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The Cinema of Argentina has a long tradition dating back to the late Nineteenth Century , and has played an important role in the Culture Of Argentina for more than a Century . Throughout the that made the Argentine cinema one of the most important in the Spanish -speaking world. The films were often financed by the State . ( 1936 ) starring Libertad Lamarque ]] THE BEGINNING In 1896 French photographer Eugene Py was working for the Belgian Henri Lepage and the Austrian Max Glücksmann at the 'Casa Lepage', a Photographic supplies Business in Buenos Aires . The three all saw the debut of the Lumière Cinématographe in Argentina, in Buenos Aires on 18 July 1896 , at the Teatro Odéon , only a year after its debut in Paris . Lepage then imported the first French cinematographic equipment into the country. In system developed by Glücksmann in Argentina , Uruguay and Chile . EARLY DEVELOPMENTS Several Argentine artists continued experimenting the possibilities of the new invention, making news shorts and documentaries. 's execution", 1908 . Other directors such as Ernesto Gunche directed a number of successful early documentaries. ]] The Argentine History and Literature provided the themes of the first years of film-making. One of the first successes of the national cinema was ''Nobleza Gaucha'' of 1915, inspired in Martín Fierro , Gaucho poems by José Hernández . Based on José Mármol 's novel, '' Amalia (1914 Film) '' was the first full-length movie of national production, and in 1917 '' El Apóstol '', a satiric short on President Hipólito Yrigoyen , became the first animated feature film in world cinema. Also in 1917 Carlos Gardel in ''Flor de durazno,'' directed by Francisco Defilippis Novoa, made its debut. 1920S was one of the key figures during the 1920s]] : Directors such as José A. Ferreyra began to work producing films in Argentine cinema releasing films such as Palomas Rubias ( 1920 ), La Gaucha ( 1921 ) and '' Buenos Aires, Ciudad De Ensueño '' in 1922 . Films that followed included '' La Maleva '', '' Corazón De Criolla '', '' Melenita De Oro '', '' Leyenda Del Puente Inca '' ( 1923 ), '' Odio Serrano '', '' Mientras Buenos Aires Duerme '', '' Arriero De Yacanto '' ( 1924 ) and '' El Organito De La Tarde '' and '' Mi último Tango '' ( 1925 ). In 1926 Ferreyra released '' La Vuelta Al Bulín '', '' La Costurerita Que Dio Aquel Mal Paso '' and '' Muchachita De Chiclana '' followed by '' Perdón, Viejita '' ( 1927 ). Actors of the period include Alvaro Escobar and Elena Guido . Towards the end of the decade directors such as Julio Irigoyen began to release films such as '' Alma En Pena '' in 1928 . Films such as these began to feature the Argentine culture of Tango Dancing into films, something which rocketed later in the 1930s after the advent of sound. 1930S: THE BEGINNING OF SOUND ( 1939 )]] The incorporation of sound had a great impact. In 1930 Adiós Argentina became the first Argentine film to have a soundtrack. The film spawned star actresses such as Libertad Lamarque and Ada Cornaro who both debuted in the film. In 1931 Agustín Ferreyra directed ''Muñequitas porteñas'', and was the first Argentine spoken film, with Vitaphone synchronisation. That year El Cantar De Mi Ciudad was directed by José A. Ferreyra as early directors made the transition to sound. Around 1933 the was founded by Angel Mentasti , and Lumitón was created by Enrique Telémaco Susini , César José Guerrico and Luis Romero Carranza . (1935)]] The first disc-less sound film was ''Tango'' ( 1931 ), directed by Luis Maglia Barth and a key film of the period was the tango film Dancing (1933 Film) which saw the birth of a number of Argentine stars such as Amelia Bence and Tito Lusiardo and other actors such as Tita Merello , Floren Delbene , Aida Alberti and Armando Bo began to gain popularity. Successful films were: '' El Alma Del Bandoneón ,'' Mario Soffici , 1935 ; ''La muchacha de a bordo,'' Manuel Romero , 1936 ; '' Ayúdame A Vivir '', 1936 ; '' Besus Brujos '' (1937) and '' La Vuelta Al Nido '' ( Leopoldo Torres Rios , 1938 and Asi Es La Vida ( 1939 ) directed by Francisco Mugica . Manuel Romero in particular was one of the most prominent directors of the mid to late 1930s and consisently worked in Comedy based films often with rising Argentine star Luis Sandrini in films such as '' Don Quijote Del Altillo ''. "CLASSIC" CINEMA became one of the biggest stars of the late 1930s and early 1940s]] achieved success in 1947 ]] The film industry in Argentina reached its pinnacle in the late 1930s and 1940s when five-thousand artisans produced an average of forty-two films annually, each of them honouring popular and political themes primarily interested in social criticism. However, since 1943 the prohibitive censorship of the Peron presidency lead to decline the Argentine movie industry by forcing native films to turn their backs on the homegrown issues that spoke to the common audience. As Argentine cinema steadily lost viewership, foreign product from the United States gained a large foothold in the Argentine market. The problem eventually became so bad that Argentina tried to curb the influx with the Cinema Law of 1957, establishing the "Instituto Nacional de Cinematografía" to provide education and funding. However films such as these had success: ''Historia de una noche,'' Luis Saslavsky , 1941 ; ''La dama duende,'' Luis Saslavsky, 1945 ; ''Malambro'' Lucas Demare and Hugo Fregonese , 1945 ); Albeniz ( Luis César Amadori ) starring Pedro López Lagar ( 1947 ), ''Pelota de trapo,'' Torres Ríos , 1948 ; ''Crimen de Oribe,'' Torres Ríos, 1950 , and '' Las Aguas Bajan Turbias ,'' and Hugo Del Carril , 1952 . FIRST "NEW CINEMA" ]] '']] Since the late 1950s a new generation of film directors succeeded in joining the technical ability with aesthetic refinement that finally took Argentine films to international film festivals. The first wave of such directors are Leopoldo Torre-Nilsson , Fernando Ayala , David Jose Kohon , Simon Feldman , and Fernando Solanas . 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 Martínez Suárez , Manuel Antin , and Leonardo Favio . 1960s ]] Kurt Land directed '' El Asalto '' in 1960 starring Alberto De Mendoza , a crime drama shot in black and white. In 1961 Lautaro Murua , a Chilean working in the cinema of Argentina directed '' Alias Gardelito ''. The film showed strong political and social undertones and is about the difficulty of living an honest life in the face of an unrelenting Poverty . The title of this story is taken from the name of the great Argentine Singer Carlos Gardel , the idol of the Antihero Toribio portrayed by Alberto Argibay . Toribio's goal in life is to emulate the famous singer and making his own way successfully in the music business. Yet at the same time, he does not stop his illegal means of making ends meet, Stealing and petty thievery. Films such as '' A Hierro Muere '' starring Alberto De Mendoza and Olga Zubarry and '' Accidente 703 '' in 1962 were often co-produced with Spain and often featured both Argentine and Spanish born actors. In 1963 Comedy films became to feature prominently in Argentine cinema, and films such as Alias Flequillo in 1963 directed by Julio Saraceni starred comedians such as José Marrone . Likewise '' Las Aventuras Del Capitán Piluso En El Castillo Del Terror '' starred comedians such as Alberto Olmedo who consistently appeared in the genre thorughout the 1960s and 1970s appearing in 1967's '' El Andador '' and countless other slap-stick comedies. Towards the mid to late 1960s directors such as Armando Bo produces a high number of Sex Comedies many of which shocked the audience as they were a from of Soft Porn and displayed a controversial degree of nudity and sex not seen in the industry before. This preference continued into the 1970s. 1970s ]] POST ''JUNTA'' FILMS A new era in Argentine cinema started after the downfall of the last dictator, General Galtieri , and his autocratic regime in 1982 . The era saw an abrupt end to the popularity of slapstick comedies towards films with more serious undertones and subject matter. The first group deals frankly with the repression, the tortures, and the disappearances during the '' (1983), '' The Official Story (1985),'' '' Night Of The Pencils '' (1986), and others. A second group of films includes '' Veronico Cruz '' (1988) which uses metaphor and hints at wider socio-political issues. ''Cinergía'' movie file by Cristina Molano-Wendt, Amy Bianchi, Shannon Tierny, and Brian Sabella. For educational purposes. ''New Internationalist'' . Issue 192, February 1989. CONTEMPORARY CINEMA 1990s The 1990s brought another ''New Argentine Cinema'' wave, marked by independent productions and a twist from the classical Argentine cinema. In 1991 Alambrado was released. Films such as '' Nueve Reinas '' and '' El Hijo De La Novia '' received praise and various awards around the world. 2000s ]] Since the beginning of Argentine cinema, almost 2,500 films have been produced, with 2004 and 2005 being the most prolific years with 66 and 63 films respectively. ARGENTINE FILMS
ARGENTINE FILM COMPANIES
SEE ALSO
FOOTNOTES EXTERNAL LINKS
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