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Continue The cinema arrived in Latin America in 1896, a year after its first public screening in Paris. With him came film and projection equipment and specialists of the region, mainly Italian. In , in the early 20th century, the Frenchman Eugenio Pai made the first films, the Italian Atelio Lipizzi founded the film company Italate-Argentina, and the Austrian Max Gluxmann created a distribution system vital to the sound period. When the first exhibition halls appeared, another important pioneer, The Italian Mario Gallo, appeared, followed by his compatriots Edmundo Peruzzi and Federico Valle. Uruguayan Julio Raul Alsina, associated with distribution and exhibition, was the first to open a studio with a laboratory. Argentinian cinema has revealed other names, such as Edmo Cominetti, Nelo Kosimi, Jose Agustan Ferreira, Roberto Guidi, Julio Irigoyen and Leopoldo Torre Rios, who joined the board of directors of the silent period. The cinema was opened in in the so-called beautiful era of Brazilian cinema, in the early 20th century, the Portuguese Antonio Leal, the Spanish Francisco Serrador, the Brazilian brothers Alberto and Paulino Bocheli and Marc Ferres and his son, Jalio (associated with Pate, from Paris) followed. German Eduardo Hirtz appeared in Porto Alegre. Around 1912, the regional features of silent cinema were laid out: in Pelotas, Portuguese Francisco Santos; in Belo Horizonte, Italians Igino Bonfioli; in Barbazen, Paulo Benedetti; in Sao Paulo, other Italians, Vittorio Capellaro, Gilberto Rossi and Arturo Carrari; in Campias, Felipe Ricci and E.K. Kerrigan of The United in Recife, Gentile Roise, Ari Sever, Jota Soares and Edson Chagas; in the Amazon region, two documentary filmmakers, The Portuguese Silvino Santos (Manaus) and the Spaniard Ramon de Banos (Belem). Brazilians such as Luis de Barros (Rio de Janeiro), Jose Medina (Sao Paulo), Humberto Mauro (originally in the interior of Minas Gerais, in Cataguas) and Mario Peixoto with his mythical Limit (1931) stood out. In Bolivia only in the 1920s there were documentaries of Italian Pedro Sambarino, author of the country's first fictional feature film Corazon Aymara (1925). Bolivian director Velasco Maidana censored his first film, La profecia del lago (1925), and directed a new film, Vara Vara (1929). Chile began to make films regularly only in 1916, with La baraja de la muerte (directed by Salvatore Jambastiani) and La Agonya de Arauco (Gabriela von Bussenius, 1917). And showed directors Arturo Mario, Jose Boer, Pedro Sienna, Nicanor de la Sotta, Antonio Acevedo, Alberto Santana, Jorge Delano, Juan Perez Berrocal, Carlos Borcosque and Arkady Beutler - some will make careers in the sound phase and in In Colombia, Italians Francisco Di Domaco and Floro Manco make short films and documentaries between 1914 and 1920. Mesimo Calvo, an important name in the history of Colombian cinema, appeared in the 1920s. Camilo Cantinazzi made three lengths at the end of the silent phase: Seuerte and Azar and Tuia es la Kulpa (1926) and Tardes vallecaucanas (1927). In Ecuador, in the 1920s, cinema experienced a small movement, culminating in the occasional success of El terror de la frontera (Luiz Martinez Kirola, 1929) and Guayaquil de mis amores (Alberto Santana and Francisco Diumenjo, 1930). In Peru, the first important name was Jorge Enrique Goitizolo, who made documentaries since 1909 and the country's first fictional film - Negocio al-Agua (1913). In the 1920s, the figure of the Chilean Alberto Santana, the author of several films, stood out. Spanish Felix Oliver was the first person of Uruguayan cinema, shooting then between 1898 and 1902. Documentary filmmaker Lorenzo Androcher, in turn, served from 1910 to 1914, as well as in the 1920s. In Venezuela, pioneers appeared in 1908: director Augusto Gonzalez Vidal, photographer Mon A. Gonhun and documentary filmmaker Henry zimmerman, authors of newsreels, and then fictional works. In the 1920s, Amebilios Cordero's activities stood out. With Calumnia (1933) and El rompimiento (1937), both Antonio Maria Delgado Gomez, the silent stage of the film ended. In the rare production of Guatemala, El agente No. 13 (Alberto de la Riva, 1912) and El Hijo del Patran (Alfredo Palarea and Adolfo Herbruger, 1929) stand out. In Cuba, the Frenchman Gabriel Weir, who began to bring Lumiere shorts and exhibit them in several Latin American cities, made his first film , Simulacrc de Icendio (1897). But the pioneering Cuban director was Enrique Diaz Kesada, who shot almost continuously, from 1906 to 1920, short films, documentaries, feature films and propaganda films and films of medium length. Ramon Peon succeeded Kesada, with thirteen films, before moving to Mexico in 1932, where he would be very active until 1960, during which time he sometimes returned to filming in Cuba. In the Dominican Republic, cinema arrived in 1900, with rare filming, until director Francisco Arturo Palau made La leyenda de Nuestra Senora de la Altagracia (1922), Las emboscadas de Cupido and the documentary La Republica Dominican (both since 1924). The first Mexican filmmakers were Salvador Toscano, who documented the journey of General Porfirio Diaz to the Yucatan (Fiestas presidenciales en Merida, 1906), and brothers Eduardo, Guillermo, Salvador and Carlos Alva (La entrevista Diaz-Taft , 1909, Revolusion Ofoskista, 1912, and El aniversario fallecimiento de la suede de enhart, 1913). One woman, Mimi Derba, made fictional films (En defensa propia, La tigresa and Sonadora, all since 1917). Year). did other dramatic work until the success of El autom'vil gris (Enrique Rosas, 1919) appeared, based on real events. Already in 1919, fictional films gained a great boost, and local directors (Luis G. Peredo, Enrique Castilla, Enrique Vallejo, Ernesto Vollrat and, mainly, Miguel Contreras Torres) appeared. Highlights at the end of silent cinema were Francisco Garcia Urbiz (Traviesa juventud, 1925, Sacrificio por amor, 1926, and El Punio de Ierro, 1927) and Manuel R. Ojeda (El Cristo de oro, 1927, Conspiracy e El Colo de Murmol, 1928). 1930 to 1950! Ke Viva Mexico!, Sergey Eisenstein, in 1931 (reproduction) Phase of industrial cinema, star system, musical comedy, melodrama and chanchadas. Although the first Mexican sound film M's fuerte que el deber (Rafael Sevilla, 1930) was a box office failure, Santa (Antonio Moreno, 1931) was a blockbuster. Sergey Eisenstein was driving! Let Mexico live! (1931), an unfinished film, but a great influence on future Mexican directors. The film industry in Mexico, launched in 1932, peaked in 1958 (136 films), allowing a long career of filmmakers (Alejandro Galindo, Emilio Fernandez, Fernando de Fuentes and Luis Bunuel), photographer Gabriel Figueroa, comedians Cantinflas and Tin Tan and stars (Pedro Armendaris, Arturo de Cordova, Dolores Rioli). The star system was funded by producers such as Clasa Filmes, distributors such as Pelmex, major studios such as Churubusco, and the promotion of the film never. Argentina experienced its thriving film industry during this period. Since the beginning of sound cinema in the early 1930s, several production companies (Argentina Sono Film, Lumiton and Estudios San Miguel) have been opened, as well as small and medium-sized enterprises. The Argentine star system, following the example of Hollywood, showed excellent directors: Luis Saslavsky (La dama Goblin, 1944); Mario Soffici, with his peasant concentration (Viento norte, 1937, and Prisioneros de la tierra, 1939); Lucas Demare, with a rural theme (La guerra ga'cha, 1942). Other highlights of the 1950s were Hugo Del Carril (Las aguas bajan turbias, 1951); Fernando Ayala, not yet properly appreciated by film historians, with a long career and about forty films; and Leopoldo Torre Nilsson, the son of director Leopoldo Torre Rios, who started as assistant director and co-director of his father's films and made a solo career with more than thirty productions. Stars included Luis Sandrini, Pepe Arias, Juan Carlos Torri, Jose Gola, Enrique Munio, Libertad Lamarque, Tita Merillo, Amelia Bens, Laura Hidalgo, , Sully Moreno, Delia Garcia, Paulina Singerman and Mirta Legrand. Argentine cinema grew to 1950, suffering from contraction since then. Attempt Industrial cinema in took place since 1930, in Rio de Janeiro since 1949 in Sao Paulo Vera Cruz, Maristela and Multifilms created another star system, with genre cinema and quality films, bringing English, Italian, Argentine and other techniques, in a dream that lasted several years. The films and Brasil Filme, which appeared respectively from the studios Maristela and vera cruz, were producers of short lives. The first Cuban sound film, La serpiente roja, Ernesto Caparrez, in 1937 (reproduction) At this stage of Brazilian cinema were attended by such directors as Luis de Barros, Rui Costa, Moatir Fenelon, Jose Carlos Berle, Watson Macedo, Alberto Pieralisi, Evrides Ramos, J.B. Tanko, and Victor Lima, with an emphasis on Humberto Mauro, Alberto Cavalcanti and Lima Barreto, who have achieved national and international success. Oscarito, Grande Othello, Anselmo Duarte, Eliana, Anquito, Trindade, Seze Masedo, Jose Liugo, Wilson Gray, , Luigi Picci, Ruth de Souza, Mazzaropi and John Herbert were on the screens. In the 1950s, two currents were revealed: Nelson Pereira dos Santos and Roberto Santos, who broke with established models by offering an independent film in which the director was solely responsible for the final product, sketching with the tendency of Brazilian cinema. On the other hand, Walter Hugo Khoury and Carlos Coimbra were representatives of the industrial model of the 1950s. The first sound film in Cuba was La serpiente roja (Ernesto Caparr's, 1937), followed by musical comedies such as El romance del Palmar (Ramon Peon, 1938) and copOFicer Siete Muertes plazo fijo (Manolo Alonso, 1950). Despite notable Argentine and Mexican influences, Cuban films had no commercial impact. A bank set up to finance national films soon became impossible. Cuban filmography at that time was relatively inexpressive: from 1937 to 1960, only 76 films were made. In 1959, after the Cuban Revolution, the Cuban Institute of Motion Picture Arts and Industry (ICAIC) was established, which began a new chapter in the history of cinema in the country. Other cinematography in Chile, Jorge Delano made the first sound feature film (Norte y sur, 1934), followed by Eugenio de Liguoro (El hechizo del trigal, 1939, and Entre gallos y medianoche, 1940). In the 1940s, about fifty films were made, many of which were commercially attractive. In Chile Films, created in 1942, ambitious productions were directed by Argentines Luis Molja Barth, Carlos Schlieper, Roberto de Ribbon, Hugo Christensen, Mario Lugon, Francisco Mugica and Eduardo Boneo. Chile Films also worked with local directors: Jose Bohr directed La dama de las camelias (1947), and Carlos Borkoske and Adeleki Millar returned from Argentina to perform, respectively, La amarga verdad (1945) and Tormenta en el alma (1946). In Bolivia, the Bolivian Film Institute (ICB) was established in 1953 and produced more than five hundred news and documentaries in fifteen years. Between 1947 and 1984, Jorge Ruiz made about ninety documentary short films, news drums Informativo del ICB (1956-1964) and Bolivia Hoi (1967-1970), in addition to directing the first sound feature film (La vertiente, 1958). In Colombia, the first sound feature was Flores del Valle (M'ximo Calvo, 1941), but it was All' en el trapiche (Roberto Saa Silva, 1943), with a regional theme, the first box office success. Other productions of that period included Horizons of The Gloria (Miguel Joseph and Mayol, 1944), El Sereno de Bogota and 11st and Corazones (Gabriel Martinez, 1945 and 1944, respectively), Senderos de Luz (Emilio Alvarez Correa, 1945) and Estae Fue The first Peruvian sounds performed by Chileans living there were Resaca (Alberto Santana, 1935) and Busco Olvido (Sigifredo Salas, 1936). Amauta Films was born in 1937, and in 1943 Wascaron Films produced by Penas de Amor (Ricardo Villaron, 1944) and Rio Rewellto (1945, Chilean Luis Morales). Bernardo Roca Rey produced and directed La lunareja (1946). Cesar Miro directed Kamo Atropellas Kachafaz (1947), Una Apuesta con Satan (1948) and La muerte llega al segundo (1958). In the 1950s, Manuel Cambi, leader of Escuela de Cucco (with Luis Figueroa, Victor Chamby, Eulogio Nishiyama and Cesar Villanueva), was portrayed in short films, art, everyday life, popular customs and pre-Columbian legends. Since 1961, Chambi has developed an individual career (Vida de los Campesinos de Chincheros) and Figueroa, Nishiyama and Villanueva made the first function in color and spoke in Kechua (Kukuli, 1960). In Uruguay, Destiny (1936), Argentine Juan Etchebehere, was the first sound ing feature of random sequence, which includes Vocaci'n? (Rina Massardi, 1938) Soltero soy feliz (Juan Carlos Patron, 1938), and Radio Candelario (Rafael Jorge Abella, 1939). In the mid-1940s, films such as Los tres mosqueteros (Julio Saraceni, 1946), Ace Te Deseo (Belisario Garcia Villar, 1947) and El Ladron de Suenos (Kurt Land, 1949) appeared. In 1950, uruguayan campeoones (Adolfo Fabregat), Amor Fuera de Hora (Alberto Malmierca) and Urano Viah a la Tjerra (Daniel Spisato Pereira) appeared. The 1950s were marked only el desembarco de los 33 orientales (Miguel Angel In Venezuela, from 1938 to 1942, the producers of Venezuela Cinematogr'fica, Candor Filmes, Estudios Avila, Alma-Americana and Kompany Luz y Sombra performed very few works, including the first sound feature film, El rompimiento (Antonio Maria Delgado Gomez, 1938). Then Carambola (Finy Veracoechea, 1939), Romance Aragueno (Augusto Gonzalez Vidal, 1940), Juan de la Calle (Rafael Rivero, 1941) and Pobre Hija Meja (Jose Fernandez, 1942). In 1943, the Bolivar Films produced the Adventures of Frijolito and Robustian (Jose Maria Galofre, 1945) and Barlobento (Frais Grijalba, 1945), and brought the Argentine to direct El Demonio es un Angel (1949) and La Balandra Isabel llege in the afternoon (1950). Another highlight was Dos hombres en la tormenta (Rafael Rivero, 1945). The 1950s would have reserved two pleasant surprises for Venezuela: the achievements of Margot Benaberraf (Reveron, 1952, about the artist Armando Reverone and Araya, 1958, on the study of salt on the desert peninsula) and the debut of Roman Chalbeau (Cain adolescente, 1959). Central American countries had little film production during this period. Puerto Rico made the first sound function, Romance Tropical (Juan Cajas, 1934) and, in the same decade, the Chilean Alberto Santana directed La Isla m'gica. In 1951, long films were made by Jack Delano (Los peloteros) and Amelcar Tirado (Una voz en las monta'as). In Guatemala, the first feature film was called El Sombreron (Guillermo Andr's Corzo, 1950). Nicaragua performed Rapto al sol (Fernando Mendes, 1956) and La llamada de la muerte (Antonio Orellana, 1960), in a coproduction with Mexico. New : Cinema Novo and the aftermath of Vidas Sekas, Nelson Pereira dos Santos, in 1963 (Divulga'o) In Brazil, the cinema Novo broke with the productions of popular appeal and with the industrial project of Sao Paulo studios. Starting with short films and documentaries, its creators soon went to feature films, revealing directors such as Glauber Rocha (God and the Devil in the Land of the Sun, 1964, and Terra in a Trance, 1967); Paulo Cesar Sarakeni (Porto das caixas, 1963, and O desafio, 1965); and Joaquim Pedro de Andrade (O padre e a mosa, 1966, and Makunaima, 1969). Considered the father of the cinema Novo, Nelson Pereira dos Santos directed by Rio, 40 Degrees (1955) and Rio, the northern zone (1957) and made his great film, Vidas secas (1963). Contemporaries cinema Novo, other filmmakers were stimulated in their personal achievements: Anselmo Duarte, who shot absolutely right (1957), shot Payer of Promises (1962), the only Brazilian film that until now received the Palme d'Or at Cannes; Walter Hugo Khoury (Empty Night, 1964, and Burning Body, 1966); Roberto Santos (Great Moment, 1958, and the hour and turn of Augusto Matraga, 1966); Rui Guerra (The Scoundrellis, 1962, and rifles, and Luis Sergio Persona (Sao Paulo S/A, 1965, and the Case of the Nev Brothers, 1967). Very busy, this decade is still shown by Leon Hirschman (deceased, 1965); Walter Lima Jr. (Boy of Ingenuity, 1965); Domingos de Oliveira (All Women of the World, 1967); Joan Batista de Andrade (Gamal, sex nonsense, 1969, and Doramundo, 1978). Other talents have emerged, such as the directors of the so-called marginal cinema: Ozualdo Endeas (The margin, 1967); Jalio Bressane, who after making a film with cinematic characteristics (Face to Face, 1967), was surprised, in 1969, with The Killed Family and went to the movies and angel was born; except Rogerio Sganzerla (Red Light District, 1968). In the 1970s, during the most difficult moment of the military dictatorship, the creators of the film Kino Novo made a bet on the creation of the state-owned company Empresa Brasileira de Filmes (Embrafilme) and with their support made several well-produced films. Among the novelties were Hector Babenko (Night King, 1975, and Lucius Flavius, passenger of agony, 1977); (The Star Rises, 1974; and Dona Flor and her two husbands, 1976); (Lilian M., 1974), Ana Carolina (Sea of Roses, 1978); (Love Lesson, 1975, and The Violence Act, 1980); Osvaldo Caldeira (Free Pass, 1975); Carlos Alberto Prates Correia (Lost, 1976); and Geraldo Sarno (Coronel Delmiro Guwaya, 1979). In Sao Paulo, in Boca do Lixo, a large number of popular low-cost productions ranged from the horror films of Jose Mojica Marins (I do Caishao) to pornchanchadas. Jose Wilker and Sonia Braga, and director Bruno Barreto in the background, in the filming of Don Flor and her two husbands, since 1976 (Disclosure) In the 1980s, outstanding directors were Chizuka Yamazaki (Gaijin, caminhos da liberdade, 1980), Joan Batista de Andrade (The Man Who Turned into Juice, 1980), Murilo Salles (Never So Happy, 1984) and Sergio Rezende (The Man in the Black Cloak, 1986). The following economic crises have shaken Brazilian cinema: Embrafilme has declined, and in Boca do Lixo naive pornchanchads have been replaced by explicit sex films. In Sao Paulo, the so-called cinema Vila Madalena - students from the School of Communication and Arts of the University of Sao Paulo, Young People from short films and promotional films - showed a new generation of filmmakers: Andre Closezel, Chico Botelo, Sergio Bianchi, Jose Antonio Garcia, Sergio Toledo, Roberto Gervitz, Caro Martins, Sao Marten Regional production has also spread to the south and north-east of the country. Scene Central to Brazil, with (Reproduction) At the turn of the years 1980-1990, a fictional short has already been introduced, approved by the festivals and the identification of several filmmakers who will reach the film. In addition, the crisis has paralyzed in general, with the closure of Embrafilme under the direction of Fernando Collor de Mello (1990-1992). With strong support from governments, at the federal, state and municipal levels, production has returned, maintaining short-ended prestige. The next stage, called Cinema da Retomada, to spite such filmmakers as (Carlota Joaquin, Princesa do Brasil , 1995); Jr. (Foreign Land, 1995, and Central Do Brasil, 1998); (Killers, 1997, and Action among Friends, 1998); Paulo Kaldas and Lily Ferreira (Fragrant Ball, 1996); Rosemberg Cariri (Corisco and Dada, 1996); Sergio Silva (Anahy de las misiones, 1997); In addition to the large number of new arrivals, the cases of Lasia Murat, Helena Solberg, Maria Augusta Ramos, Sandra Werneck and Tata Amaral. New Argentine directors Cartaz de Los Inundados, Argentinian Fernando Birri (Reproduction) Breath update brought a new impetus to Argentine cinema in the mid-1950s, with film clubs and film magazines, class associations and the original generation of short films, whose most notable name is that of Fernando Birry (Tire di, 1958, and Los inundados). These were the days of the nascent Escuela de Santa Fe, coordinated by Birri and focused on documentary filmmaking. In the early 1960s, the so- called Nuevo Cine Argentino showed directors Jose A. Martinez Suarez (El Crack, 1959); Simon Feldman (Los de la mesa diez, 1960); David Cohon (Tres veces Ana, 1961); Rodolfo Kuhn (Los j'venes viejos, 1962) and Manuel Antin (Intimidad de los parques, 1965). The actor, Leonardo Favio, debuted in the direction of feature films with The Crenica de Un Nino solo (1965). He then made two melodramas (Este es el romance del Aniceto y la Francisca, de c'mo quede trunco, comenze la tristeza... y unas pocas cosas m's, 1967, and El dependiente, 1968). Two different proposals were submitted by the grupo de los Cinco (with a proposal that would later be considered as an independent film) and Cine Liberaci'n Group, characterized by a policy of resistance. The first was attended by Nestor Paternostro (Mosaico, la vida de una modelo, 1968); Ricardo Becher (Tyro de Gracia, 1969); Alberto Fisherman (Players v. Los Angeles, 1969); Juan Lamaglia y se'ora, 1970) and Juan Jose Stanyaro, who will be appointed director in the 1970s. The trio, formed by Fernando Solanas and Octavio Getino (La hora de los hornos, 1968) and more Gerardo Vallejo (El camino hacia la muerte del viejo reales, 1971) was the head of liberation. In 1971, films were made about military figures in Gyum, la Thierra en Armas (Leopoldo Torre Nilsson), Juan Manuel (Manuel Antin), Argentino Hasta la Muerte (Fernando Ayala) and Bajo el sinho de la Patria (Rene Mugica). Other directors also stood out, such as Raul de la Torre (Monica de Una 1971, Heroine, 1972, and in what is regarded as his great film, El infierno tan feared, 1980). De la Torre adapted Manuel Puig's novel Puris Angelic (1982). Leonardo Favio was present mainly with Juan Moreira (1973), Nazareno Cruz and El Lobo (1975) and Sonar, Sonar (1976). Some veterans stayed up with brilliance: Leopoldo Torre Nilsson won the Silver Bear at the Berlin Festival with Los siete locos (1973), and Fernando Ayala made more than ten films in a decade. One of the first directors of modern Argentine cinema was Uruguayan Eva Landek (Gente en , 1974). In the 1980s, new directors such as Adolfo Aristarain (Tiempo de revancha, 1981) were revealed; Maria Louise Bezmberg (Camilla, 1984); Luis Puenzo (La historia oficial, awarded the Oscar for Best Foreign Language Film, 1985); Carlos Sorin (La pel'ccula del rey, awarded the Silver Lion at the Venice Film Festival, 1986); and (Hombre mirando al sudeste, 1987). Other noveltys of the decade included the appearance of Fernando Solanas (Tangos, el exilio de Gardel, 1985 and Sur, 1988). In 1990, two highlights were Eliseo Subiela (Ultimas im'genes del naufragio) and Maria Louise Bemberg (Yo, la peor de todas). Well received was Un lugar en el mundo (1992), Aristarine and, in the same year, Subiel performed El lado oscuro del coraz'n. In turn, Gatica, el mono Leonardo Favio (1993) caused great controversy; and Tristikan Bauer made a documentary Cortazar (1994), about the Argentine writer Julio Cortazar. For the remainder of this decade, despite economic and political problems, several filmmakers remained active, with premieres and even some returns. The names of Jorge Cocia, Luis Puenzo, Alberto Lecchi, Juan Bautista Stanyaro, Carlos Galetti, Nicolas Sarkius, Marcelo Pinheiro, Marcelo Cespedes and Alejandro Agresti deserve to be quoted. The new Mexican generation At the same time that new cinematography appeared in all parts of the world, influenced by Italian neorealism and French nouvelle vaguely, A new generation originated in Mexico, formed by local and foreign filmmakers, such as the Spanish Luis Alcoriza, the author of the films Luis Bunuel and who was directed in the 1960s (Los j'venes , 1960, Tlayucan, 1961, Tiburoneros, 1962, Safo 1963, Amor sexo , 1964; El Gungster, 1964, and Tarahumara, 1965, in addition to Paradise and The National Mesanica, both since 1969). Bunuel directed (1961) and El Angel Fighter (1962), both produced by Gustavo Alatriste. Other Spaniards are Carlos Velo (Torero, 1956, and Pedro Peramo, 1966) and Jose Miguel Garcia Ascot (En el balc'n vaco, 1961). A new mentality appeared in local cinema in the 1960s, adding interest in seventh art, prompting writers, intellectuals and students who who for short-term and historical research focused on this topic. In 1960, the Film School of the University of Cinema (CUEC) of the National University of Autonoma of Mexico City (UNAM) was opened and film library related to the same education, and now has more than 30,000 titles. There were young filmmakers. Some made their debuts in 1965, including Juan Ibanez (Una alma pura), Alberto Isaac (En este pueblo no hay ladrones) and Arturo Ripstein (Tiempo de morir). This was followed by Jose Bolanos (La soldadera, 1966), Archibaldo Burns (Juego de mentiras, 1967), Felipe Casals (La manzana de la discordia , 1968), Alejandro Jodorowski (Fando y Lis, 1968), Jorge Fonz (El quelite, 1970), Mauricio Valerstein (Las reglas del juego, 1971) and Paul Leduc (Reed, Mexico insurgente, 1972). Chilean Miguel Littin presented the acclaimed actas de Marusia (1976), a drama about the oppression of miners in Chile. The new director who caught the eye was Gabriel Retes (Nuevo mundo, 1977). Since the second half of the 1980s, Busi Cortez (El secreto de Romelia, 1988), Rafael Montero (El costo de la vida, 1989), Luis Estrada (El camino largo, 1991) and Maria Novarro (Lola, 1989) stood out. The 1990s began with The Como agua para (Alfonso Arau, 1991), Mi querido Tom Mix (Carlos Garcia Ahraz, 1991) and Cabeza de vaca (Nicholas Echevarria, 1990), the latter, touching on the conquest of America. The scene of the Exterminating Angel, directed by Bunuel in 1962 (Slailnyao / Altura Films) Generation ICAIC With the defeat in 1956 of the dictatorship of Fulgencio Batista, the coming to power of Fidel Castro and ideological regime change, Cuban cinema went by natural means of radicalizing his aesthetic and production concept. The new filmmakers will be from film clubs and documentary. The Institute of Cuban Cinema Industria (ICAIC), established a few months after the hanging of the new regime, has defined the steps of Cuban cinema for decades to come, with Alfredo Guevara at the head of the Institute and Santiago Alvarez as the director responsible for newsreels and documentaries. Almost all filmmakers created in the early 1960s were formed in documentary short films, resulting in the creation of the so-called Cuban School of Documentary Film. Before running long, each director made at least half a dozen shorts. The directors created their filmography: Tomasz Gutierrez Alia (Historias de la Revoluci'n, 1960, three stories about the Cuban revolution, told in documentary style, La muerte de un bur'catra, 1966, and Memorias del subdesarollo, 1968, is considered one of the most important cinematic works made in Cuba), Julio Garcia Espinosa (Un joven rebelde, 1961 Las aventuras de Juan queen, 1967), Jorge Fraga (En d'a como estos, 1964), Isop Masip decisin, 1964), Manuel Octavio Gomez (La salaci'n, 1965) and Humberto Solis (Lucia, 1968). In the 1970s, Manuel Perez (El hombre de Maisinic, 1973), Sergio Giral (El otro Francisco, 1974), Octavio Cortasar (El brigadista, 1977) and Pastor Vega (Portrait of Teresa, 1979) appeared. Juan Padron, in turn, devoted himself to animation (Vampiros en La Habana!, 1985); and Elpidio Valdez takes on Jutia Dulce, 1988). Film director Sarah Gomez, who died at the age of 31, directed the feature film De cierta manera (1974). In the 1980s, Juan Carlos Tabio (comedy Exchange, 1983, based on the theatrical work of the director), Rolando Diaz (Los p'jaros tir'ndole a la escopeta, 1984, success comedy, seen by a quarter of the Cuban population), Orlando Rojas (Una novia para David, 1985, and Papeles secondary, 1989), Luis Felipe Bernaza (De tal Pedro tal astilla, 1985) and Jesus Diaz (Polvo rojo , 1981, and Lying , 1985). In the 1990s, despite a significant decline in film activism, films by the duo Tomas Gutierrez Alia and Juan Carlos Tabio (Fresa y chocolate, 1993, which examines the relationship between two young men with antagonistic political positions, but does not give up on their friendship, and Guantanamo, 1995, which deals with the customs of the Cuban population, and makes a thought to death); Fernando Perez (Hello, , 1990, a film that examines the dreams and idealism of a young Cuban woman who meets the work of , the writer , who lived for a time in Cuba, La vida es silbar, 1997, and , 2003, a musical documentary that depicts the cultural and social diversity of the Cuban capital); Arturo Sotto (Pon tu pensamiento en me, 1995, experimental language work); and Rolando Diaz (Melodrama, 1995), who was part of the project pron'stico del Tiempo, with two other films: The queer and the veres, Daniel Diaz Torres, 1997, and Fernando Perez's Atological Medium Film in 1994); and Juan Carlos Tabio (Waiting List, 2000, Cuban fable, from the school Alea, and Aunque est's lejos, 2003, which tells intertwined stories and tells about the theory of relativity and limitation of points of view). The scene of fres and chocolate, directed by Tomas Gutierrez Alia and Juan Carlos Tabio, in 1994 (Reproduction) Exiled Chilean filmmaker Patricio Coulin, who has made feature films since he debuted with Nada Mon que amor (1942), made his second feature, Encrucijada (1947), the documentary Caletones, Ciudad del fuego (1955) and participated in 1960. In an innovative and tense 1955 there was the Institute of Cinematography at the University of Catalica and the Film Club of the University of Chile. In 1957, the Experimental Film Center was established. Highlights of this period: Sergio Bravo (Mimbre, 1957, Trilla, 1958, of blacks D'a of organillos, 1959, La La 1960, with Leopoldo Castedo and Laminas de Almanac, 1962); Naum Kramarenko (Tres miradas a la calle, 1957, Deja que los perros ladren, 1961, Regreso al silencio, 1967, and Prohibido pisar las flores, 1970). In 1962, Cine Club de Visa del Mar. Aldo Francia, Herman Becker, Alvaro Kovacevic, Miguel Littin, Helvio Soto and Raul Ruiz (who before the 1973 coup stayed in Chile and made about twelve films, including feature films and documentaries), sought an identity for the Chilean film and managed to increase the production of feature films. With the ouster of Salvador Allende's government, Augusto Pinochet in 1973, the country's films began to be made mostly abroad, with the expulsion of its directors. In France, Helvio Soto directed the films Il Pleut-sur Santiago (1976), Three Mort du Truisieme (1979) and Mont-ami, Washington (1987). In international copyaries Miguel Littin filmed acts de Marusia (1976), El Recurso del Methodo (1978), La Viuda Montiel (1979), Alsino and el Condor (1982), Acta General de Chile (1986), Sandino: pat o muerte, vencer vencer (1991). In Chile, he starred in the films Los Nufragos (1994) and with a penny between Chile, Spain and Italy, Tierra del Fuego (2000) and La Altima Luna (2005). Documentary filmmaker Patricio Guzman also performed la batalla de Chile: la insurreci'n de la burguesia (1975), La batalla de Chile: el golpe de estado (1977), La batalla de Chile: el poder popular (1979) and La Rosa de losentos (1983). He also did, En nombre de Dios (1987) and La Cruz del sur (1992) and together with Hector Fawer and Fred Kelemen, the documentary Invocaci'n (2000), Le cas Pinochet (2001) and Salvador Allende (2004), a joint production between six countries. Writer and screenwriter Antonio Skerma directed Ardiente paciencia (1983) in Portugal. Back in Chile, he made several short and medium films. Based in Venezuela, Pablo de la Barra directed Cuatro Anios despue (1976), a co-production with Chile's Keridos compa'eros (1977), as well as Aventurera (1989) and Ante de Maurier (1997). Sebastian Alarcon settled in Russia, together with Alessandra Kosarev led Noche's public success over Chile (1977). He has made films such as Santa Esperanza (USSR, 1980), La Kaida del Candor (1982), La Apuesta del Comerciante Solitario (1984) and El (1986), El Sinefilio (1989) and El Fotugrapho (2002). Based in Colombia, Dunav Kuzmanic directed, in 1981, Canaguaro and La Agony del Difunto . His other destinations were in Ajuste de cuentas (1983), El de las Mercedes (1985) and Mariposas S.A. (1986). Angelina Vazquez was director of Presena lejana (1982), a co-production between Finland and Chile. Luis Vera directed Unsurpassed Hechos (1985), Consuelo, Una Ilusion (1988), El en Pais de Nunca Jamas (1992), Miss Amerigua (1994), al-paraiso (2000) and Viola Chinnsis (2003). (2003). filmmakers who stayed in the country filming Silvio Caiozzi, who directed his first feature film, a la sombra del Sol (1974) with Pablo Perelman. He then made Julio comienza en Julio (1977), La Luna en el Espejo (1990), Coronacion (2000) and Kachimba (2004). Gonzalo Justiniano's first feature film, Los hijos de la guerra fr'a (1986), was a penny with France. They are followed by Soussi (1987), Kaluga Mint (1990), Amnesia (1994) and Tove Un Sueno Contigo (1999). It resumed co-production with El leyton (2002), made between Chile and France, and B-Happy (2003), involving Chile, Spain and Venezuela. Ricardo Larrain led La frontera (1991) and Raul Silva Henriquez, Cardenal (1996) and, in Spanish-French penny, made El entusiasmo (1998). Pablo Perelman emphasizes, in addition to the co-direction in La Sombra del Sol, two other films: Imagem latente (1988) and Archipielago (1992). Valeria Sarmiento has made several short and medium films since the 1970s, as well as co-production with Europe, especially with France, with Amelia Lopez O'Neill about the story de una mujer de Puerto told un ladr'n arrepentido (1990). ICD, Jorge Ruiz and the group Sanjin Award-winning Bolivian film La Nacion Clandestina, Jorge Sanginis, 1989 (Reproduction) In 1958 Jorge Ruiz made a long film La vertiente, for the Bolivian Film Institute (ICB), an institution that ended about ten years, ending his activities in 1967. After graduating from the Institute of Cinema of the University of Catholics (1957-1960), in Santiago de Chile, director Jorge Sangins returned to La Paz, becoming responsible for the photograph, directing and editing of his films, whose team consisted of Oscar Soria (screenwriter) and Ricardo Rada (production). Sangins, the most important Bolivian director, he began directing his first short documentaries, Sueshos y realidades: una jornada dif'ccil (1961) and Un d'a, Paulino (1962), and then directed Revoluci'n (1963), in which a collection of Eisensten influences condemns the hunger and suffering of the indigenous population, resulting in the consequences of the Pan-Dutch and even poetic film. Your next job, ! Asa! (1965) - A short film that tells the story of the crisis of tin mines and indigenous workers who risked their jobs, in a report that focuses on family dramas. He then left to create his first feature film, Ukamau (Ases, 1966), which is spoken in Aymara and Spanish. The film, a public success, focused on the clashes between the Indian and mixed-race populations that have shaped Bolivia's most disadvantaged people. Indigenous work was under the control of a half-korean when an Indian woman was killed and her husband's subsequent revenge. His second feature, Yavar Malku (Condor Sangre, 1969), spoke it was yet another clash between indigenous workers and their white employers. Despite the artistic disappointment, the film was a success and took part in international festivals. He went to his third feature film, El coraje del pueblo (1971), with documentary scenes mixed with scenes interpreted, focusing on the repression suffered by the miners, between 1942 and 1967, by government forces. At the end of filming, the assembly was to be made in Italy, with the support of Radio-Television Italiana (RAI), in connection with the rise to power of General Hugo Banzer. Filmed with non-professional translators Tupac-Amaru (1974). Sanjins and his team were unable to continue their work in the country. He did, abroad, Jatun auka (El enemigo chief, Peru, 1974) and ! Fuera's out of here! (Ecuador, 1977, in collaboration with ukamau Group and the Central University of Ecuador). He returned to Bolivia and filmed Las Banderas del Amaneser (1983), as a director with Beatrice Palacio, always in the political line. In Spain, he made Clandestina (1989), one of his most memorable achievements. As for recibir el canto de los p'jaros (1995), it has been dealing with the theme of cultures and peoples throughout history, and Los Gijos del Iltime-Yardon (2004) condemns the indifference and lack of commitment to social issues of youth. Every decade a new outstanding director appeared in the country. In the 1970s, he was the best documentary filmmaker, Antonio Egino, who since 1966 made his short films and invasion of the film with Pueblo Chico (1974), Chukjago (1977) and, in a copyly production with Cuba, Amargo Mar (1984), an alternative version of the Pacific War. In the 1980s, Italian Paolo Agazzi continued his career with Mi socio (1982), Los hermanos Cartagena (1985), El d'a que muri el silencio (1998) and El atraco (2004), police officers based on a robbery that took place in the 1960s. In the 1990s, Marcos Loise made the long Cuesion de Fe (1995), Escrito en el Agua (1999), about a young man taken from his cyber world to enter the reality of the people in his country, and the dramatic comedy el Corason de Jesus (2003). Other Latin American and Caribbean cinematography by Colombians Jorge Ali Triana and Sergio Cabrera are two famous names. Triana directors Las Cuatro Edades del Amor (1981), Tempo de Maurier (1985), Edipo Alcalde (1996) and Bolivar Soy Yo (2002). Cabrera starred in dueling techniques (1988), Estragia del Caracol (1993), Agiglas no Cauldron Moscas (1994), Ilona Liega con la lluvia (1996), Gompe de Estadio (1998) and Elanders Method Deo (2004). Ecuadorian Camilo Luzuriaga, the director who sailed from short to film, starred La tigra (1990), Entre Marx e a mujer desnuda (1995), Cara o cruz (2003) and 1809-1910 mientras llega el d'a (2004). Francisco Lombardi, who made his debut with great success Death at Dawn (1977), fes mais bem-sucedida carreira com Muerte de un magnate (1980), Maruja in Hell (1983), City and Dogs (1985), Wolf Mouth (19888), Falling from Heaven (1990), Traces of Paradise (1991), No Compassion (1994), Under The Skin (1996), Pantaleon and Visitors (1999) and Red Ink (2000) and Eyes, that they don't see (2003). O cinema Luis Figueroa caracterizou-se sang themed indigenous peoples, emphasizing-se Cukuli (1961), Chiarak'e, Ritual Battle (1975), Hungry Dogs (1976) and Yavar Party (1986). Marianne Eide, the northern bourgeoisie founded not Peru, appears com Los Ronderos (1987) and shows herself directed by quando Fez La Vida es una sola (1992), La carnada (1999) and Coca mama (2004). No Uruguai, emphasizes Pablo Dotta, who made com'dia El airship (1994), Jorge Rocca filmou Patron (1995) and Alvaro Buela dirigiu way of dancing (1997) and Alma Mater (2004). No movie venezuelan, arm two outstanding mais diretores th Roman Chalbaud, who madeou quinze longas between 1959 and 1997. Estreou com Cain teen (1959) and, among seus films, stand outam-se La burna de Judas (1974), Herd of Angels (1978), Crab (1984), Black Sheep (1989), Knives of Fire (1990) and Pandemonium (1997). Outros nomes relevant s. Daniel Oropeza, com Between Saturday and Sunday (1965), East and His Hope (1968), Amazon Paradise (1970), El Cabito (1978), The Offender's Graduation (1985) and Innocent and Criminal (1987); Clement sow, with Salt Island (1964), Hidden Face (1964), Infinite (1971), I'm a Criminal (1976), Repeat Offender (I'm a Criminal II, 1977), Satellite Travel (1978), Crime of Criminals (1979), Criminals (1982), Fixator Catia and Water That Don't Need to Drink (both - since 1984); Alfredo Anzola dirigiu os longas This asked girl a good presence and motorized with her own motorcycle (1977), Manuel (1979), Menudo ... movie (1982), Shrimp Cocktail ... On The Day of the Secretary (1983), as Anita Camacho wanted to climb in Marino Mendes (1986), The Mystery of the Scarlet Eyes (1993) and 1888, the extraordinary journey of Santa Isabel (2005). Destacam-se, ainda, as diretoras Solveig Hoogesteijn, com El Mar del tiempo perdido (1977), Manoa (1980), Germany can be very beautiful, sometimes (1982), Macu, wife of a policeman (1987), Santera (1996) and Maroa (2005); e Fina Torres, who filmou Oriana (1985), Mecanices c'lestes (1995) and the woman at the top (2000). O diretor and Venezuelan roteirista Roman Chalbaud, em Caracas, on Venezuela, em fevereiro de 2010 (Ricar2/www.cnac.gob.ve) em porto rico he uma produ'o razo'vel, considered dimens-es do pais. Jacobo Morales dirigiu os longas y Dios los Crya (1980), Nicholas y los other (1985), What Happened to Santiago (1989), Linda Sara (1995), Angel and God Raises Them 2 (both EM 2003). Originally Marcos he made documentaries and went on to make films when he was co-director, with Roberto Ponce, the documentary Film Step Away (1980). Alone he directed La gran fiesta (1986), made in pennies with Argentina's Tango Bar (1989) and local productions of Muerte en Granada (Lorca - death in Granada) (1996) and Con la musica inside (1999). Luis Molina Casanova performed the songs Cuentos de Abelardo (1989), La guagua a'rerea (1993), Cuentos para despertar (1998) and El sueo del regreso (2005). In the Dominican Republic, Agliberto Melendez addressed the United Nations on the issue of illegal immigration to the United States for young Dominicans in search of work. Television actor Angel Muniz directed the feature films Nueba (1995), Nueba Yol 3: Bajo la nueva ley (1997) and Perico ripiao (2003). A generation of super-8 and short fiction since its birth in the 1920s, cinenewspaper, a short film of the time, was present in Brazil. This situation began to change with the advent of cinemathethehotel Museum of Contemporary Art (MAM) in Rio de Janeiro, young people began to study in Europe, mainly in Paris, at the Institute of Haute Cuisine (IDHEC) and in Rome, in the cinema center Sperimentale, returning with aerial ideas. Young people from different Latin American countries have done the same. In the 1960s and 1970s, many film clubs appeared in major cities, along with film critics, more involved and preoccupied with realism and aesthetics. Film courses have been opened at the University of Brasilia (UnB) and at the School of Communication and the Arts (ECA) of the University of Sao Paulo (USP) and the Federal University of Fluminense (UFF). In Sao Paulo, a private institution, the Armando Alvarez Penteado Foundation (FAAP), also created a film course. Additional initiatives were commissions and film courses in the city of Sao Paulo, which began at the Museum of Art of Sao Paulo (MASP). Another groundbreaking manifestation dates back to 1972, when director Abaro Berman created a course for the Independent Directors of Experimental Films (GRIFE), which gave the final boost to super-8 cinema, revealing hundreds of filmmakers in various parts of Brazil: names such as critic Jairo Ferreira, animation director Flavio Del Carlo, the super-directors who stayed in this gauge of filmmakers who remained in this gauge, such as Jomard Munardi Britto , Otoniel Santos Pereira, Leonardo Crescenti Neto, Carlos Porto de Andrade Jr., Moise Baumstein. Others, such as Ivan Cardoso, Guilherme de Almeida Prado, Carlos Herbase, Marcio Kogan and Isai Weinfeld and Edgard Navarro, reached 35 mm in length, a sensor taken as a professional. In the 1970s, super-8s dominated, which hit several states of the country, including a non-movie tradition. Otto Guerra, Director of Wood and Promotions (Disclosure) 1980, there were animated and fictional shorts, thanks to the prestige that the festivals of this category won. Cinematographers from short, who arrived or did not reach the film, mixed documentaries and feature films in the same film. Cases of Tata Amaral, Francisco Cesar Filho, Mirella Martinelli, Amelcar Monteiro Claro, Eunis Gutman, Ivo Branco, Rojario Correa, Katia Mesel, Berenice Mendes and Elian Caffe. The animation features Otto Guerra (Wood and Stoke: sexo, oregano e rock, 2002), Lancaster Mota (Trailer - Last Try, 1986), Marcos Magalhaes (Meow, 1982) and Wilson Lazzaretti (BR 365, 2002). With the various crises that the film has gone through, the closure of Embrafilme, the National Film Council (Concine), the Brazilian Film Foundation, and the popular film appeal has lost its charm, with the shutdown of companies producing children such as Os Trapalh'es and presenter Xuxa. This made the short beginning of the 1990s as a great representative of the domestic cinema, motivating the appearance of filmmakers and a large number of directors. This decade has finally queered the value of a short-lived film that has earned the respect of critics and the masses of viewers. Some Brazilian filmmakers of this period were Beno Brunt (Joff, 1993), Ricardo Elias (film by Marcos Medeiros, 2000) and (Durval Discos, 2002). Countries with more advanced cinematography, such as Argentina and Mexico, also had super-8 generations and filmmakers who made fictional short films. Mexican filmmaker Gabriel Rethez's film production crisis at the closing ceremony of the 25th Guadalajara International Film Festival in 2010 (International Distribution/Festival Cine en Guadalajara) Almost all totalitarian military regimes, dominating Latin America in the 1970s, identify with U.S. politics. Democracy had been slowly returning since the early 1980s, and it was necessary to restore those countries economically and politically, a situation that had implications in the field of cinema. The Brazilian case, for example, is symptomatic: at the turn of the 1970s and 1980s, about a hundred films were produced per year (the highest average in South America). Most of them can be exhibited all over the country. The largest production company in the country, Embrafilme, was in full swing, producing well-serviced and high-quality cinema. At that time, just for illustrative purposes, in the center of Sao Paulo there were 53 exhibition halls, several of them represent double or triple programs. There were over 250 rooms across the city. In the early 1980s, surprisingly, production began to decline sensitively and pornographic films occupied space Once glamorous cinemas designed to house a large number of spectators, in events characterised by the show, have been transformed into two or three small rooms, a situation that is replicated throughout the country. Inside, cinemas closed due to a lack of audience. Small towns with three or four cinemas end up with none. The same thing happened in medium-sized cities and some capitals. In major cities, traditional district cinemas have also closed, giving place to churches of new religious sects, car parks, supermarkets or any other type of trade. In Sao Paulo, in the Santa Iphignaia area, there were many small film distribution companies that were successful in the 1970s and 1980s in popular cinemas. With the crisis of the 1980s, these small businesses were wiped out. Increased violence and, as a result, insecurity by locking people in their homes; the inflationary explosion of the Sarni government in the late 1980s; Expanding commercialization and the subsequent cheaper video recorders and video-mogul stores for films aimed at this platform; and the gradual increase in movie price was a factor that made people lose their habit of visiting theatres once a week, and sometimes every day. In 1992, under Fernando Collor de Mello, production almost ceased: only two new Brazilian films were filmed until large-scale films resumed in the mid-1990s. In different periods and for different reasons something similar happened in other latin American countries. Ten years of President Carlos Menem (1989-1999), for example, were extremely harmful to Argentine economic and social life, with disastrous reflections on the production, distribution and exhibition of films. 1992, when only ten long films were released, was a harbinger of a serious crisis. In 1993, the country experienced a sharp decline in the number of cinemas, which fell to 352 theatres. In Mexico, despite the economic difficulties that plagued the country in the 1990s, several filmmakers continue to shoot, as do Gabriel Retes (Bienvenido/Welcome, 1994), Paul Leduc (La flauta de Bartolo, 1997), (El callej's de los milagros, 1994), Alejandro Jodorowski (The Rainbow Thief, 1990), Arturo Ripstein (Deep carmes, 1996), Maria Novarro (El jardin del Eden, 1994), and veterans such as Sergio Vjacar (En las manos de Dios, 1996). New forms of filmmaking Since the 1950s, a period in which the star system has already been established in the film industry of many Latin American countries, successive crises Argentina, France and Mexico. This situation has struck even the giants of Hollywood, because of one of the strongest novelties that threatened cinema on much of the planet - the advent of television, in addition to other factors that can lead to the habit of visiting theaters weekly to be reduced. The growth of consumer society and the cultural industry, with the expansion of alternatives to leisure, has forced the public to constantly migrate to alternative segments of the film industry. Faced with a situation of difficulties that began to delineate, the cinema reacted, reduced production costs and reduced the star system. In fact, the idea was, to try to undo the figure of stars: productions will no longer be done according to personalities (Dolores del Rio, Nikon Sevilla, Rodolfo Acosta, Maria Felix, Julian Soler, Pedro Armendaris and Rosita Formas, in Mexico; Libertad Lamarque and Mirta Legran in Argentina; and Tonya Carrero and Elian Lague, Brazil) who previously had long-term contracts and had to shoot several years; By contrast, celebrity movies, from then on, will be in the service of a story that will tell. Actors and actresses have taken the place of stars, with types closer to the real, allowing for minorities, such as afrodescendants, to play an important role. In Brazil, gradually, northeastern people began to gain fame on screen, such as actor Jose Dumont. He abandoned the American and European model, with tall men and blondes, giving place to biotypes closer to those existing in the country where the productions were made. Another important initiative was to reduce the number of groups and to exchange large studios for locations. Previously, expensive productions had huge teams, some reached sixty people. In the new time, these teams were reduced to fifteen or twenty members, making them more flexible and inexpensive. The inspiration was neorealism and vagueness, and new trends are emerging in different countries, such as Germany and England. In the case of Latin America, there are filmmakers in Brazil, Mexico and Argentina who, while working on this new concept, have begun to produce their own films or have joined the producers-creators, allowing them a greater degree of freedom that does not exist in large industries. These production directors joined the television networks in creating TV films; international co-production has also been strengthened. Cinematographers were formed in film clubs, film schools, super-8, short and medium films and documentaries, shot with little resources, learning in the practice of implementation and everyday difficulties. Evolution The Nagra portable voice recorder and the small cameras Arriflex and Cameflex included cameras in hand and helped the young in their inexperience with long ones. In the 1970s, under a new idea, women were moving toward the long, increasing the number of directors every day. In Brazilian cinema, about eighty women have made at least one feature film. The camera, snuggling in the hands of cameramen during the shots of moving planes and realism on the screens, presented the audience with a new type of cinema. Modern aesthetics were born: author's cinema. In addition, governments have started to invest regularly in the film industry. State-owned Embrafilme, established by the military government in 1969 and closed about twenty years later, was the largest company in the industry in the history of Brazil. The transformation in the film economy in the 1990s, the great transformation that cinema experienced in the 1990s, can even be called a revolution, because perhaps it is even more than what happened after the transition from silent to sound cinema, at the turn of the 1920s to the 1930s. Prior to this transformation, the exhibition halls located on the streets, often in imposing buildings built for this purpose, were independent of each other. All those in front of the theaters looked at the photos and posters, and the actresses and actors were well known. Long queues (some of them went around the block) to purchase tickets and for now the premiere eventually functions as a free movie advertisement released. In the phases of outright decay, particularly since the late 1970s, these rooms began to close. Earlier, the decline hit the district's cinemas and inner-city cities, leaving the local population with no alternative to this particular leisure. Cinema was no longer a champion for popular taste, and fans of the genre, who have already turned on the television habit, now had a cinema customizable at home, thanks to the popularization of the VCR. With the closure of popular cinemas in the centres of major cities, distributors and small producers have gone into meltdown or ceased operations. The new concept of cinemas, multiplexes, located mainly in shopping malls - up to fifteen rooms, as in the case of the shopping center in Rio de Janeiro has now changed and the commercial concept of cinema: the source of the film's profit as a movie show, offered to the public, depends not only on the box office numbers. You can watch a rented movie on DVD, VCR or computer. There is also the possibility of acquiring such DVD or VHS. Trade has expanded in such a way that there has been fruitful piracy: movies come to illegal trade or download to the Internet and subtitles in the language of preference, even before its release. People can create their own home theater - with equipment and technology still expensive for the middle-class pocket, but whose tendency is to become more accessible and popularized. Chico (Selton Mello) and Joan Grillo (Mateus Naschtergaele) in Auto da Compadecida, directed by Guel Arras (Divulga'o) The connection between private and public television networks with cinema has become stronger. In Brazil, Rede Globo de Televis'o, considered the fourth broadcaster in the world, founded its Globo Filmes in 1997, which became the strongest film producer in the country, often working with television directors and artists. This lure, combined with a strong marketing and distribution device, has successfully transformed production or co-production, such as I Am Compassion (Guel Arraes, 2000), Exchange (Daniel Filho, 2001), Carandiru (Hector Babenko, 2003), Sex, Love and Betrayal (Jorge Fernando, 2004) and 2 sons of Francisco (Breno Silveira, 2005), about the popular country duo of Zeze Di Camargo and Luciano, with undeniable cash success in the country. For the Brazilian case, guarding the appropriate proportions, Globo Filmes is now what Sinedia and Atlantis were in the 1930s, 1940s and 1950s and Embrafilme in the 1970s and 1980s. In recent years, several Latin American countries, such as Argentina, Chile, Peru, Colombia, Mexico, Venezuela and Cuba, which maintain relatively stable production rates, have developed a dynamic co-production system with Europe, especially Spain. Uruguay, although it has modest production in quantitative terms, is associated with Spain, striving for a significant Spanish-speaking market. The state's presence in the industrial relations between the State and cinema in Latin America has always been tense: major laws, laws on promotion and encouragement have been enacted, commissions and public institutions have been established, and more recently the regulatory body for the sector. For the Latin American film critic Paulo Antonio Paranagua in a period that was still mute, the state sought, first of all, to set limits on permissiveness on the screen, that is to structure censorship. In order to understand the cinematic legislation in Brazil, it is necessary to study the existence of the state as a conditioning agent of forms of film production. As a rule, the market reserve in Latin America has always been below the desired sector. Defenseless in the face of aggressive actions of companies only in the state producers have found the strength to face the overwhelming presence of American cinema. In Brazil, the first protectionist measures were taken in 1932: cinemas were forced to screen educational films in each programme; The Film Censorship Service was nationalized and a movie rate for public education was created - cinema was seen as a powerful tool for educating the masses. In this sense, the Institute of Educational Film (1929) was established in Chile; in Brazil, in 1936, the Ministry of Education and Public Health established the National Film Institute (INCE), the modern Department of Press and Propaganda (DIP) of Getelio Vargas; Columbia established the Department of Film (1938). It was decided to exhibit at least one feature film a year in every room in Brazil and one length per month in Mexico (1939). Argentina accepted this requirement in 1944; Colombia in 1942. In Brazil, 1946 legislation forced cinemas to show at least three feature films in each issue each year. Chile created Chile Films (1942), which lasted, in its first stage, until 1949. In Mexico, Paranaganua said, the government became more involved in helping private initiatives threatened by American competition: it rescued CLASA (1935), Pelmex and other distribution companies (1955), laboratories and studios of Churubusco-Azteci (1959) and Compa'ia Operadora de Teatros (1960). The Palais des Festivals during the award ceremony of the 42nd Gramado Film Festival in Rio Grande do Sul in 2014 (Cleiton Thiele/Divulga'o) in Brazil by decree of 1949 granting for five years exemption from customs duties and import fees for materials intended for the national film industry. In 1951, the 8 to 1 decree changed the mandatory share of national films in each room, which became a national film for eight foreigners. In 1959, a criterion used so far, a fixed number of days of screening of national films per year (screen quota) was established - in 1963 the reserve was 56 days per year; has undergone changes, reaching 140 days; in 1998, the day was 49 days; this quota now establishes that every cinema in the country exhibits Brazilian films for at least 35 days a year. However, this obligation varies depending on the number of rooms in the same place: press reports indicate that in a six to seven-room multiplex, under current law, each must meet a quota of 63 days. In Latin America, the state, in the 1950s and 1960s, began to act more consistently, especially after the failure of attempts of local industrialization of cinema. Several governments have established national institutions Bolivia - Bolivian National Institute (1953); Argentina - National Film Institute (1957); Cuba was opened by the Cuban Institute of Film Arts and Industry (ICAIC, 1959), although the National Institute for the Advancement of the Film Industry was established in 1955; in Brazil, the National Film Institute (1966) and Embrafilme (1969), among others. In Venezuela, since the 1970s, the National Film Administration has provided credits for the production of feature films. It also dates back to 1976 by the Compulsory Screening Act, with two national films a year in each room; at that time, the screen quota reached 126 days per year. In 1981, the Film Development Fund was established. Chile has reopened Chile Films (the government of Eduardo Frey) and Mexico, in addition to state-owned production companies established under Rodolfo Echeverrea, the Directorate General of Cinematography and the National Film Bank. Costa Rica and Honduras, back in the 1970s, established film promotion organizations, while Nicaragua founded the Nicaraguan Film Institute (Incine) in 1979, inspired by the ICAIC model of Cuba. State vs. Cinema: Government trends in almost all Latin American countries have created within a few decades working groups, national, state and municipal film commissions - in Brazil, for example, the Film Industry Research Group (GEIC) and in 1961 the Executive Group of the Film Industry (Geicine) - commissions and jury awards, as well as a number of mechanisms that provided other forms of financial remuneration to producers, were established in Brazil. Paulo A. Paraagua wrote in Cinema in Latin America: far from God and under Hollywood, that the change of the role of the state in Latin American cinema was not imposed from top to bottom. This was in line with the request of the professional environment to some extent. Given the conditions arising from the hegemonic, mass presence, foreign production and multinational distributors, simple market mechanisms do not allow the consolidation of national cinema. Thus, the State is considered to be the only factor capable of opening up the gap in foreign domination. However, this alliance has never been harmonious, as the growing involvement of the state in film production has often led to attempts of thematic and aesthetic orientation and direction. The early 1990s, with the almost widespread spread of neoliberal ideology in Latin America, led to profound changes in the role of the state and its relationship with the field of filmmaking. Perhaps the Brazilian situation is quite representative: the rise to power of Fernando Collor de Mello led to the extinction dissolution of the federal public administration, which includes municipalities, foundations and state-owned enterprises. Thus were put out, in particular, Embrafilme, the Brazilian Film Foundation and Concine. The government proposed, a few months later, the National Cultural Finance Program, soon nicknamed the Rouanet Act, in connection with the name of the then culture minister who proposed it. This law provided, in fact, to raise funds through a complex mechanism to support cultural production with interest and conditions of tax evasion for investors. Then there was a long debate, which would take place in the audiovisual law (law No. 8685/93), and then in various stimulating mechanisms at the federal, state and municipal levels. Gradually, devices were created in which the state financed production by direct and indirect means: either by large state-owned companies that had incentive programs specifically targeted at the cinema, either through state competitions and awards, or through tax avoidance mechanisms, which allowed to raise funds in the market from specific projects that are currently arbitration of the National Film Agency (Ancine) established in 2001. As for the specific financing of cinema, funds from both the Roueneta Law and the Audiovisual Law often coexist. In its statement, the government's actions in the field of audiovisual production, and in particular cinema, are closer to the general management that monitors projects that are under development, allowing through coordination of actions that manufacturers seize resources under different conditions. Thus, the film, to go to the screens and be shown in a commercial scheme, requires complex financial engineering, which, to the limit, even if there is no audience, allows the producer to be able to then or simultaneously look for continuous sources of funding and develop a new project. In addition, a number of married transactions are being established in increasingly dynamic proportions, including associations with screening networks and with companies that pay for licensing products related to the image or characters of films, etc. Digital cinema is becoming more mainstream, making the relationship between the state and cultural producers increasingly complex. Brazil and Argentina in the new millennium In Brazil, new directors such as Mosahir Gomez (House, 2003, and Maria, mother of the son of God, 2003); Xuxa (Xuxa, abracadabra, 2003, Brothers of Faith, 2004, Summer Show, 2004, and Xuxa and the Lost Treasure City, 2005); Eliana Fonseca Re-tim-boom - Volcano Hammer, 2003, Eliana and The Secret Dolphins, 2005, and Women's Stuff, 2005) make the commercial appeal of movies that serve as vehicles for TV stars. Two sons Francisco (Breno Silveira, 2005), Karandiro (Hector Babenko, 2003), Olga (James Monyardim, 2004) and Kazuza - the weather does not stop (Sandra Wernick and , 2004). The first reached 5.3 million viewers in the year of its release; Carandiru almost reached 5 million; Olga and Kazuza exceeded 3 million. Wagner Moura as ziko, in the film Carandiru directed by Hector Babenko, in the 2003 Brazilian documentary comes with force in the works of Evaldo Mocarzel (On the Edge of the Image, 2003, Messengers of Light, Amazon Midwives, 2004, Do Luto and Luta, 2005, and Margem-do-Specto, 2005), Jose Moreira Salles (Nelson Freire, 2003, and Entretatos, 2004), Jose Padilla (bus 174, 2002) , Paulo Sacramento (prisoner of the iron grid, 2004) and , mainly, the work of Director Cabra marked Die (1984), (Santo Forte, 1999, Babylon 2000, 2001, Master Building, 2002, Pees, 2004, and O fim e o princ'po, 2005). There is another documentary filmmaker, Joan Batista de Andrade (Vida de artista, 2004, and Vlado, 30 years later, 2005). In 2005, the vocation of power was launched (Eduardo Escorel and Jose Joffili), Doctors of Joy (Mara Murao), Soldado de Deus (Sergio Sans), Coisa mais linda (Paulo Thiago) and Vinicius (Miguel Faria Jr.). City of God, 2002, directed by Fernando Meirelle and Katya Lund (reproduction) Stand out, with films authored, Karim Ainous (Madame Sato, 2002), Lais Bodancki (Bice de 7 Cabeas, 2001), Luis Fernando Carvalho (Lavoura arcaica, 2001), Sergio Machado (Cidade Baixa, 2005) and Marcelo Gomez (Cinema, aspirin and uru, 2005). In the field of industrial cinema are Androcha Waddington (I, you, you, 2000, Viva San Juan, 2002, and Casa de Areya, 2005), Beno Brant (Invader, 2002, and Delicate Crime, 2005), Guel Arraes (I'm Compassionate, 2000, Karamura, invention of Brazil, 2001, and Lisbela and the Prisoner, 2003), (Menino Malukino 2, Aventura, 1998, Domestika, film, 2001, and the city of God, 2002) and Jorge Furtado (Were Once Two Summers, 2002 , the man who copied, 2003, and My Uncle Killed a Guy, 2004). Walter Salles (The Motorcycle Diaries, 2004, and Ogua Negra, 2005) and Fernando Meirelles (Faithful Gardener, 2005) were invited and filmed abroad. Nelson Pereira dos Santos, , Julio Bressane, Carlos Reichenbach and Bruno Barreto, with various offers and intensity, have been maintaining regular production. Norma Aleandro and Ricardo Darin in The Son of the Bride, Juan Jose Campanella, 2001 (Reproduction) At the beginning of the new millennium, cinema The 1970s with the look of a bourgeois boy, moments that would have ended with the dictatorship of Pinochet. Actor Boris Kversia directed the comedy Sex con Love (2003), receiving a good box office. The new director who appeared was Leon Errazures, a newcomer with Mala Leche (2004). Mathias Bizet directed Juego de verano and En la cama (2005), while the consecrated Miguel Littin returned with La Iltima Luna (2005). In Ecuador, Sebastian Cordero led Ratas, Ratons, Rateros (1999) and Krynicas (2004). Director Rodrigo Garcia receives the Iberoamerican Award at the 25th Festival of Guadalajara, Mexico, in 2010 (Divulga'o/Festival Internacional de Cine en Guadalajara) The result of a joint production between Colombia and the United States, Maria, llena eres de graca (2004) was directed by newcomer, American Joshua Marston. Also associated with the United States is Colombian Rodrigo Garcia (son of writer Gabriel Garcia Marquez, political poetics Glauber Rocha), who in addition to directing for American television, made feature films: Things you can say just by looking at it (2000), Ten tiny love stories (2001) and nine lives (2005). Among the few Bolivian filmmakers who have appeared are Diego Torres Penyazola (Calle de los poetas, 1999), Mauricio Calderon (El tri'ngulo del lago, 2000) and Fernando Vargas (Di buen d'a papa, 2005). In Peru, several directors have appeared, such as Augusto Tamayo San Roman, director of Ultra warrior (1990), Ande, corre, vuela (1995) and El bien esquivo (2001); after several short films and in connection with his work on television, Aldo Salvini made his film debut with Bala Perdida (2001); Alvaro Velarde made El Destiny the favorites tiene (2003); Luis Barrios is an active director on television and made his debut in the direction with Polvo enamorado (2003). Edgardo Guerra (Muerto de amor, 2002), Fabrizio Aguilar (Paloma de Papel, 2003), Ricardo Velazquez (Django: la otra cara, 2002) and Felipe DeGregori (We are all estrella, 1993, and Ciudad de M, 2000), began in implementation. Eduardo Schuldt made his film debut with the animated film Piratas en el Callao (2005), while partners Mariana Rondon and Marita Ugaz made a la medianoche y media (1999). In Uruguay, local cinema began to invest in the film in the mid-1990s, with works by directors such as Luis Nieto (Su musica todav'a, 1996, La memoria Blas Cuadra, 2000, and Estrella del sur, 2002); Pablo Rodriguez (Gardel, echoes of silence, 1997, and Cursed Cocaine, Caceres en Punta del Este, 2001); and Diego Arsuaga (Omario, 1997, and Corazon de Fuego, 2002). At the turn of the millennium, new directors appeared, such as Esteban Schroeder (El vi'edo, 2000), Juan Pablo Rebella and Pablo Stoll (25 watts, 2001, and Whiskey, 2004). Beatrice Flores Silva, who led The Europe's Les sept p'ch'ch'ch's capitaux (1992), with others filmmakers, estreou no longa com la puta vida (2001). Na Venezuela surgiram Diana Sanchez (The Magical Adventure of Oscar, 2000), Enrique Lazo (Borron y cuenta Nova, 2000), Alberto Arvelo (House overlooking the sea, 2002) and Luis Manzo (Pero Archangel, 2002). Bibliography bibliography

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