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Argentine Cinema: Crisis or opportunity (for a few)

Today he walked the aisles of Training Center SICA, where he studied for quite some time, and I found this statement on the billboard:

Buenos Aires, November 16, 2007

Dr. Cristina Fernandez de Kirchner
President-elect of the Argentine
S / D

Ref: REQUEST FOR HEARING

De

our further consideration:

film

People who sign this augur that causes a necessary management relaunch Film Industry Argentina, purpose for which, again, without hesitation, we find his close working towards achieving the expected momentum.

We would, therefore, to convey our voice alarm at the turn events have taken filmmaking.

In recent times, and slowly, the quality of our movies and responsiveness in the Argentine public has been declining in almost all variables. Despite the repeated suggestions and warnings from various sectors of industry , INCAA has become a large bureaucracy in a state of inaction, which seems unable even to recognize the serious crisis affecting.

We think it's time for a change of direction and finally, having a management consistent with the general desire for growth and consolidation of our industry. Relying on the artistic quality of our people and the transparency of good governance, to protect historical and young authors. To which we believe is necessary to have in front of INCAA a President, who is respected by all, appropriate and representative, as well as he is the holder of a recognized history in the local cinema.

would be more favorable for people who, every day we have to work for our cinema, an organization film production where it is not permanently dam of a bureaucratic tangle of conflicting decisions , but an institute of modern management-oriented, fast and efficient thus facilitating the realization of the benefits of the law for film and audiovisual production, creating better jobs.

We deeply Film Policy that aims at the recovery of the Argentine public and our natural audience film and also causes increased penetration in international markets, where quality of our cinema weigh more, that only "striking number of films produced annually." Make more movies today, it is clear not to make better movies.

is legitimate INCAA pretend that is not a prisoner of the loopholes that have created occasional technical and administrators, thus becoming lawyers and accountants in sporadic producers at the expense not only of the artistic quality of the film projects, but also causing the virtual disappearance of industrial films and auteur cinema in favor of the already well established "cinema manager." Which has determined a dangerous mismanagement and the lack of a film intended to generate a strong industry.

We fought a lot of us at the Argentine cinema: directors, producers, actors, technicians, musicians and extras for a law to make possible the sustainability of our film history, so now we sit idly by while to detract from his spirit, in profits of a few strangers, or friends of the driving shift.

We urgently need a more effective promotion system with more transparent quality competitions , avoiding the waste of our real resources, as well as operating the "share" on television, with the contribution of the same, be better films that garner public attention again Argentina is now lost.

We have seen that, despite our concern and the papers submitted by the entities that represent us before the Inca towards solving the problem described, which also form only a part of the picture of the situation that afflicts us and certainly tends to worsen, we have not even heard let alone understood.

We signed

this, hoping that Mrs. President, elected by all Argentines, we listen and understand, for which we are at your disposal, to the urgent need for change.

Without more, the

Yours faithfully

ARGENTINE FILM DIRECTORS (DAC)
P / Steering Committee
Carlos Galettini - President

UNION FILM INDUSTRY ARGENTINA (SICA)
P / Steering Committee
Luis A. Colaso \u200b\u200b- Secretary General

SINGLE WORKERS UNION PUBLIC SHOW (SUTEP)
P / Steering Committee
Miguel Paniagua - Secretary General

Argentine Union of Musicians (SADEM)
P / Steering Committee
Joseph Giaimo - Director General

Mmmm ... to see: in general one agrees with questions, common sense, good faith would all like it that way: that Argentine cinema has a greater drawing power, the president of INCAA be someone respected and representative of all sectors, the share of display is updated and enforced. Ok. What gives me some miedito are phrases like "We think it's time for a change of direction ..."¿ sounds like, in the worst sense, too much union, right? I mean, a good editor soon musicalizaría the moment with a faded ...

I learn also Other Cinemas already a few days after this letter is brothel door, including a counterpoint between Juan José Campanella and Adolfo Aristarain. Campanella answered your guild out in defense of the current leaders of INCAA, saying among other things:

" request a policy law, paragraph, ordinance or municipal ordinance that seeks to bring back the audience to see Argentine cinema is not just an exercise in futility but it is also pathetic. "Please, Madam President, we are not able by ourselves to make a film worthwhile, can not you make a policy to force Argentines to swallow is the same?". The public will come back when we film we give films having the bare minimum to be of interest to someone with fifteen dollars in his pocket. No film in recent years has generated interest and quality at the same time, so that support for some of this variant would produced exactly the same result: the removal of the public ".

Speaking bad and soon, to me they are sent here to save. This is reality, past relationships, cronyism, political expediency or whatever, the theme is simple: to make people want to go to the movies, you have to make good films. Point.
Other associations, meanwhile, still do not know if a fine or coarse sense of opportunism, published their own press, as DOCA (Association of Argentine documentary) and the Independent Film Project, which brings together several young directors. About published this latest partnership, I must say that the points in common with the first release are many, but the tone is different and definitely much more clear and concrete, starting with the proposition of an Audiovisual Plan, defining bluntly what the current problems and without dye things of any political color:

Given the seriousness of the crisis being experienced by the Argentine cinema and taking into account that we are on the eve of a new year and a new national government on the verge of taking office , the CPI (Independent Film Project) considers it essential to take into account the following outstanding issues, an agenda for discussion in order to develop a Plan Audiovisual ensuring sustainable development of our film, in its artistic aspects, technical and production:

1. INCAA institutional standardization, through the establishment of the Advisory Council, the body responsible for approving or rejecting the budget and appoint the committees that provide the benefits of the law.

2. Total transparency of the management of INCAA in budget execution and Development Fund projects and producers reap the benefits of the law, through information updated periodically by the agency website.

3. Regulation and protection of Argentine cinema display and other media formats of national origin in cinemas, on television and other means of existing display, including the screen quota for the short film.

4. The amendment to the Film Promotion Act, to adapt to technological changes in recent years, both production and display, and allowing for a greater democratization and efficiency in the representation of different sectors in the areas of decision .

5. Greater creativity in systems development to production, that fit Different schemes to existing production, taking into account the alternative production schemes or "artisanal."

6. The creation of a National Film Center, which ensures the preservation of our film and research tasks.

7. Regularized system debuts competitions, TV movies, documentaries, short films, experimental films, independent films and animation to help all aesthetic and technical renewal of Argentine cinema.

8. More and better support from government agencies and private activities that tend to the development of film author, academic research, professional training and exhibition of quality international films in Argentina.

9. Building Exemption for tax breaks to film production, taking into account the cultural value of the activity.

10. A structural discussion on how to develop policies and infrastructure for disseminating and marketing of Argentine cinema abroad.

integrate the PCI (Independent Film Project) the following directors: Alejandro

Hartmann, Alejo Taube, Ana Katz, Andrés Di Tella, Andrew Tambornino, Ariel Rotter Baltazar Tokman, Benjamin Avila, Celina Murga, Daniel Rosenfeld, Daniela Goggi, Diego Lerman, Edgardo Cozarinsky, Enrique Bellande, Esteban Menis, Fernando Molnar, Gabriel Lichtmann, Jorge Gaggero, Juan Antin, Juan Villegas, Julia Solomonoff, Lorena Muñoz, Luciano Zito Maria Victoria Menis, Rejtman Martin, Mercedes Garcia Guevara, Pablo Giorgell, Pablo José Meza, Paula Hernandez, Pepe Salvia, Rodrigo Moreno, Rodrigo Moscoso, Salvador Roselli, Santiago Loza, Sergio Wolf, Tatiana Mereñuk, Ulises Rosell.

personally agree more, I would say totally, with this position than to the SICA and DAC. Now, we Realistic beyond the magazine El Amante and the organizers of BAFICI (quilombo in gate II), I ask: Who is going to give these kids ball?

Anyway.

Mens White Leather Chaps

The key reserves the craft

If anything warranted cut with the dull but steady inactivity of this blog, is this recent publicity by Martin Scorsese Freixenet to .



Beyond sympathy for cinéphiles appointments, which I found remarkable is the role of music in this short. There is a very interesting game between the music that comes from the orchestra as part of what happens within the scene, and at the same time, its dramatic function as music off, out of sight. In terms of Michel Chion, French theorist who wrote about these issues, screen music and music pit :

"We will call to pit music that accompanies the image from an off position, outside the place and time of action. This term refers to the orchestra pit of opera classic.
call music screen, however, which emanates from a source directly or indirectly in the place and time action, although this source is a radio or scrub off the field. "

What is remarkable is that in this case the music is from the same source and fulfills both functions, constantly leaving and entering the scene and diegesis of the story. What's more, at a time unbelievable, a musician himself takes center stage playing his violin for the rest, and then transforming the same rope with which he played a murder weapon.

Then there are things that are significant and represent very well the Hitchcockian universe: The first sentences of Scorsese ( "The posters were like dreams, in the sense that invited you to dream: spend and dream this movie, the faces, color, movement ) and the documentary treatment of his story, the choice of a theater as a location of history and the interplay between the public stage and the stage, and the final taxed to Rear Window, but also by almost a declaration of principles which are the places the viewer and as a work of cinema itself.