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News: The National Authority of Inca Bodies presented its work on the preservation of audiovisual heritage on the Day of Audiovisual Heritage

– The new map was presented to the National Audiovisual Group and the transfer of much film material to a refrigerated container in Campo de Maio was completed.
– In addition, MoMA in New York will screen the films of Argentine director René Oro that were restored by Cinemateca in 2022.

On World Day for Audiovisual Heritage, celebrated every 27 October since 2005, the National Institute of Cinema and Audiovisual Arts (INCAA), through the National Cinema, validates its commitment to adopt public policies aimed at preserving, preserving and promoting our audiovisual heritage.

This year, under the theme “A Window to the World”, this honour aims to honour professionals, institutions and entities responsible for preserving their audiovisual heritage. According to the United Nations Educational, Scientific and Cultural Organization (UNESCO), heritage is the cultural heritage we receive from the past, live in the present and will pass it on to future generations. It has the potential to promote access to and enjoyment of cultural diversity, enrich social capital, and form a sense of individual and collective belonging, helping to maintain social and regional cohesion.

In this sense, the work carried out by INCAA National Cinematheque is fundamental. Its activities include promoting democratic access to film materials through national and international festivals, special screenings at the Cinema of Gomont and screenings at cultural and artistic institutions. Among his projects is the restoration of two works, from 1927, by René Oro, one of the most prolific documentary filmmakers in Argentina: American Nations and Stati Santiago del Estero. Both premiered at the 37th edition of the Mar del Plata International Film Festival, accompanied by a version of book For the nations of the Americas. Silent Documentary Cinema by René Oro (Historical and Artistic Study).

This material was selected by the Museum of Modern Art (MoMA) in New York City, to be displayed in celebration of the tenth anniversary of the Women Pioneers Project (WFPP) It was promoted by the Columbia University Library. Brazilian cinema has also shown special interest in the restoration work carried out by the National Cinema, and plans to conduct special screenings of the material.

On a daily basis, Cinematheque permanently determines the work on reorganizing warehouses and updating existing inventory, in order to obtain quantitative and qualitative information through working protocols and inventory survey techniques. In addition, from the point of view of interventional conservation, films are technically examined for identification, processing, intervention, container change and labeling.

Work is also under way to quantify funds and collections, determine the regulation system, physical inventory survey, count and identification (quantitative information), survey control tools — capture available data and information such as records and inventories — and identify clusters and origin and rights of materials.

As part of conservation policies, more than three hundred containers of cellulose-based film materials have been recently transported. An essential measure to ensure the preservation and preservation of the more than seventy audiovisual titles that are part of our cultural heritage. The materials were placed in a refrigerated container adapted as a vault in the No. 1 Artillery Regiment Brigadier General Tomas de Iriarte of the Campo de Maio military garrison, located in the San Miguel area, Buenos Aires. The new space contains the technical requirements necessary for the optimal preservation of the film material in accordance with the applicable safety regulations. Among the saved materials Help me live (1936), City Boys (1936) and Witch Kisses (1937), by José Agustín Ferreira; Commissioner Tranco Largo (1942), by Leopoldo Torres Ríos; When spring makes mistakes (1944), by Mario Sofisi; End of night (1944), by Luis Saslavsky and Alberto de Zavalea; Elf Lady (1945), by Louis Saslavsky; Trees die standing (1951), by Carlos Schleber; and La Comparesita (1947), by Antonio Momblet. In addition, there are several documentaries of the Undersecretary of Information from the forties of the twentieth century: Snowless Spring, Cotton, Nahwell Huapi and Fox Hunt (Short film from the National Film Institute).

Other initiatives undertaken by Cinematheque National Census of Audiovisual Collections. This is a procedure that began on October 27, 2022 and aims to create a map of audiovisual material preserved in the country. It also seeks to promote good practices, guidelines and/or common procedures for processing archived files. The project makes it possible to raise awareness of the importance of the existence of these groups and the corresponding preservation, management and access to the country, providing the possibility of assessing, developing and implementing a common comprehensive document management policy, as well as guiding the researcher and the general public in the search for primary sources.

Based on this initiative, DEWA launched today the first National Map of Group AAudiovisual, a consultative tool that allows citizens to know the location and distribution of the different groups that exist in our country.  Through this map, it is possible to identify and identify the institutions – public and private – and the companies or collectors who have protected the works, materials and archives that make up the national audiovisual heritage.

The National Census of Audiovisual Collections and the National Map of the Audiovisual Collection are the result of joint work between the National Cinema and the Audiovisual Observatory of the National Institute for Africa and Africa, and the cooperation and participation of public and private administration institutions, individuals and non-governmental organizations. The enum is still open and you can Enter new records.

Finally, with the advent of regional archives and cinemas, Cinematheque implements policies of cooperation and sharing of good practices throughout the country.

The National Cinema of the INCAA carries out a strategic mission in relation to the audiovisual heritage of our country, promoting access to and enjoyment of cultural diversity. It carries out its work with five-pronged planning: storage and preservation strategies and conditions; Interventional archiving document management; training; Disseminate and communicate with the regional and international audiovisual community. Preserving the memory, facts, perceptions and meanings of what is happening is essential, since it allows us to put our present in context, put the future in perspective and define bridges of dialogue and coexistence based on diversity.

The National Cinema Collection consists mainly of audiovisual productions made from subsidies granted by INCAA and donations and materials from universities and other countries. It preserves about 10,000 films in both analog and video film formats, as well as digital.

INCAA encourages the dissemination and dissemination of materials that make up national cinema in various film festivals, courses and exhibitions, for educational and cultural purposes, both in the country and abroad.

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