Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Argentine Cinema, 1973–1976

View through CrossRef
This chapter documents the changes and continuity in legislation regulation Argentine filmmaking. As the revolución argentina came to an end in 1973, a new cinema law was signed on February 21. Law 20,170 of Promotion and Industrial Recuperation which replaced Law 17,741 was implemented on May 14, 1968 would remain in use until 1994. Despite the return of General Perón and democracy, filmmakers faced increasing problems as censorship continued to be implemented and the NIC lacked directors who could develop long-term policies. I also highlight the achievements of Argentine cinematography abroad. Finally, I contextualize the crisis of Argentine cinematography in 1976.
Title: Argentine Cinema, 1973–1976
Description:
This chapter documents the changes and continuity in legislation regulation Argentine filmmaking.
As the revolución argentina came to an end in 1973, a new cinema law was signed on February 21.
Law 20,170 of Promotion and Industrial Recuperation which replaced Law 17,741 was implemented on May 14, 1968 would remain in use until 1994.
Despite the return of General Perón and democracy, filmmakers faced increasing problems as censorship continued to be implemented and the NIC lacked directors who could develop long-term policies.
I also highlight the achievements of Argentine cinematography abroad.
Finally, I contextualize the crisis of Argentine cinematography in 1976.

Related Results

Alternative Entrances: Phillip Noyce and Sydney’s Counterculture
Alternative Entrances: Phillip Noyce and Sydney’s Counterculture
Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his ...
Argentine Cinema and National Identity (1966-1976)
Argentine Cinema and National Identity (1966-1976)
Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. Marked by tumultuous p...
Introduction
Introduction
The introduction discusses Argentine cinema’s central role in Argentine cultural life during the 1966-1976 period despite a highly volatile political background. I examine the cre...
Argentine Cinema in the Late 1950s and Early 1960s
Argentine Cinema in the Late 1950s and Early 1960s
Relying on Valentina Vitali and Paul Willemen’s statement that ‘both as an industry and a discursive practice, cinema is an adjunct of capitalism’ (2006, 7), I explain that to offs...
Argentine Cinema, 1966–1973
Argentine Cinema, 1966–1973
In this chapter, I discuss the three cinema laws were passed during military governments of Onganía, Levingston, and Lanusse between 1996 and 1973 as well as the challenges that Ar...
Invasive in the North: New latitudinal record for Argentine ants in Europe
Invasive in the North: New latitudinal record for Argentine ants in Europe
AbstractEnvironmental niche models predict the presence of the invasive Argentine ant in north-western Europe, especially along all the French Atlantic coast. Yet, the species has ...
Argentine Armed Forces
Argentine Armed Forces
The Argentine Armed Forces comprise the Argentine Army, the Argentine Navy, and the Argentine Air Force. The first two date back to the dawn of the nineteenth century and their eme...
Aller au cinéma, aller au peuple
Aller au cinéma, aller au peuple
Jenny LEFCOURT Aller au cinéma, aller au peuple Pendant l’entre-deux guerres et pour une partie de la société française, aller au cinéma était l’équivalent d’« aller au peuple » à ...

Back to Top