MichaelB and dwk seem correct on this. Perry Martin and Richard Rubinstein talk about the distribution of Dawn of the Dead at the beginning of the producer's commentary over the extended cut in that four disc "Ultimate Edition" DVD set that Anchor Bay put out in the mid 2000s. The film was a co-production between Rubinstein and the Italian consortium of Claudio Argento, Alfredo Cuomo and Dario Argento:
RR:...we basically, I don't want to sound too Hollywood, but we divided up the world
PM: I see, in terms of distribution?
RR: Yes. Alfredo, Claudio and Dario represented "the foreign group"
PM: And that would include Asia as well?
RR: Yes, that would include...to oversimplify it we kept the English language world and they got everything else, with the exception of Latin America which was also part of our territories rather than theirs. That was the foreign language exception. And that arrangement stands to this day, and Alfredo, Claudio, Dario, their group, continue to distribute the movie, and the movie still continues to get distributed on our side in our territories.
PM: And of course they cut an alternate version of the film
RR: Well, yes. Dario cut a version of it, and they had the right to do that, that he felt reflected more of what I'll call, let's call it an "Italian sensibility" or a foreign sensibility, which was in theory he was taking out some of the valleys or slower moments in the film that he felt for a foreign audience that they would lose it because of the dialogue and there was slang or whatever. Or just the fact that there was dialogue at all. Even today there is a certain predisposition that movies are easier to distribute to foreign territories if they have less dialogue and more action. They travel well because you do not have to worry about translation subtleties or looping. So Dario's version was 2:01 out of our 2:06
There's a story that goes with that in terms of the UK which is that initially it was a territory that was going to stay with the Italians. It was the other exception. I cannot remember what came up but we renegotiated something and England became theirs in terms of the amount of the advance and ours after that. Of course the expectation was that there was going to be an advance and then there would be nothing after that! It did not turn out that way. In the course of things the UK distributor Neil Agran and his company bringing the film in they had to put it through the censor, which was a guy named James Ferman, and James basically looked at Dario's version which was the version which was submitted, and he wanted to take thirty minutes out, which would have been a catastrophe. It would not have been the same movie. We then submitted to him the 2:06, the US theatrical release version, and he only wanted to take out a minute or two. The difference he said was that he now understood the motivation. This was not gratuitous violence and it had a context, and it was that context that Dario had taken out which for an English language viewer certainly was important.
PM: Are you talking about the satirical content?
RR: No, I'm not. What I'm saying is that the five minutes that Dario took out, which I'll call the valleys without being specific, took away for Ferman what he saw as justification for some of the scenes that he initially thought were gratuitous in terms of violence and they gave him a character rationale that Dario had sliced away for the 'pure action' audience.
Interestingly it has been the even longer 2:17 'extended Cannes version' (which I prefer with the even longer longeurs!) that is the only one that has been shown on UK television by the BBC so far. Albeit with certain edits made.