Referencing the work of historian Lea Jacobs, Naremore describes how the line between A and B movies was "ambiguous and never dependent on money alone." Films shot on B-level budgets were occasionally marketed as A pictures or emerged as sleeper hits: One of 1943's biggest films was "Hitler's Children", an 82-minute-long RKO thriller made for a fraction over $200,000. It earned more than $3 million in rentals, industry language for a distributor's share of gross box office receipts. The violent "Dillinger" (1945), made for a reported $35,000, earned Monogram more than $1 million for the first time. A pictures, particularly in the realm of film noir, sometimes echoed visual styles generally associated with cheaper films. Between November 1941 and November 1943, Dore Schary ran what was effectively a "B-plus" unit at MGM. Programmers, with their flexible exhibition role, were ambiguous by definition, leading in certain cases to historical confusion. As late as 1948, the double feature remained a popular exhibition mode—it was the standard screening policy at 25 percent of theaters and used part-time at an additional 36 percent. The leading Poverty Row firms began to broaden their scope: In 1947, Monogram established a subsidiary, Allied Artists, as a development and distribution channel for relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under the "Premiere" rubric. In 1947 as well, PRC was subsumed by Eagle-Lion, a British company seeking entry to the American market. Warners' (and Fox's) former Keeper of the B's, Brian Foy, was installed as production chief.