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Mercado Audiovisual En Argentina MERCADO AUDIOVISUAL EN ARGENTINA Mayo 2002 OFICINA COMERCIAL DE ESPAÑA EN BUENOS AIRES Juan Gómez de la Torre- Analista de mercado Alberto A. López Balbás- Becario ICEX MERCADO AUDIOVISUAL ARGENTINA 1 INDICE 0.- DATOS E INDICADORES DE ARGENTINA 1.- CINE 1.1.- Introducción 1.2.- Producción 1.3.- Distribución 1.4.- Exhibición 1.5.- Who is who 2.- TELEVISION 2.1.- Introducción 2.2.- Canales en abierto 2.3.- Canales de pago 2.4.- Inversión publicitaria 2.5.- Programación 2.6.- Who is who 3.- VIDEO 3.1- Introducción 3.2.-Estructura empresarial 3.3.-Edición y distribución 3.4.-Videoclub 3.5.- DVD 3.6.- Who is who MERCADO AUDIOVISUAL ARGENTINA 2 DATOS GENERALES TOTAL DE HABITANTES 36.223.947 POBLACION PRINCIPALES CIUDADES - CAPITAL FEDERAL 2.768.772 - GRAN BUENOS AIRES (Capital Federal y Area Metropolitana) 7.952.624 - CORDOBA 1.179.372 - ROSARIO 1.079.359 - MENDOZA 121.620 - LA PLATA 541.905 - SAN MIGUEL DE TUCUMAN 473.271 - MAR DEL PLATA 532.845 POBLACION URBANA 88,4 % DENSIDAD DEMOGRAFICA 13 hab/km2 DISTRIBUCION Hombres 49 % Mujeres 51 % DISTRIBUCION POR EDADES 0 - 14 28,9 % 15 - 64 61,6 % 65 + 9,5 % TASA DE CRECIMIENTO 1,2 % CAPITAL Buenos Aires MONEDA Peso, dividido en 100 centavos. Hay monedas de 1,5,10,25 y 50 centavos y de 1 peso, y billetes de 2, 5, 10, 20, 50 y 100 pesos HORARIO 4 hs. menos en invierno austral 5 hs. menos en verano austral INDICADORES ECONOMICOS 1999 2000 2001 2002 PIB Nominal (millones de $) 278.369 276.173 263.870 312.300 (e) PIB Nominal (millones de US$) 278.369 276.173 263.870 86.750 (e) PIB real ( variaciones %) -3,4 -0,8 -4,5 -8,5 (e) PIB per cápita (US$) 7.670 7.476 7.289 2.396 (e) INFLACION % Media anual -1,2 -0,9 -1,5 25,9 (1) EMPLEO Y TASA DE PARO Población activa (x 1.000 habitantes) 13.602 13.820 14.300 % Desempleo sobre población activa 13,8 15,1 18,3 26 (2) BALANZA COMERCIAL (millones de US$) -829 2.558 7.507 11.700 (e) DEUDA PUBLICA (millones de US$) 117.700 122.900 141.300 s.d en % de PIB 42,3 44,5 53,5 DEUDA EXTERNA (millones de US$) 145.289 146.338 139.783 s.d en % de PIB 52,19 52,99 52,98 TIPO DE CAMBIO* (US$Dólar / $Peso) 1/1 1/1 1/1 1/3,6 (3) SALARIO PROMEDIO (US$ / Mes) 575 149 (4) Fuentes: INDEC: Instituto Nacional de Estadísticas y Censos Ministerio de Economía - Secretaría de Programación Económica y Regional Dirección Nacional de Cuentas Nacionales (e) Estimación Departamento Research BBVA. PIB (e) en US$ y per capita a tipo de cambio 1/3,6 (1) Enero - Mayo (2) Promedio de estimaciones privadas a Diciembre de 2002 (3) Cotización al 31 de Mayo de 2002 - BCRA (4) Mayo 2002 a tipo de cambio vigente * Devaluación 07-01-2002 1.- CINE 1.1.- Introducción 1.2.- Producción 1.3.- Distribución 1.4.- Exhibición 1.5.- Who is who 1.-CINE 1.1.-Introducción Legislación La normativa básica sobre el cine en Argentina está contenida en la Ley 24.377, de Fomento y Regulación de la Actividad Cinematográfica, promulgada parcialmente el 14.10.1994 (B.O. 19.10.94), que modifica la Ley 17.741 de Fomento de la Cinematografía Nacional (1968). Distintos decretos han desarrollado la Ley. La Ley asigna al Instituto Nacional de Cine y Artes Audiovisuales (INCAA), como ente autárquico dependiente de la Secretaría de Cultura, hoy adscrita a la Presidencia de la Nación, la función de fomento y regulación de la actividad cinematográfica en todo el país y en el exterior en cuanto se refiere a cinematografía nacional. El INCAA cuenta con una Asamblea Federal que define las líneas maestras de la política a desarrollar, integrada por el Director del Instituto, el Secretario de Cultura de la Nación y los Secretarios de Cultura Provinciales que, a estos efectos, se agrupan en cinco grandes regiones. La Dirección del Instituto, como órgano ejecutivo, está asesorada por un Consejo integrado por los distintos sectores de la industria La actividad del INCAA se centra, fundamentalmente, en la administración del Fondo de Fomento Cinematográfico, destinado al sostenimiento financiero de la producción cinematográfica argentina, al mantenimiento de la Escuela Nacional de Experimentación y Realización Cinematográfica y de la Filmoteca Nacional, a la organización del Festival Internacional de Cine de Mar del Plata y a la promoción del cine argentino. Festivales 1.- Festival Internacional de Cine de Mar del Plata: Se inició en 1959 organizado por la Asociación de Cronistas Cinematográficos con el objeto de difundir los estrenos de la cinematografía mundial y llegó a convertirse en uno de los Festivales más prestigiosos del mundo y el mayor de Latinoamérica. Se interrumpió su celebración en 1970 para retomarse de nuevo en 1996 de la mano del INCAA, que con un formato de gran festival y escaparate del star system local, ha pretendido mantenerse como el más significativo del continente. En 2002 cumple su 17ª edición (7 a 16 de marzo), con un nuevo equipo de trabajo liderado por el crítico e historiador Claudio España, si bien su dependencia del INCAA implica un componente político y problemas financieros que están complicando su organización. El Festival cuenta con 5 secciones: - Sección Oficial Competitiva, con películas de, al menos, diez países diferentes, nunca antes estrenadas fuera de la zona de producción. La representación española fue “Anna´s Sommer”, una coproducción con Grecia y Alemania. - Sección Oficial Fuera de Concurso: Jaime Camino con “Los niños de Rusia” y “ La soledad era eso” coproducción entre Arg-Esp, como representantes de nuestro cine. - Punto de Vista, que informa acerca de las nuevas corrientes estéticas, con películas de producción aún inéditas en la Argentina. Se presentaron siete españolas: MERCADO AUDIOVISUAL ARGENTINA 6 -“Asesinato en febrero” de Eterio Ortega -“El caso Pinochet” de Patricio Guzmán, coproducción Esp-Chi-Fra-Bel -“En construcción” de José Luis Guerín -“ Fausto 5.0.” de Isidro Ortiz y Fura dels Baus -“Juana la Loca” de Vicente Aranda -“Torrente 2, Misión en Marbella” de Santiago Segura -“ Nos hacemos falta-Tilt” de Juanjo Giménez - América Latina XXI, que resume lo más destacado de la producción continental en el nuevo milenio. - La Mujer y el Cine, una sección autónoma, que promueve la difusión de la mirada femenina en el cine, con una amplia selección de películas dirigidas exclusivamente por mujeres - Una muestra retrospectiva de carácter monográfico. 2.- Festival Internacional de Cine Independiente de Buenos Aires - BAFICI A pesar de su juventud – celebra su cuarta edición este año 2002 (18 al 28 de abril) - está alcanzando gran prestigio desde el punto de vista artístico. Catalogado como arriesgado en cuanto a su programación, consigue gran éxito de público y de crítica Está organizado por la Secretaría de Cultura del Gobierno de la Ciudad de Buenos Aires y dirigido por Eduardo Antin “Quintin”, además, crítico y director de la revista del sector “El Amante”. La Secretaría de Cultura aportó el 60% de los 650.0001 pesos del presupuesto y el resto sponsors privados. El Festival se desarrolló en siete salas del complejo Hoyts General Cinema Abasto y en parte de lo que se considera el “circuito independiente”: tres pantallas alrededor de la tradicional Av. Corrientes en el centro de la ciudad (Cosmos, Lorca 1 y Teatro San Martín) y la sala del moderno Museo de Arte Latinoamericano en el barrio de Palermo. Cuenta con una Sección Oficial Competitiva compuesta exclusivamente por operas primas y segundas películas, otra sección para cortometrajes y Lo Nuevo de lo Nuevo, que constituye la sección de competencia nacional. La edición de este año ha contado con el apoyo del Centro Cultural de España en Buenos Aires, dependiente de la AECI, que se ha concretado en la invitación de Juan Gordon (productora Morena Films) y Juan Ferrer (programador del Festival de Lérida). Al mismo tiempo, se ha celebrado en el marco del festival un encuentro de negocios del programa AL-Invest de la UE, organizado por el Eurocentro de Buenos Aires y dirigido a fomentar las coproducciones entre Europa y América Latina, en el que han participado varias productoras españolas. 3.- EFI: Festival Cinematográfico Hispano / Franco / Italiano Organizado por la empresa Europa Cinemacenter (Carlos Morelli), es fruto de un acuerdo de ésta con el Instituto de la Cinematografía y de las Artes Audiovisuales ICAA (España), Unifrance Film International (Francia) e Italia Cinema (Italia). En el 2002 se celebra la quinta edición del EFI, del 28 de octubre al 3 de noviembre en el complejo de cines Village Recoleta en Buenos Aires. Posteriormente se trasladaran a las ciudades de Córdoba (4 al 10 de noviembre), Rosario (11 al 17 de noviembre) y Mar del Plata ( 9 al 15 de Diciembre). Seguidamente, el festival se presentará en Uruguay y Chile. 1 A partir de enero del 2002 el peso sufre una devaluación progresiva situándolo a mayo del mismo año en 3.6 pesos/dólar. Hasta aquel momento y desde la Ley de Convertibilidad de 1.991, existía una paridad fija con el dólar de 1 a 1. MERCADO AUDIOVISUAL ARGENTINA 7 El objetivo del Festival es presentar películas de las tres nacionalidades no estrenadas en Argentina. En esta ocasión, se presentarán cinco preestrenos de cada país. Cuenta con el auspicio de las Embajadas de los tres países y, por parte española, acuden normalmente autoridades del ICAA/Mº de Cultura y distintos actores y directores. Además de los premios otorgados en el marco de estos festivales, la Asociación de Cronistas Cinematográficos concede los premios CONDOR.
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