Cinema of Argentina
This article needs additional citations for verification. (December 2008) |
Cinema of Argentina | |
---|---|
No. of screens | 792 (2011)[1] |
• Per capita | 2.2 per 100,000 (2011)[1] |
Main distributors | United International Pictures 23.7% The Walt Disney Company 22.4% Warner Bros. 16.2%[2] |
Produced feature films (2005–2009)[3] | |
Total | 52 (average) |
Number of admissions (2012)[4] | |
Total | 46,386,856 |
National films | 4,347,481 (9.4%) |
Gross box office (2012)[4] | |
Total | ARS 1.31 billion |
National films | ARS 111 million (8.5%) |
Cinema of Argentina refers to the film industry based in Argentina. The Argentine cinema comprises the art of film and creative movies made within the nation of Argentina or by Argentine filmmakers abroad.
The Argentine film industry has historically been one of the three most developed in
Argentina has won eighteen
History
The beginning
In 1896, French photographer
Lepage then imported the first French cinematographic equipment into the country and though
Early developments
Several Argentine artists continued to experiment with the new invention, making news shorts and documentaries.
The
Directors such as
In 1926, Ferreyra released
Towards the end of the decade, directors such as
1930s–1950s: The Golden Age
- List of Argentine films:1930s
In 1930,
In 1931,
The first disc-less sound film was
Other films included:
Manuel Romero was a prominent director of the mid-to-late 1930s and worked in comedy based films often with rising Argentine star Luis Sandrini in films such as Don Quijote del altillo. Romero was also a tango lyricist, one of the creators of magazine theatre and playwright that wrote more than 180 plays. He directed more than 50 films in total, most of which based on his own plot and composed the music with a tango film.
The film industry in Argentina reached a pinnacle in the late 1930s and 1940s when an average of forty-two films were produced annually. The films usually included tango, but even when a tango theme was omitted most cinema from this period still included humble heroes and wealthy villains.[11] In these films, it portrayed hard work and poverty as ennobling and depicted the poor as the primary beneficiaries of Juan Perón's economic policies. These films, in part supported by Perón, were seen as part of the political agenda of peronism.[11] By supporting a film industry that attacked greed and supported the working class, Perón was able to influence the attitudes of his constituency to build public appeal.[11]
The growing popularity of the
Among the era's most successful films were: Historia de una noche,
In 1958, the film
The horror genre, little explored by Argentine film-makers, was explored by Argentine director Narciso Ibáñez Menta.
Television, as in the United States, began to exert pressure on the film market in the 1950s; on the air since the 1951 launch of Channel 7 (public television), Argentine television programming is the oldest in Latin America.
First "New Cinema"
Since the late 1950s a new generation of film directors took Argentine films to international film festivals. The first wave of such directors was
Directors such as Tulio Demicheli and Carlos Schlieper began to emerge who often both wrote and directed them. A second generation that achieved a cinematographic style were José A. Martínez Suárez, Manuel Antín and Leonardo Favio.
1960s and 1970s
The trend towards
Nostalgia was captured by
"During the early 1970's, Argentina came apart. Government repression was met by insurrections and terrorism. Solanas and Getino contributed by filming two documentary interviews with the exiled Peron. They also founded a magazine, Cine y liberacion. Getino directed El Familiar (1972), an allegorical fiction feature on the destiny of Latin America. Other film makers continued to make Peronist films, and ultra-left groups such as Cine de Base emerged."[20] "In 1976, this period of militant documentary and cinematic innovation was violently ruptured by the murder/disappearance of three documentary filmmakers by the Argentine military: Gleyzer, Pablo Szir and Enrique Juarez."[21]
Heavily censored from 1975 until about 1980, Argentine film-makers generally limited themselves to light-hearted subjects. Among the productions during that era was
Early 1980s
Following a loosening of restrictions in 1980,
Post junta cinema
A new era in Argentine cinema started after the arrival of democracy in 1983; besides a few memorable exceptions like Alejandro Doria's family comedy Esperando la carroza ("Waiting for the Hearse", 1985), the era saw a marked decline in the popularity of slapstick comedies towards films with more serious undertones and subject matter.
The first group deals frankly with the repression, torture and the disappearances during the
Among films dealing with past abuses, one German-Argentine co-production that also deserves mention is
A second group of films includes portrayals of exile and homesickness, like
This can also be said of treatments of controversial literature and painful 19th century history like
Contemporary cinema
1990s
The 1990s brought another New Argentine Cinema wave, marked by classical cinema and a twist from Independent Argentine Production.
In 1991, Marco Bechis'
Later in the 1990s, the focus began to shift towards Argentina's mounting social problems, such as rising homelessness and crime.
Having an intense past and rich cultural heritage to draw on, directors continued to reach back with moody period pieces like
Political history was re-examined with films like
Popular culture had its turn on the Argentine screen. Alejandro Doria's Cien veces no debo ("I Don't Owe You Forever," 1990) took an irreverent peek into a typical middle-class Argentine home,
," 1996) is an inventive ode to two standards of Argentine culture.2000s
Films such as
Always politically active, Argentine film continues to treat hard subjects, like Spanish director
Responding to its sentimental public, Argentine film at times returns to subjects of the heart.
Buffeted by years of economic malaise and encroachment of the domestic film market by foreign (mainly, US) titles, the Argentine film industry has been supported by the 1987 creation of the National Institute of Cinema and Audioviual Arts (
The decade ended on a high with the 2009 film
2010s
In 2014, the
Argentine films
- For an A-Z list of Argentine films currently on Wikipedia see Category:Argentine films.
- For a timeline of Argentine films see List of Argentine films
Argentine film companies
- EMB Entertainment, Corp. / Contrakultura
- Aleph Producciones
- Aqua Films
- Argentina Sono Film
- Aries Cinematográfica Argentina
- BD Cine
- INCAA
- Patagonik Film Group
- Pol-ka
Argentine scenographers
See also
- The 100 Greatest Films of Argentine Cinema
- Cinema of the world
- Argentine Academy of Cinematography Arts and Sciences Awards
- Argentine Film Critics Association Awards
- Buenos Aires International Independent Film Festival
- Cinenacional.com
- Clarín Awards
- Grupo Cine Liberación
- Mar del Plata International Film Festival
- World cinema
References
- ^ a b "Table 8: Cinema Infrastructure – Capacity". UNESCO Institute for Statistics. Archived from the original on 25 December 2018. Retrieved 5 November 2013.
- ^ "Table 6: Share of Top 3 distributors (Excel)". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
- ^ "Average national film production". UNESCO Institute for Statistics. Archived from the original on 25 December 2018. Retrieved 5 November 2013.
- ^ a b "Estadísticas Culturales". Sistema de Información Cultural de la Argentina. Archived from the original on 2 April 2015. Retrieved 22 March 2015.
- ISBN 0520043049
- ^ Argentina – Cultura – Cine Archived 16 December 2008 at the Wayback Machine (Spanish) by Argentina.ar Archived 25 December 2015 at the Wayback Machine, 16 October 2011
- ^ "Argentina Industry Crisis: Local Biz Fearful Ahead Of "Devastating" Reforms; Almodóvar, Iñárritu, Justine Triet & More Sign Letter Condemning Far Right Leader's Plan To Scrap State Film Funding". Deadline.
- ^ "Argentina's Far-Right Leader Scraps Plan To Gut State Film Funding". Deadline.
- ^ Equipo Editorial (28 July 2014). "Argentine Cinema History (1896–1945)". El Sur del Sur. Retrieved 30 October 2017.
- ^ "The movie industry in Argentina". Travelsur.net. Retrieved 29 January 2015.
- ^ ISBN 978-0822347385.
- ISBN 978-0415898546. Retrieved 26 October 2013.
- ^ a b Papic, Diego (26 October 2008). "El tronar de la Coca en Mendoza". Estilo (in Spanish). Los Andes. Archived from the original on 22 October 2013. Retrieved 19 October 2013.
- ^ a b c "A 50 años del debut de Isabel Sarli en el cine". Perfil (in Spanish). 1 October 2008. Archived from the original on 23 March 2016. Retrieved 19 October 2013.
- ^ Papic, Diego (1 October 2008). "La noche en que nació el mito". Clarín (in Spanish). Retrieved 19 October 2013.
- ^ "La saga de los Bó". Rolling Stone Spain (in Spanish). 24 July 2013. Archived from the original on 20 October 2013. Retrieved 19 October 2013.
- Página/12(in Spanish). Retrieved 20 October 2013.
- ^ The News and Courier. Retrieved 26 October 2013.
- ^ a b [1] Archived 24 December 2011 at the Wayback Machine
- ^ Bordwell, David and Thompson, Kristen. (2003) "Film History An Introduction". New York, NY: McGraw-Hill Company Inc. P. 545.
- ^ Shpuntoff, Richard. "Politics and Poetics: A Brief History of Argentine Documentary Cinema | International Documentary Association". Documentary.org. Archived from the original on 28 March 2016. Retrieved 29 January 2015.
- ^ [2] [dead link]
- ^ [3] Archived 9 December 2006 at the Wayback Machine
- ^ [4] Archived 7 May 2007 at the Wayback Machine
- ^ "La Ciénaga". The Criterion Collection. The Criterion Collection. Retrieved 30 October 2017.
The release of Lucrecia Martel's La Ciénaga heralded the arrival of an astonishingly vital and original voice in Argentine cinema.
- ^ Ebert, Roger (19 October 2001). "La Cienaga Movie Review & Film Summary (2001)". RogerEbert.com. Ebert Digital LLC. Retrieved 30 October 2017.
- Tronc. Retrieved 30 October 2017.
- ^ "La Cienaga (2001)". Rotten Tomatoes. Fandango. Retrieved 30 October 2017.
- ^ Oubiña, David (26 January 2015). "La Ciénaga: What's Outside the Frame". The Criterion Collection. The Criterion Collection. Retrieved 30 October 2017.
- ^ Scott, A. O. (10 April 2005). "Blessed Restraint". The New York Times. Retrieved 30 October 2017.
- ^ Murat, Pierre (2 May 2009). "La Femme sans tête". Télérama (in French). Publications de la Vie Catholique. Retrieved 30 October 2017.
- ^ Brooks, Xan (31 August 2017). "Zama review – Lucrecia Martel emerges from the wilderness with a strange, sensual wonder". The Guardian. Retrieved 30 October 2017.
External links
- Buenos Aires Blues: Five Must-See Argentine Films
- Cineargentino
- Argentine Cinema Awards
- Brief Argentine Cinema History
- Argentine Documentary Cinema Archived 28 March 2016 at the Wayback Machine
- Official promotion portal for argentine cinema (Spanish)
- History of the Argentine independent cinema (Spanish)
- History of the cinema in Argentina at INCAA. (In Spanish)