Políticas culturales en Argentina: una revisión en el contexto del Instituto Nacional de Teatro y del Instituto Nacional de Cine y Artes Audiovisuales

Patricia Relats; Raúl S. Algán

doi:10.21158/21451494.v10.n0.2019.2642

Cultural policies in Argentina: a review in the context of the National Theatre Institute and the National Institute of Film and Audiovisual Arts

10.21158/21451494.v10.n0.2019.2642

Published 2019-09-25

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Cultural policies in Argentina: a review in the context of the National Theatre Institute and the National Institute of Film and Audiovisual Arts. (2019). Comunicación, Cultura Y Política, 10, 36-69. https://doi.org/10.21158/21451494.v10.n0.2019.2642

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Abstract

Politics and culture are forces in constant tension that influence the field of management and artistic production. This tension has been a determining factor in the Latin American nation-states, especially during the second half of the 20th century, when culture entered the orbit of public management as a resource. Without being oblivious to this issue, cultural managers, specifically film and performing arts producers, are agents whose activity is closely conditioned by the public interest. With the intention of making an approach to the relationship among culture, identity, politics, and society, this paper addresses the preliminary conditions that contributed to the fact that Argentina had its National Institute of Theater and its National Institute of Film and Audiovisual Arts in the nineties. The theater and the cinema, seen as mirrors of an ever changing Argentina, are catalysts of the cultural factor, which is a subject in permanent revision. From the formation of the State in the 19th century, taking into account the European migratory inflow at the beginning of the 20th century that brought specific social practices, to the contemporary omnivorous cultural consumers, culture has been an object of constant dispute. In this sense, the approach is deepened by incorporating some reflections on the processes of censorship and the projects of independent cultural production. Finally, we wrap this journey with the current conditions of independent production and the crossovers between languages.