder They Come in 1973, which introduced American viewers to a vibrant countercultural soundtrack and narrative, and René Laloux's animated science-fiction allegory Fantastic Planet later that year, both broadening New World's appeal to niche audiences. The following year, 1974, saw the U.S. distribution of Federico Fellini's semi-autobiographical Amarcord, a lush portrayal of Italian provincial life that earned the Academy Award for Best Foreign Language Film in 1975 and further validated New World's curatorial eye. These selections highlighted a focus on critically lauded international titles capable of attracting awards attention and cult followings. New World's distribution model for these art films emphasized limited theatrical runs in urban art house cinemas and drive-ins, supplemented by non-theatrical outlets such as airlines, hospitals, and educational institutions through partnerships like Films, Inc., before transitioning to to extend profitability. This approach allowed modest acquisitions to yield substantial returns, as seen with , which garnered five Academy Award nominations, including Best Picture, and a win for Best Cinematography for . Similarly, benefited from targeted marketing that capitalized on Fellini's reputation, contributing to its Oscar success and helping New World earn recognition for elevating films in the U.S. market. As the decade progressed, New World faced challenges in balancing these prestige art distributions with its commercial exploitation imperatives, including seasonal revenue fluctuations from October to May and initial skepticism from theaters about the viability of subtitled imports. To navigate this, the company pursued hybrid projects that blended artistic ambition with broader appeal, though the tension often led to selective releases prioritizing profitability. By the late 1980s, post-1983 diversification efforts shifted toward higher-budget genre entries like Barker's in 1987, a financed at around $1 million that marked an upscale evolution in production values while retaining New World's genre expertise.) This trajectory culminated in the early with more mainstream-leaning productions amid corporate changes, including the thriller Die Watching in 1993, New World's final film release before its acquisition and restructuring. Die Watching, a erotic suspense tale starring , exemplified the company's late emphasis on accessible, video-market-driven content over pure arthouse pursuits.

Television Productions

Key Series and Formats

New World Television's entry into daytime programming was marked by the soap opera Santa Barbara, which premiered on NBC on July 30, 1984, and ran for 2,137 episodes across nearly nine years until January 15, 1993. This series exemplified the classic soap format with its serialized storytelling centered on the affluent Capwell and Lockridge families in a coastal California setting, featuring intricate plots involving romance, betrayal, and family intrigue that unfolded through daily episodes. Known for its bold narrative risks, such as rapid character deaths and resurrections, Santa Barbara garnered critical acclaim for its dramatic depth and earned 24 Daytime Emmy Awards, including sweeps in categories like outstanding drama series, writing, and acting in 1989 alone. At its peak in the late 1980s, the show ranked around 5-6 in Nielsen ratings, though it often ranked lower in overall Nielsen ratings compared to rivals like General Hospital. In primetime, New World Television produced family-oriented dramas that blended and coming-of-age themes, most notably The Wonder Years, which aired on ABC from January 31, 1988, to May 12, 1993, spanning six seasons and 115 episodes. Narrated by an adult Daniel Stern reflecting on his childhood as Kevin Arnold (played by ), the series used a half-hour anthology-style format to explore suburban life, touching on social changes, first loves, and personal growth with a mix of humor and heartfelt reflection. It became a cultural touchstone for evoking baby boomer and received the Primetime Emmy Award for Outstanding Comedy Series in 1988, along with multiple nominations for outstanding writing in subsequent years. New World also ventured into diverse formats, including animation through its 1986 acquisition of Marvel Productions (rebranded as New World Animation in 1993) and sitcoms that highlighted quirky ensemble dynamics. For instance, the stop-motion animated series Spider-Man: The Animated Series (1994–1998), produced under New World's animation arm for , featured 65 episodes of action-adventure storytelling following the web-slinger's battles against villains in a serialized format with cliffhangers and character development. This animation division also produced other notable series like : The Animated Series (1992–1997). In live-action sitcoms, Get a Life (1990–1992 on ) offered a 30-minute absurd comedy format centered on a 30-year-old paperboy's misadventures, starring and emphasizing satirical humor over traditional family setups. These productions showcased New World's adaptability across genres, from high-concept animation to offbeat comedy. Key to New World's television success were production innovations like in-house studios that streamlined operations and reduced costs, allowing for efficient multi-season runs, as seen in the extended syndication deals for shows like Santa Barbara that prolonged their availability beyond network schedules. These strategies not only supported creative risks but also contributed to the company's growth in the competitive 1980s and 1990s TV landscape.

Syndication and Production Arms

New World's syndication infrastructure expanded significantly in the early through strategic acquisitions that bolstered its first-run distribution capabilities. In May 1993, Ronald O. Perelman, whose Andrews Group controlled Communications, acquired a 50% stake in Genesis Entertainment, a syndication firm specializing in first-run programming. By 1994, New World had assumed full ownership of Genesis, integrating it as a key arm for domestic syndication and leveraging models, where producers traded ad spots to stations in exchange for airing rights, to generate revenue from shows like those in the Stephen J. Cannell library following New World's $30 million purchase of Cannell Entertainment in 1995. The 1993 merger of with SCI Television further strengthened its syndication portfolio by incorporating assets from Storer Communications, acquired by SCI in 1987, including Blair Entertainment as its dedicated syndication unit for local markets. Originally founded as Rhodes Productions in 1970 by Jack E. Rhodes and rebranded under Blair in 1983 after acquisition by John Blair & Company, this arm focused on game shows and specials in the late 1980s and early 1990s, producing titles such as (1984–1993) and Break the Bank (1985). Post-integration, Blair's library supported localized distribution across 's expanding broadcast holdings, enhancing packaging and clearance for off-network content. New World's syndication efforts extended internationally through its production arm, New World Television, which handled global sales for key series. For instance, the soap opera Santa Barbara (1984–1993), New World's inaugural network production, was distributed to over 40 countries, achieving notable longevity in markets like where it aired from 1992 to 2002. This international reach, combined with domestic barter-driven deals, positioned New World as a major player in packaging programming for broad market clearance, though specific market counts varied by title.

Broadcast Assets

Owned Television Stations

In 1993, New World Communications, the broadcasting subsidiary of New World Pictures, acquired seven television stations from the bankrupt SCI Television Inc. for approximately $100 million plus assumed debt, marking its entry into station ownership. These stations included CBS affiliates WAGA-TV in and WJBK-TV in , as well as NBC affiliate KNSD-TV in and independent station WSBK-TV in , providing coverage in several top-20 markets. The acquisition also encompassed WJW-TV in , WITI-TV in , and CBS affiliate WTVT-TV in Tampa (acquired by SCI from Gillett Holdings for $163 million shortly before New World's purchase of SCI), to complete the group. The portfolio expanded significantly in 1994 through the $717 million purchase of Argyle Television Holdings, adding four more stations: ABC affiliate KTVI-TV in , CBS affiliate KTBC-TV in Austin, ABC affiliate WVTM-TV in Birmingham, and independent KDFW-TV in . Later that year, New World bought four stations from Great American Communications for $360 million, including ABC affiliate WBRC-TV in Birmingham, ABC affiliate WGHP-TV in Greensboro–Winston-Salem–High Point, North Carolina, independent KSAZ-TV in Phoenix, and NBC affiliate WDAF-TV in Kansas City, bringing the total to 15 stations before divestitures to comply with FCC ownership limits. By 1995, after selling off assets like WSBK-TV in to Viacom, the group stabilized at 12 stations, enhancing its reach to about 37% of U.S. households and focusing on major markets. During its ownership from 1993 to , New World invested heavily in operational enhancements across its stations, particularly in expanding departments to boost ratings and revenue ahead of affiliation shifts to . For instance, stations like WAGA-TV and upgraded facilities and programming, with investments exceeding $50 million group-wide in news production and technology to support syndicated content and broadcasts. These efforts included early preparations for transitions, positioning the stations for the FCC's digital rollout mandate, though full implementation occurred post-acquisition. By 1996–1997, as part of its exit from broadcasting, New World sold most of its stations to News Corporation (Fox's parent) for $2.48 billion in stock, including the core Fox affiliates like WAGA-TV, WTVT-TV, WJBK-TV, WBRC-TV, and WGHP-TV, which became key owned-and-operated outlets for the network. Remaining assets, such as WVTM-TV in Birmingham and KNSD-TV in San Diego, were divested to NBC for $425 million, while select properties were sold in restructuring deals to avoid regulatory conflicts.

Network Affiliations and Deals

New World Communications, the television division of New World Pictures, maintained a diverse portfolio of network affiliations prior to its strategic pivot in the mid-1990s, with its owned stations aligned to the major broadcast networks ABC, , and . For instance, in Tampa was affiliated with until the affiliation switch in December 1994. This mix reflected the company's focus on acquiring high-value VHF outlets in key markets, which provided stable revenue from network compensation and advertising during the early 1990s. The pivotal shift occurred with the 1994 affiliation pact between New World Communications and , announced on May 23, 1994, which involved exclusive affiliation agreements for 12 stations owned or soon to be acquired by New World. Under the terms, eight affiliates—including WAGA-TV in , WJW-TV in , WJBK-TV in , WITI-TV in , and WTVT-TV in Tampa—along with three ABC affiliates and one affiliate, would switch to Fox, dramatically expanding the network's reach into top-30 markets. The deal included a $500 million investment from Fox's parent company, , with half allocated to non-voting convertible to common shares, and provisions for on programming and , alongside collaborative development of syndicated content, primetime series, and films. This arrangement not only secured Fox's programming for the stations but also positioned New World to capitalize on the upstart network's growth. Negotiations for the pact were conducted in secrecy and leveraged the high market value of New World's VHF stations in major cities, which were prized assets amid the turbulent 1990s network landscape. The deal was catalyzed by Fox's aggressive expansion following its December 1993 acquisition of NFC rights to NFL games for $1.58 billion over four years, a move that elevated Fox's status and made affiliations more lucrative despite the network's limited primetime schedule at the time. New World executives, led by chairman Ronald Perelman, used the stations' strategic locations and audience potential to extract favorable terms, including the equity stake and programming partnerships, as traditional networks like CBS faced declining leverage from cost-cutting and rights losses. This realignment, part of a broader 1994–1996 affiliation shakeup, allowed New World to negotiate from strength, transforming its stations into cornerstones of Fox's national footprint. The affiliation switch had significant operational impacts on New World's stations, particularly mandating expanded local news production to fill the non-networked portions of the broadcast day. With Fox providing only weekend primetime and limited weekday evenings initially, stations like WAGA and WTVT committed to bolstering newsrooms, investing in extended morning, evening, and late-night newscasts to retain viewers and advertisers. This shift aligned with Fox's strategy to emphasize local content, resulting in upgraded facilities and talent acquisitions across the group, which enhanced ratings in key demographics and supported revenue growth. Following News Corporation's acquisition of the remaining 80% stake in New World Communications, finalized on January 22, 1997, for approximately $2.48 billion in stock, the affiliation agreements were seamlessly transferred to the subsidiary. This integration preserved the exclusive Fox pacts without disruption, enabling continued and programming synergies under unified ownership, while the stations retained their operational autonomy in local matters.

Legacy

Cultural and Industry Influence

New World Pictures significantly shaped the landscape of independent filmmaking by pioneering low-budget exploitation and horror genres, which inspired subsequent generations of cost-conscious genre cinema. Under Corman's leadership, the company produced a series of cult classics that blended B-movie aesthetics with innovative storytelling, such as and , fostering a model for indie horror that emphasized quick production and bold visuals. This approach influenced modern low-budget filmmakers by demonstrating how limited resources could yield commercially viable and culturally resonant works, with alumni like contributing visual effects to (1980) and crediting the experience as a formative step toward his blockbuster career. Following Roger Corman's death on May 9, 2024, at age 98, retrospectives highlighted New World Pictures' pivotal role in his legacy of nurturing independent filmmakers. In television, New World Television elevated syndication formats through successful soaps and family-oriented series, contributing to the expansion of prime-time programming in the late 1980s and 1990s. Productions like the long-running soap Santa Barbara (1984–1993) exemplified the company's role in crafting accessible, dramatic content that thrived in syndication, influencing network strategies for serialized storytelling and audience retention during the era's shift toward diversified TV markets. By 1987, New World had risen to become the third-largest producer of prime-time series for networks, helping to professionalize independent TV production and syndication models that became staples of 1990s broadcasting. The company's industry innovations lay in its cost-effective production models, which prioritized emerging talent and streamlined workflows to minimize expenses while maximizing output, a blueprint adopted by later studios for independent filmmaking. New World's distribution arm also played a key role in enhancing art film accessibility by bringing international works, including Ingmar Bergman's films, to American audiences, broadening exposure to global cinema beyond major studios. These practices not only democratized but also influenced broader media economics by proving that low-overhead operations could compete profitably in both domestic and international markets. Critically, New World Pictures has been praised in retrospectives for its eclectic output, with outlets like Filmink hailing it as one of Hollywood's most beloved studios for launching cult favorites that captured the era's rebellious spirit. Its films garnered a dedicated , amplified by home video releases that introduced titles like and to new generations of fans, sustaining their cultural relevance through niche appreciation and repeated viewings. New World's enduring talent legacy is evident in its role as a launchpad for over a hundred filmmakers and actors, many of whom became industry luminaries after honing their skills on its productions. Directors such as , , and credited New World with providing essential early opportunities, while actors including , , , and achieved breakthroughs in its films, establishing the company as an informal "" that propelled diverse careers forward.

Successors and Archival Impact

Following the completion of News Corporation's $2.48 billion acquisition of Communications in January 1997, the company's television production and distribution operations were folded into 20th Century Fox Television. The owned television stations, numbering 10 at the time of the deal and reaching nearly 40% of U.S. households when combined with Fox's existing portfolio, were integrated into to bolster the network's market dominance, particularly for broadcasts. This consolidation created one of the largest station groups in the country, with ownership in 11 of the top 12 television markets. In March 2019, The Walt Disney Company's $71.3 billion acquisition of major assets brought New World's former production operations under Disney's umbrella, integrating them into (now part of ). The television stations, however, remained with the newly formed as owned-and-operated outlets. New World's film library has fragmented ownership, with pre-1983 titles largely managed through Corman's retained rights and subsequent sales, while post-1983 productions are held by entities including and Shout! Factory, which has undertaken DVD and digital releases of select titles. As of 2025, several New World Pictures s, particularly in the horror and exploitation genres, are available for streaming on platforms like , facilitating broader access to the catalog. The international distribution arm, New World International, was absorbed into Fox's global operations following the 1997 acquisition. New World's emphasis on low-budget, genre-driven independent filmmaking has echoed in the strategies of contemporary studios like , which similarly prioritize auteur-driven projects and niche distribution models. Despite these efforts, preservation challenges persist, as many early New World films from the 1970s remain unrestored in high definition, prompting advocacy from film archivists for comprehensive digital remastering to prevent further degradation of original negatives.

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  52. https://www.theringer.com/2018/12/13/nfl/nfl-fox-deal-rupert-murdoch-1993-john-madden-terry-bradshaw-howie-long-jimmy-johnson-cbs-nbc
  53. https://www.tdogmedia.com/2019/05/the-deal-heard-around-the-world.html
  54. https://ultimatepopculture.fandom.com/wiki/New_World_Pictures
  55. https://www.avclub.com/roger-corman-s-low-budget-studio-gave-us-more-than-just-1844328834
  56. https://www.slashfilm.com/1623941/james-cameron-roger-corman-sci-fi/
  57. https://www.filmink.com.au/top-ten-corman-part-eight-cormans-studios/
  58. https://www.rogerebert.com/mzs/roger-cormans-greatest-legacy-was-giving-so-many-people-their-big-break
  59. https://thewaltdisneycompany.com/disneys-acquisition-of-21st-century-fox-will-bring-an-unprecedented-collection-of-content-and-talent-to-consumers-around-the-world/
  60. https://www.reuters.com/article/world/disney-closes-71-billion-acquisition-of-twenty-first-century-foxs-assets-idUSKCN1R11US/
  61. https://theflagshipeclipse.com/2025/08/23/10-great-horror-movies-on-tubi-you-didnt-know-were-streaming/
  62. https://www.joblo.com/roger-corman-tribute/
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