Universal-International Pictures

Background
In 1946, Universal Pictures merged with International Pictures, headed by Leo Spitz and William Goetz. This team ran the newly-formed Universal-International Pictures, while Nate Blumberg and J. Cheever Cowdin remained at the helm of Universal Pictures, the parent company.

Universal-International underwent significant expansion, with Goetz at the helm. One major move was taking on the American distribution of J. Arthur Rank's British productions, including critically acclaimed films like David Lean's Great Expectations and Laurence Olivier's Hamlet. The studio also ventured into the non-theatrical market, acquiring home-movie dealer Castle Films and offering "highlights" reels from its film library for home-movie enthusiasts and collectors. Additionally, Universal-International licensed its pre-Universal-International film library to Realart Pictures for cinema re-release, but stipulated that the films could not be shown on television. In 1948, Universal-International ordered the destruction of all remaining silent film copies to collect the silver nitrate after World War II ended.

Despite its expansion efforts, the production arm of the studio struggled to produce hits at the box office. By the late 1940s, Goetz was replaced and the studio returned to its roots of producing low-budget and series films. This included Ma and Pa Kettle, a spin-off of the 1947 hit The Egg and I, and Francis, which is about a talking mule. Abbott and Costello remained a top-grossing production for the studio, with Abbott and Costello Meet Frankenstein being one of its most successful films. However, after Rank lost interest, his shares were sold to investor Milton Rackmil, whose Decca Records took full control of Universal in 1952. The studio retained the Walter Lantz cartoon studio, which released its products alongside Universal-International's films.

In 1962, Music Corporation of America (MCA) purchased Decca Records and with it, Universal-International Pictures, leaving Milton Rackmil and Edward Muhl in charge, while Dr. Jules Stein (Board Chairman) and Lew Wasserman (President) guiding MCA. As a result of a consent decree with the justice department, MCA divested itself of its talent agency business. This led to Universal-International being renamed into the current Universal Pictures.

Logo (August 28, 1946-April 19, 1964)
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Visuals: On a space background, a model globe rotates. Superimposed onto the globe are the words "Universal International" (in white for B&W films or yellow-orange for color films) in a italic Roman font, with the letters "U" and "I" bigger than the rest of the letters.

Variants:
 * There are widescreen and color versions of the logo.
 * CinemaScope films have the starfield looking more different, and the company name is larger and more stretched.
 * In Germany, the chyroned extra text "IM UNIVERSAL FILMVERLEIH INC" appears in white circles around the globe. This exists in both B&W and color.
 * On It Came From Outer Space, the logo has a 3D effect and the stars "shine".

Byline: Later on, the credit "EDWARD MUHL, IN CHARGE OF PRODUCTION" would appear in the lower-left corner.

Closing Variant: Same as above, but the text reads "A Universal-International Picture".

Technique: Live-action.

Audio: None or the opening theme of the movie.

Audio Variant: On some films such as The Egg and I and The Naked City, the bell theme from the International Pictures logo is used.

Availability:
 * Again, seen on Universal International releases of the period.
 * Sometimes, the 11th logo would precede it on later releases of movies from the period (like the DVD release of To Kill a Mockingbird).
 * It is also preserved on the Magnetic Video release of Blood of the Vampire.
 * It appeared on original prints of Horror of Dracula (released as simply Dracula in the UK), but video releases either remove it or plaster it with the 1984 Warner Bros. Pictures logo.
 * However, the 2018 Warner Archive Blu-ray release restores this.
 * It can also be seen on all releases of Mystery Science Theater 3000: The Movie at the beginning of This Island Earth as Mike, Tom Servo and Crow enter the theater. It also appears in Amazon Women on the Moon at the beginning of the titular film-within-a-film.
 * The CinemaScope variant, aside from films shot in CinemaScope, can be also seen on US prints of King Kong vs. Godzilla as well.