Presidente de la Nación
Ing. Mauricio Macri
Vicepresidenta de la Nación
Lic. Marta Gabriela Michetti
Jefe de gabinete de ministros
Ministro de Cultura de la nación
Secretario de Patrimonio Cultural
CINEMATEQUE AND NATIONAL IMAGE ARCHIVE
Dis. Fernando Madedo
Ana Rosa Cunha da Cruz
NATIONAL INSTITUTE OF FILM AND AUDIOVISUAL ARTS
Lic. Ralph D. Haiek
Dr. Fernando Enrique Juan Lima
Jefe de Gabinete
Mariana Dell Elce
Jefe de Despacho
Dr. Eduardo Gabioud
Juan García Aramburu
Gerente de Asuntos Internacionales
Gerenta de Fomento a la producción audiovisual
Lic. Viviana Dirolli
Gerente de Administración
Lic. Nicolás Yocca
Gerenta de Fiscalización
Verónica Sánchez Gelós
Gerente de Asuntos Jurídicos
Dr. Lucas Lehtinen
Gerencia de Relaciones Institucionales
Subgerente de Producción de Contenidos
Subgerenta de Prensa y Comunicación
Subgerente de Recursos Humanos
Unidad de Transparencia Institucional
Dr. Lisandro Molinas
Unidad de Auditoría Interna
Dra. Isabel Valente
NATIONAL MINISTRY OF CULTURE
Minister of Culture
Secretary of Culture and Creativity
Secretary for Federal Integration and International Cooperation
Secretary of Cultural Heritage
NATIONAL INSTITUTE OF FILM AND AUDIOVISUAL ARTS
Vice President’s Office
Juan García Aramburu
CINEMATEQUE AND NATIONAL IMAGE ARCHIVE
pecialist in Communicational Design Theory (UBA). Image and Sound Designer (UBA, Honour Diploma). He finished the course of Specialization on Management and Politics of Culture and Communication (FLACSO) and is a Diplomat on Cultural Politics and Cultural and Arts Rights (FOGA, Dir. Dr. Edwin Harvey). Currently a doctoral student on the Arts Doctorate (National University of Arts –UNA-) with a thesis project named “History of the film theories in Argentina”. He is a professor of film theory, film history and audiovisual media in UNA Audiovisual and Sound and Image Design (UBA). Professor and creator of the Diploma on Cultural Production (FFyL-CCPU-UBA). He is an investigator on both houses of studies and has dictated conferences about film and new audiovisual media both in Argentina and abroad. He is dedicated to cultural management, focusing mainly on audiovisual management. He was an editor for the prestigious magazine Revista Otrocampo, estudios sobre cine, co-author of the book La teoría literaria hoy: conceptos, enfoques, debates (Ed. Al Margen / UNLP, 2008), Imágenes compartidas, Cine Argentino – Cine Español (CCEBA, 2010), Formas de la memoria, notas sobre el documental argentino reciente (UNA, 2012), 30-50-70. Conformación, crisis y renovación del cine independiente argentino y latinoamericano (UBA, 2014) and ¡Por favor, no cortar! Claudio España y la crítica cinematográfica (UBA, 2016). He has published several articles about audiovisual media on numerous magazines from Argentina, Spain, France, Australia and Mexico. He is a permanent collaborator of the magazine Revista GrupoKane.
He is the current Organizing Delegate of the Cinemateque and National Image Archive (CINAIN, National Ministry of Culture, National Institute of Film and Audiovisual Arts). He was the Executive Director of the Independent Film Project Association (PCI) that gathers around one hundred argentine film directors. He created the “Audiovisual Forum” that brought together the whole film industry for the first time in order to create a discussion and debate room about the present of the argentine industry with the intention of elaborating proposals that allow to strengthen and develop the sector activity, summoning over 70 audiovisual organizations. He was the General Producer of the Buenos Aires International Human Rights Film Festival, he organized special activities in the area of film and video of the National General Archive, where he made other activities related to the protection and diffusion of the film patrimony, being an organizer and coordinator of the International Symposium of Argentine and Iberoamerican Cinema “Film Images” and homage and public interviews to José Martínez Suárez, Manuel Antín and Leonardo Favio. He made the management of public for several films including El patron, radiografía de un crimen (Sebastián Schindel, 2015), Infancia Clandestina (B. Ávila, 2011), Wakolda (L. Puenzo, 2013), Cornelia frente al espejo (D. Rosenfeld, 2012), Rodencia (David Bisbano, 2014) and Planetario (Baltazar Tokman, 2014). He organized other diffusion and promotion activities for argentine cinema, which include Work in Progress cycles for Ventana Sur, the activity “Audiovisual Media in Democracy: 30 years” in 2013, where Kindergarten from Jorge Polaco was first ever projected in Buenos Aires, culminating with an homage to Miguel Pérez and his film The Lost Republic. He organized investigation activities of audiovisual design in the University of Buenos Aires and during august 2014 he organized and coordinated the conferences and conversations with the distinguished specialist in audiovisual media Dr. Román Gubern, that took place in Argentina (UBA, UNA, CCEBA). He was a director and producer of short films, among them Nobody, first film of Belén Blanco as a director, which participated of the Official Competition of the Berlin International Film Festival – Berlinale 2008, for which he received a grant of the National Arts Fund. In 2005 he was selected for the first edition in Buenos Aires of the Berlin Talent Campus (Berlin International Film Festival). He has also integrated festivals, contests and biennial jurys.
He has produced, among other shows and cultural events, several theatre plays in the commercial and alternative circuit, many of them nominated and awarded by ACE, Trinidad Guevara, Teatro del Mundo, Florencio Sánchez and Estrella del Mar, and other artistic events like “To Chopin: Alexis or the useless combat treaty” with the argentine, London settled, pianist Marcela Roggeri (Victoires de la Musique 2006) and the actor Martín Urbaneja, directed by Alejandro Maci (Gran Rex 2010, Ciudad de las Artes/Córdoba 2010, Usina de la Música 2012). Argentine Songs, concert with a repertoire by argentine composers as Guastavino, Ginastera, Falú, etc., with Susana Moncayo, Víctor Torres and Fernando Pérez (ND Ateno, 2008). He produced Art Gallery by Martini, where a bar-restó from Palermo was turned into an art gallery on Wednesdays, inaugurating expositions from plastic artists, with the curation of Diana Saiegh. Artistic Producer of Artists in the Limbo Club, which counted with the participation of Verónica Llinás, Rodrigo de la Serna, Emilia Mazer, Fernando Peña, Maximiliano Guerra, Belén Blanco, Mex Urtizberea, Lalo Mir, among others. Many of these performative shows have been a result of the investigation on the commercial production focused on the relations between marketing and artistic and cultural contents.
The Advisory Board of the Cinemateque and National Image Archive (CINAIN) is constituted by 10 ad honorem members choose on a contest modality proposed by the following institutions, one for every category numbered below:
1. The National Institute of Film and Audiovisual Arts (INCAA); 2. Film schools depending of official institutions or private universities with legal status or acting inside entities with legal status; 3. Recognised film critics associations or with legal status; 4. Representatives film clubs and cinemateques that have legal status or acting inside entities with legal status; 5. Representative film directors associations with legal status; 6. Representative film producers associations with legal stats; 7. The Argentine Film Industry Union (SICA); 8. The Argentine Actors Association (AAA); 9. The National Arts Fund; 10. Film Museum of the Autonomous City of Buenos Aires and existent analogous institutions.
It will session a minimum of one time every ninety (90) days for the purposes of gathering information and effectuate proposals about the execution of the CINAIN ongoing project. As being an autonomous organism, the Advisory Board is constituted in a jury in order to evaluate the antecedents of the proposed directors and will elevate to the National Executive Power the first five for the designation of the Director and Vicedirector. The Advisory Board will have an extraordinary meeting once a year, with the purpose of evaluate the executed project and the project to execute, elevating their report to the National Cultural Ministry. The Executive Director will be it’s legal representative and, with the agreement of the Advisory Board, will realize the designations, will celebrate congrats and will realize the necessary acts for the fulfilment of the CINAIN’s duties and functions.
Laws and Resolutions
Resolution 07/2017/INCAA, where the calling for the Advisory Board is realized, as is provided in the Decree 1209/2010read more
Resolution 04/2017/INCAA, that establishes the delivery of the “A” Copy, requesting a preservation support and an exhibition support in the fulfilment of the Law 25.119read more
Decree 1209/2010, that regulates the Law and establishes the missions, duties and faculties of the Organizing Delegateread more
Law 25.119 from 1999, that creates the Cinemateque and National Image Archive and defines its duties and functions.read more
From March 27 to April 1 2017, INCAA (National Institute of Film and Audiovisual Arts) and CINAIN (Cinemateque and National Image Archive), National Cultural Ministry, Argentina, in collaboration with the FIAF (Fédération Internationale des Archives du Film), Cineteca di Bologna y L’Immagine Ritrovata, will realize the FILM PRESERVATION & RESTORATION SCHOOL LATIN AMERICA, that during six days will offer training in preservation and film restoration in order to help saving the Latin-American cinematographic patrimony.
Since 2007, Cineteca di Bologna and the laboratory L’Immagine Ritrovata –in collaboration with the FIAF, ACE and the program MEDIA Plus UE- are the venue of the FIAF Film Restoration Summer School in Bologna, Italy, to foment and promote the understanding and to share the knowledge on the field of preservation and restoration of films. Based on the great success obtained in the summer school, Cineteca di Bologna, L’Immagine Ritrovata, World Cinema Foundation and the National Museum of Singapur have come together to realize for the first time this new program in Singapur, Asia, in 2013. The second Asian edition was organized in 2015 in Mumbai, India, for the Film Heritage Foundation, the FIAF, Cineteca di Bologna y L’Immagine Ritrovata. This year, the project has transferred to Buenos Aires and, 10 years after the beginning of the program, it will be realized for the first time in Latin-America, taking place in Argentina and starting the functioning of the Cinemateque and National Image Archive (CINAIN).
The six days program will include projections, conferences and practical classes, dictated by experts from all over the world and specialists from L’Immagine Ritrovata. The purpose of the program is to face the actual problems that surround the preservation and restoration of films, while giving the participants a practical formation on audiovisual restoration according to the good practices in the actual archive work.
Se realizó la mesa redonda Si muero antes de preservar: los desafíos de la Cinemateca Nacional en el Festival Internacional de Cine Independiente (BAFICI).read more
A group of 52 students selected to participate in the six days of the Film Preservation and Restoration Summer that will take place between March 27 and April 1, 2017. A program organized by INCAA and CINAIN.read more
En marzo se lanzará la Escuela de Restauración y Preservación del Patrimonio Fílmico, con expertos de Europa y EE.UU en Argentina.
Por primera vez en Latinoamérica se realizará la más prestigiosa escuela de restauración fílmica que dará inicio al funcionamiento de la Cinemateca, CINAIN.
Se realizó el primer encuentro entre instituciones para iniciar el proceso de constitución del Consejo Asesor de la Cinemateca y Archivo de la Imagen Nacional (CINAIN).