Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology
In the context of cultural industries, film industry deserves special treatment. Its high production cost and difficulty of recovery (even for commercial cinema) required an active attitude of States to preserve their own narratives from the subjugation to Hollywood´s films.In Argentina, since the c...
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Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
2012
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Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/8579 |
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I10-R10-article-85792020-11-01T03:56:58Z Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology El cine ha muerto. ¡Larga vida al cine! El Plan de Fomento del INCAA ante el desarrollo de la tecnología HD Cáceres, Carlos Esteban Cáceres, María Alicia Cultural Industries Public policy Film promotion INCAA Industrias culturales Políticas públicas Fomento del cine INCAA In the context of cultural industries, film industry deserves special treatment. Its high production cost and difficulty of recovery (even for commercial cinema) required an active attitude of States to preserve their own narratives from the subjugation to Hollywood´s films.In Argentina, since the creation of the National Film Institute, now renamed as INCAA (with double-A referring to Audiovisual Arts) to the present, the State of Argentina has involved itself in the field of film production.How did Argentina moved from producing 11 films a year in 1991 to almost 150 in 2011? What were the policies that encouraged this growth? What role did independent producers' associations played? What tensions were incorporated by the introduction of digital technology? This article traces some of the milestones in this process of change in conditions (and logic) of the national film industry. En el contexto de las industrias culturales, el cine merece un tratamiento especial. Su elevado costo de producción y su dificultad de recupero (aún para el cine comercial) requirieron de una actitud activa de los estados para conservar narrativas propias ante el avasallamiento del cine Hollywoodense.En nuestro país, desde la creación del Instituto Nacional de Cinematografía, hoy actualizado en INCAA (con doble A de Artes Audiovisuales), hasta la actualidad el Estado Argentino ha intervenido en el campo de la producción cinematográfica.¿Cómo pasó la Argentina de producir 11 películas en 1991 a casi 150 en 2011? ¿Cuáles fueron las políticas públicas que alentaron ese crecimiento? ¿Qué rol cumplieron las asociaciones de productores independientes? ¿Qué tensiones incorporó el advenimiento de la tecnología digital? El presente artículo recupera algunos hitos en este proceso de cambio de las condiciones (y la lógica) de la producción cinematográfica nacional. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2012-09-29 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/8579 Toma Uno; No. 1 (2012): La representación de la realidad; 177-190 TOMA UNO; Núm. 1 (2012): La representación de la realidad; 177-190 2250-4524 2313-9692 10.55442/tomauno.n1.2012 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/8579/9444 |
institution |
Universidad Nacional de Córdoba |
institution_str |
I-10 |
repository_str |
R-10 |
container_title_str |
Revistas de la UNC |
language |
Español |
format |
Artículo revista |
topic |
Cultural Industries Public policy Film promotion INCAA Industrias culturales Políticas públicas Fomento del cine INCAA |
spellingShingle |
Cultural Industries Public policy Film promotion INCAA Industrias culturales Políticas públicas Fomento del cine INCAA Cáceres, Carlos Esteban Cáceres, María Alicia Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology |
topic_facet |
Cultural Industries Public policy Film promotion INCAA Industrias culturales Políticas públicas Fomento del cine INCAA |
author |
Cáceres, Carlos Esteban Cáceres, María Alicia |
author_facet |
Cáceres, Carlos Esteban Cáceres, María Alicia |
author_sort |
Cáceres, Carlos Esteban |
title |
Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology |
title_short |
Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology |
title_full |
Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology |
title_fullStr |
Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology |
title_full_unstemmed |
Film is dead. Long live to film! The INCAA promotion plan faced with the develpment of HD technology |
title_sort |
film is dead. long live to film! the incaa promotion plan faced with the develpment of hd technology |
description |
In the context of cultural industries, film industry deserves special treatment. Its high production cost and difficulty of recovery (even for commercial cinema) required an active attitude of States to preserve their own narratives from the subjugation to Hollywood´s films.In Argentina, since the creation of the National Film Institute, now renamed as INCAA (with double-A referring to Audiovisual Arts) to the present, the State of Argentina has involved itself in the field of film production.How did Argentina moved from producing 11 films a year in 1991 to almost 150 in 2011? What were the policies that encouraged this growth? What role did independent producers' associations played? What tensions were incorporated by the introduction of digital technology? This article traces some of the milestones in this process of change in conditions (and logic) of the national film industry. |
publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
publishDate |
2012 |
url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/8579 |
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2022-08-20T01:14:31Z |
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