Argentine Cinema, 1973–1976

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.

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 offset competition from American films, the Argentine state persistently sought to protect national film production through several laws, the most crucial of which was Law 62/57. Nevertheless, in the transition from the studio system to independent filmmaking, the Argentine film industry had an uneven success in its attempt to gain a considerable share of the domestic market. Through trial and error, the Argentine state, directors, and producers came up with different solutions to strengthen the production and circulation of national films, which in many cases were resisted by exhibitors and distributors.

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 creation of the cinema school as well as the different laws that regulated national film in Argentina in this period. Theories about national cinema by Andrew Higson and John Hill underpinned the analysis of Argentine cinema as well as theories the role of media in nation- building and the dissemination of narratives about nationhood.

Conclusion

I summarize the challenges of post-Peronists governments— mostly military authorities—to shape national cultural while also attempting to modernize the country. I showed that cinema was understood as a fundamental medium to disseminate national identity and thus, was highly protected through different laws. Although encouraged to produce quality box-office success, filmmakers explored different themes and techniques. Only in the late 1960s two genres—the historical and gauchesque— crystalized those efforts by thoroughly engaging with the national past. By so doing, they contributed to making quality films that touched on national identity.

Juan Moreira

This chapter is devoted to survey the process of adapting and shooting Juan Moreira, one of the most popular accounts about an outlaw gaucho who ends up defeated by the forces of civilization and progress. I discuss the challenges faced by its director, Leonardo Favio, and the popular success the film received, relying on press releases and film reviews of 1973.

Santos Vega

I provide an overview and analysis of Santos Vega, a less successful film that nonetheless belongs to the gauchesque genre. I propose that its innovation revolves around the use of songs to stress the film’s message.

Martín Fierro

This chapter is dedicated to surveying the development, shooting, and reception of Argentina’s national epic poem, Martín Fierro for the silver screen spearheaded by Leopoldo Torre Nilsson. I also analyze this film, contrasting it with Westerns and highlighting its relevance to nation-building in the late 1960s.

Looking for a National Hero

In this chapter, I explore the development El santo de la espada, a film that represented ten years in the life of José de San Martín, founding father of Argentina. I also touch on the film’s casting and reception and analyze the film as a historical and war film.

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 Argentine cinema faced during these years. Different sectors (producer, directors, and exhibitors) had contrasting opinions about subsidies for cinema. I also discuss the creation of the Film Rating Board.

Juan Manuel de Rosas

This chapter chronicles Juan Manuel de Rosas’ pre-production and its weak reception among critics. I analyse the film as a biopic that differs from the previous ones which had aimed to be inspirational ones.