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Golden Age of Argentine cinema

Golden Age of Argentine cinema —
Argentine classical cinema
Época or Edad de Oro del cine argentino (Spanish)
Cine clásico argentino (Spanish)
Film posters of a few notable titles from the 1933–1956 period. From top, left to right:
Years active1930s–1940s or 1950s[note 1]
No.  of released films (1933–1956)869 [1]
Main genres
Major studios
Influences

The Golden Age of Argentine cinema (Spanish: Época de Oro or Edad de Oro del cine argentino),[2][3] sometimes known interchangeably as the broader classical or classical-industrial period (Spanish: período clásico-industrial),[4][5] is an era in the history of the cinema of Argentina that began in the 1930s and lasted until the 1940s or 1950s, depending on the definition,[note 1] during which national film production underwent a process of industrialization and standardization that involved the emergence of mass production, the establishment of the studio, genre and star systems, and the adoption of the institutional mode of representation (MRI) that was mainly—though not exclusively—spread by Hollywood,[5][14] quickly becoming one of the most popular film industries across Latin America and the Spanish-speaking world.[15]

Argentine industrial cinema arose in 1933 with the creation of its first and most prominent film studios, Argentina Sono Film and Lumiton, which released ¡Tango! and Los tres berretines, respectively, two foundational films that ushered in the sound-on-film era.[16][17] Although they were not national productions, the 1931–1935 films made by Paramount Pictures with tango star Carlos Gardel were a decisive influence on the emergence and popularization of Argentine sound cinema.[18][19] The nascent film industry grew steadily, accompanied by the appearance of other studios such as SIDE, Estudios Río de la Plata, EFA, Pampa Film and Estudios San Miguel, among others, which developed a continuous production and distribution chain.[14] The number of films shot in the country grew 25-fold between 1932 and 1939, more than any other Spanish-speaking country.[20] By 1939, Argentina established itself as the world's leading producer of films in Spanish, a position that it maintained until 1942, the year in which film production reached its peak.[12]

In classical Argentine cinema, film genres were almost always configured as hybrids,[10] with melodrama emerging as the reigning mode of the period.[21][22] Its early audience were the urban working classes, so its content was strongly rooted in their culture,[23][24] most notably tango music and dance, radio dramas, and popular theatrical genres like sainete[25] or revue.[10][26] These forms of popular culture became the main roots of the film industry, from which many of its main performers, directors and screenwriters came.[10][26] Much of the themes that defined the Argentine sound cinema in its beginnings were inherited from the silent period, including the opposition between the countryside and the city, and the interest in representing the world of tango.[27] As the industry's prosperity increased in the late 1930s, bourgeois characters shifted from villains to protagonists, in an attempt to appeal to the middle classes and their aspirations.[24] Starting in the mid-1940s, Argentine cinema adopted an "internationalist" style that minimized national references, including the disuse of local dialect and a greater interest in adapting works of world literature.[28]

Beginning in 1943, as a response to Argentina's neutrality in the context of World War II, the United States imposed a boycott on sales of film stock to the country, causing Mexican cinema to displace Argentina as the market leader in Spanish.[15] During the presidency of Juan Perón (1946–1955), protectionist measures were adopted,[20] which managed to revitalize Argentine film production.[29] However, financial fragility of the industry led to its paralysis once Perón was overthrown in 1955 and his stimulus measures ended.[30][31] With the studio system entering its definitive crisis, the classical era came to an end as new criteria for producing and making films emerged,[32] including the irruption of modernism and auteur films,[5] and a greater prominence of independent cinema.[33] The creation of the National Film Institute in 1957 and the innovative work of figures such as Leopoldo Torre Nilsson gave rise to a new wave of filmmakers in the 1960s,[34] who opposed "commercial" cinema and experimented with new cinematic techniques.[35][36]


Cite error: There are <ref group=note> tags on this page, but the references will not show without a {{reflist|group=note}} template (see the help page).

  1. ^ Getino 2005, p. 176.
  2. ^ Di Núbila 1998, p. 67.
  3. ^ a b Kairuz, Mariano (18 November 2001). "Made in Argentina". Radar. Página/12. Retrieved 14 November 2022.
  4. ^ Cite error: The named reference historiografia was invoked but never defined (see the help page).
  5. ^ a b c Alvira, Pablo (2014). "Representaciones de trabajadores/as en el cine clásico-industrial argentino: los mensúes, entre la denuncia y la tragedia". Páginas (in Spanish). 6 (10). Rosario: Escuela de Historia. Facultad de Humanidades y Artes. Universidad Nacional de Rosario: 53–82. doi:10.35305/rp.v6i10.41. ISSN 1851-992X. Retrieved 14 November 2022.
  6. ^ a b España 2000, p. 23.
  7. ^ Manzano, Valeria (2001). "Cine argentino y peronismo: cultura política y propaganda, 1946-1955". Filmhistoria (in Spanish). XI (3). Barcelona: Universitat de Barcelona. ISSN 2014-668X. Retrieved 11 November 2022.
  8. ^ Di Núbila 1998, p. 71.
  9. ^ Di Núbila 1998, p. 391.
  10. ^ a b c d Peña 2012, Introducción.
  11. ^ Peña 2024, p. 251.
  12. ^ a b Rist 2014, p. 4.
  13. ^ Finkielman 2004, p. 213.
  14. ^ a b Manetti & Rodríguez Riva 2014, p. 44.
  15. ^ a b Schumann 1987, p. 19.
  16. ^ Manetti & Rodríguez Riva 2014, p. 24.
  17. ^ Mahieu 1966, p. 15.
  18. ^ Finkielman 2004, p. 199.
  19. ^ Di Núbila 1998, p. 108.
  20. ^ a b Getino 2005, p. 17.
  21. ^ Karush 2012, p. 85.
  22. ^ Manetti & Rodríguez Riva 2014, p. 30.
  23. ^ Di Núbila 1998, p. 94.
  24. ^ a b Kelly Hopfenblatt, Alejandro (2016). La formulación de un modelo de representación en el cine clásico argentino: desarrollo, cambios y continuidades de la comedia burguesa (1939-1951) (PDF) (Doctoral thesis) (in Spanish). Buenos Aires: Facultad de Filosofía y Letras. Universidad de Buenos Aires. Retrieved 4 November 2022.
  25. ^ Di Núbila 1998, p. 87.
  26. ^ a b Manetti & Rodríguez Riva 2014, p. 45.
  27. ^ Manetti & Rodríguez Riva 2014, p. 26.
  28. ^ Peña 2012, El afán internacional.
  29. ^ Rist 2014, p. 5.
  30. ^ Getino 2005, p. 24.
  31. ^ Schumann 1987, p. 22.
  32. ^ Lusnich 2007, p. 21.
  33. ^ Schumann 1987, p. 23.
  34. ^ García Oliveri, Ricardo (2011). "Argentina". Diccionario del Cine Iberoamericano (in Spanish). Madrid: SGAE. pp. 420–442. ISBN 978-848-048-822-8. Retrieved 19 November 2022 – via Ibermedia Digital.
  35. ^ Cossalter, Javier (2014). "El cine experimental de cortometraje en la Argentina de los años sesenta y setenta: apropiaciones y vinculaciones transnacionales" (PDF). European Review of Artistic Studies (in Spanish). 5 (4). Vila Real: Universidade de Trás-os-Montes e Alto Douro: 32––49. doi:10.37334/eras.v5i4.125. ISSN 1647-3558. Retrieved 20 November 2022.
  36. ^ Manzano, Valeria (2014). The Age of Youth in Argentina: Culture, Politics & Sexuality from Perón to Videla. Chapel Hill: The University of North Carolina Press. pp. 36–43. ISBN 978-146-961-161-7.
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