# Argentine Academy of Cinematography Arts and Sciences (1941–1955)

The Argentine Academy of Cinematography Arts and Sciences (Spanish: Academia de Artes y Ciencias Cinematográficas de la Argentina) was an industry association in Argentina founded in 1941. It was closed by the military junta in 1955.

## Foundation

The First Film Museum of Argentina encouraged the foundation of the original Argentine Academy of Cinematography Arts and Sciences. Manuel Peña Rodriguez and Chas de Cruz, members of the museum outlined an approach based on the organization and experience of the similar Academy of Motion Picture Arts and Sciences in Hollywood. The basic idea was to organize members of each specialty into associations that would form the different branches of the Academy. They would then nominate delegates to meet and establish the academy. The task proved difficult, since only producers, exhibitors and actors had associations. Peña and Chas had to meet with directors, cinematographers, sound engineers, musicians and so on and persuade them to organize. Eventually the delegates met on 22 November 1941 at the headquarters of the First Film Museum and agreed to establish the academy.

## History

The first officers included the director and actor Mario Soffici as president, and the journalist and writer Chas de Cruz and businessman Carlos Connio Santini as secretaries. The Academy was born a year before the Film Critics Association (Asociación de Cronistas Cinematográficos), but began to present awards for local productions a year later, in 1943. The film selected for the Cóndor prize for production that year was Juvenilia by Augusto César Vatteone, while the prize for director went to Soffici for Tres hombres del río.
Over the years, and during the peak of Peronism, the academy became increasingly politicized. However, until 1949 the academy agreed with the main entry of the critics, and it again agreed with the critics in 1951 and 1952. Throughout the first period the academy was accused of being a political lobby whose members were favored by the state in getting credit for unexposed film, which was scarce. The last set of Academy Awards was presented in 1954, shortly before the 1955 coup that ousted the Peronists. Some of the academy members had to leave the country, such as Luis César Amadori, author of classics such as Dios se lo pague (God will pay) and Nacha Regules.

## Awards

The awards given by the academy for films made in 1941-54 were as follows:
| Award | Year | Winner | Film |
| Best Picture | 1941 | Lumiton | Los martes orquídeas |
| Best Picture | 1942 | Artistas Argentinos Asociados | La guerra gaucha |
| Best Picture | 1943 | Estudios San Miguel | Juvenilia |
| Best Picture | 1944 | Artistas Argentinos Asociados | Su mejor alumno |
| Best Picture | 1945 | Estudios San Miguel | La dama duende |
| Best Picture | 1946 | Argentina Sono Film | Celos |
| Best Picture | 1947 | Argentina Sono Film | Albéniz |
| Best Picture | 1948 | Argentina Sono Film | Dios se lo pague |
| Best Picture | 1949 | Argentina Sono Film | Almafuerte |
| Best Picture | 1950 | Argentina Sono Film | Nacha Regules |
| Best Picture | 1951 | Estudios San Miguel | Los isleros |
| Best Picture | 1952 | Hugo del Carril-Barbieri | Las aguas bajan turbias |
| Best Picture | 1953 | Argentina Sono Film | La mujer de las camelias |
| Best director | 1941 | Luis Saslavsky | Historia de una noche |
| Best director | 1942 | Lucas Demare | La guerra gaucha |
| Best director | 1943 | Mario Soffici | Tres hombres del río |
| Best director | 1944 | Lucas Demare | Su mejor alumno |
| Best director | 1947 | Luis César Amadori | Albéniz |
| Best director | 1948 | Luis César Amadori | Dios se lo pague |
| Best director | 1949 | Daniel Tinayre | Danza del fuego |
| Best director | 1950 | Luis César Amadori | Nacha Regules |
| Best director | 1951 | Lucas Demare | Los isleros |
| Best director | 1952 | Hugo del Carril | Las aguas bajan turbias |
| Best director | 1953 | Ernesto Arancibia | La mujer de las camelias |
| Best original story | 1941 | Sixto Pondal Ríos and Carlos Olivari | Los martes orquídeas |
| Best original story | 1942 | Hugo Mac Dougall | Malambo |
| Best original story | 1943 | Rodolfo González Pacheco, Hugo Mac Dougall and Eliseo Montaine | Tres hombres del río |
| Best original story | 1944 | Ulyses Petit de Murat and Homero Manzi | Su mejor alumno |
| Best original story | 1947 | Alejandro Verbitzky and Emilio Villalba Welsh | El retrato |
| Best original story | 1948 | Ulyses Petit de Murat | Tierra del Fuego |
| Best original story | 1949 | Pedro Miguel Obligado and Belisario García Villar | Almafuerte |
| Best original story | 1950 | Homero Manzi | El último payador |
| Best original story | 1951 | Sixto Pondal Ríos and Carlos Olivari | Pasó en mi barrio |
| Best original story | 1952 | Rodolfo M. Taboada | Rescate de sangre |
| Best original story | 1953 | Sixto Pondal Ríos and Carlos Olivari | Dock Sud |
| Best adaptation | 1941 | Luis Saslavsky and Carlos Adén | Historia de una noche |
| Best adaptation | 1942 | Ulyses Petit de Murat and Homero Manzi | La guerra gaucha |
| Best adaptation | 1943 | Pedro E. Pico | Juvenilia |
| Best adaptation | 1944 | Alejandro Verbitzky and Emilio Villalba Welsh | El deseo |
| Best adaptation | 1947 | Carlos Borcosque | Corazón |
| Best adaptation | 1948 | Pedro Miguel Obligado | Historia de una mala mujer |
| Best adaptation | 1949 | Ariel Cortazzo and Enrique Cahen Salaberry | Avivato |
| Best adaptation | 1950 | Lucas Demare | La culpa la tuvo el otro |
| Best adaptation | 1951 | Lucas Demare and Ernesto L. Castro | Los isleros |
| Best adaptation | 1952 | Alejandro Casona | Si muero antes de despertar |
| Best adaptation | 1953 | Abel Santa Cruz | La mejor del colegio |
| Best Actress | 1941 | Delia Garcés | Veinte años y una noche |
| Best Actress | 1942 | Delia Garcés | Malambo |
| Best Actress | 1943 | Amelia Bence | Todo un hombre |
| Best Actress | 1944 | Mirtha Legrand | La pequeña señora de Pérez |
| Best Actress | 1945 | Delia Garcés | La Dama Duende |
| Best Actress | 1947 | Amelia Bence | A sangre fría |
| Best Actress | 1948 | Zully Moreno | Dios se lo pague |
| Best Actress | 1949 | Amelia Bence | Danza del fuego |
| Best Actress | 1950 | Tita Merello | Arrabalera |
| Best Actress | 1951 | Tita Merello | Los isleros |
| Best Actress | 1952 | Mirtha Legrand | La de los ojos color del tiempo |
| 1953 | Zully Moreno | La mujer de las camelias |
| Best Actor | 1941 | Enrique Muiño | El cura gaucho |
| Best Actor | 1942 | Francisco Petrone | La guerra gaucha |
| Best Actor | 1943 | Francisco Petrone | Todo un hombre |
| Best Actor | 1944 | Enrique Muiño | Su mejor alumno |
| Best Actor | 1947 | Pedro López Lagar | Albéniz |
| Best Actor | 1948 | Arturo de Córdova | Dios se lo pague |
| Best Actor | 1949 | Narciso Ibáñez Menta | Almafuerte |
| Best Actor | 1950 | Luis Sandrini | La culpa la tuvo el otro |
| Best Actor | 1951 | Mario Soffici | El extraño caso del hombre y la bestia |
| Best Actor | 1952 | Francisco Martínez Allende | Facundo, el tigre de los llanos |
| Best Actor | 1953 | Enrique Muiño | Caballito criollo |
| Best supporting actress | 1941 | Amelia Bence | La casa de los cuervos |
| Best supporting actress | 1942 | Alita Román | Concierto de almas |
| Best supporting actress | 1943 | Leticia Scuri | Tres hombres del río |
| Best supporting actress | 1947 | Sabina Olmos | La gata |
| Best supporting actress | 1948 | Sabina Olmos | Tierra del Fuego |
| Best supporting actress | 1949 | Eva Caselli | Almafuerte |
| Best supporting actress | 1950 | Diana Maggi | Nacha Regules |
| Best supporting actor | 1941 | Sebastián Chiola | Historia de una noche |
| Best supporting actor | 1942 | Ernesto Vilches | Su primer baile |
| Best supporting actor | 1943 | Orestes Caviglia | Casa de muñecas |
| Best supporting actor | 1947 | Alberto Bello | Madame Bovary |
| Best supporting actor | 1948 | Enrique Chaico | Dios se lo pague |
| Best supporting actor | 1949 | Alberto Closas | Danza del fuego |
| Best supporting actor | 1950 | Ricardo Trigo | Captura recomendada |
| Outstanding female performance | 1951 | Malvina Pastorino | Sombras en la frontera |
| Outstanding female performance | 1952 | Golde Flami | Deshonra |
| Outstanding female performance | 1953 | Nelly Panizza | Mercado negro |
| Outstanding male performance | 1951 | Santiago Gómez Cou | La orquídea |
| Outstanding male performance | 1952 | Pedro Laxalt | Las aguas bajan turbias |
| Outstanding male performance | 1953 | Eduardo Cuitiño | La pasión desnuda |
| Best original musical score | 1941 | Jean Gilbert | Novios para las muchachas |
| Best original musical score | 1942 | Alberto Ginastera | Malambo |
| Best original musical score | 1943 | Julián Bautista | Cuando florezca el naranjo |
| Best original musical score | 1944 | Julián Bautista | Cuando la primavera se equivoca |
| Best original musical score | 1947 | Julián Bautista | Mirad los lirios del campo |
| Best original musical score | 1948 | Alejandro Gutiérrez del Barrio | Juan Moreira |
| Best original musical score | 1949 | Alberto Ginastera | Nace la libertad |
| Best original musical score | 1950 | Julián Bautista | La barca sin pescador |
| Best original musical score | 1951 | Juan Ehlert | La orquídea |
| Best original musical score | 1952 | Alberto Ginastera | Facundo, el tigre de los llanos |
| Best original musical score | 1953 | Tito Ribero | Del otro lado del puente |
| Best scenography | 1941 | Jorge Arancibia | Veinte años y una noche |
| Best scenography | 1942 | Ralph Pappier and Carlos Ferrarotti | En el viejo Buenos Aires |
| Best scenography | 1943 | Gori Muñoz | Juvenilia |
| Best scenography | 1944 | Ralph Pappier | Su mejor alumno |
| Best scenography | 1947 | Gori Muñoz | La copla de la Dolores |
| Best scenography | 1948 | Gori Muñoz | Historia de una mala mujer |
| Best scenography | 1949 | Álvaro Durañona y Vedia | Danza del fuego |
| Best scenography | 1950 | Abel López Chas | Escuela de campeones |
| Best scenography | 1951 | Gori Muñoz | Sangre negra |
| Best scenography | 1952 | Álvaro Durañona y Vedia | Deshonra |
| Best scenography | 1953 | Gori Muñoz | Un ángel sin pudor |
| Best cinematographer | 1941 | Alberto Etchebere | Historia de una noche |
| Best cinematographer | 1942 | José Suárez, Roque Funes and Antonio Merayo | Malambo |
| Best cinematographer | 1943 | Francis Boeniger | Tres hombres del río |
| Best cinematographer | 1944 | Bob Roberts | Su mejor alumno |
| Best cinematographer | 1947 | Pablo Tabernero | Siete para un secreto |
| Best cinematographer | 1948 | Antonio Merayo | Pasaporte a Río |
| Best cinematographer | 1949 | Humberto Peruzzi | Danza del fuego |
| Best cinematographer | 1950 | Alberto Etchebehere | Nacha Regules |
| Best cinematographer | 1951 | Antonio Merayo | Sangre negra |
| Best cinematographer | 1952 | Alberto Etchebehere | Deshonra |
| Best cinematographer | 1953 | Antonio Merayo | La mujer de las camelias |
| Best sound | 1941 | Ramón Ator | Los afincaos |
| Best sound | 1942 | Jorge Di Lauro and Alfredo Pablo Murúa | La guerra gaucha |
| Best sound | 1943 | Ramón Ator | Juvenilia |
| Best sound | 1944 | Ramón Ator | Su mejor alumno |
| Best editing | 1941 | Carlos Rinaldi | Yo quiero morir contigo |
| Best editing | 1942 | Carlos Rinaldi | La guerra gaucha |
| Best editing | 1943 | José Cañizares | Juvenilia |
| Best editing | 1944 | Carlos Rinaldi | Su mejor alumno |
| Best individual production | 1947 | Luis Saslavsky | A sangre fría |
| Best child interpretation | 1947 | Luis Zavalla | Corazón |
| Best child interpretation | 1948 | Andresito Poggio | Pelota de trapo |
| Best child interpretation | 1949 | Panchito Lombard | Almafuerte |
| Best child interpretation | 1950 | Julio Esbrez | Surcos de sangre |
| Best camera | 1941 | Humberto Peruzzi | El cura gaucho |
| Best camera | 1942 | Humberto Peruzzi | La guerra gaucha |
| Best camera | 1943 | Leo Fleider | Tres hombres del río |
| Best camera | 1944 | Humberto Peruzzi | El muerto falta a la cita |
| Best research | 1942 | Laboratorios Alex | For its work with color films |
| Best foreign film | 1941 | John Ford | Hombres del mar |
| Best short film | 1941 | Catrano Catrani | Catamarca, la tierra de la Virgen del Valle |
| Special mention | 1941 | Mirtha Legrand (actriz) | Los martes orquídeas |
| Special mention | 1941 | María Duval (actriz) | Canción de cuna |
| Special mention | 1941 | Nicolás Proserpio (montajista) | Tigre |
| Special mention | 1941 | Disney (productora) - Leopold Stokowsky (director) | Fantasía |
| Special mention | 1943 | Mariana Martí (actriz) | Dieciséis años |
| Special mention | 1947 | Pedro Miguel Obligado (guionista) | Albéniz |
| Special mention | 1947 | Sabina Olmos (actriz) | Albéniz |
| Special mention | 1947 | Raúl Soldi (escenógrafo) | Albéniz |
| Special mention | 1947 | Guillermo Cases (director musical) | Albéniz |
| Special mention | 1947 | Antonio Merayo (director de fotografía) | Albéniz |
| Special mention | 1947 | Mario Fezia (operador de cámara) | Albéniz |
| Special mention | 1947 | José María Paleo (sonidista) | Albéniz |
| Special mention | 1947 | Jorge Garate (montajista) | Albéniz |
| Special mention | 1947 | Roque Giacovino (director de fotografía) | Albéniz |
| Special mention | 1948 | Mario Soficci (director) | Tierra del Fuego |
| Special mention | 1948 | Curt G. Lowe (productor) | Tierra del Fuego |
| Special mention | 1948 | Armando Bo (actor) | Pelota de trapo |
| Special mention | 1948 | Leo Fleider and Francisco Madrid | Los pueblos dormidos |
| Special mention | 1948 | Arturo S. Mom (director) | Cómo se hace una película argentina |
| Special mention | 1948 | Tulio Demicheli (guionista) | Dios se lo pague |
| Special mention | 1948 | Alberto Etchebehere (director de fotografía) | Dios se lo pague |
| Special mention | 1948 | Juan Ehlert (músico) | Dios se lo pague |
| Special mention | 1948 | Mario Fezia (operador de cámara) | Dios se lo pague |
| Special mention | 1948 | Carlos Marín | Dios se lo pague |
| Special mention | 1948 | Jorge Garate (montajista) | Dios se lo pague |
| Special mention | 1948 | Roque Giacovino (director de fotografía) | Dios se lo pague |
| Special mention | 1948 | José Olarra (actor) | Por su trayectoria actoral |
| Special mention | 1949 | Luis Sandrini (actor) | Por su brillante actuación en el cine argentino |
| Special mention | 1949 | Manuel Romero (director y guionista) | Por su apreciable contribución al cine nacional |
| Special mention | 1949 | Arturo S. Mom (director) | For the first color documentary Mar del Plata |
| Special mention | 1949 | Alberto Etchebehere (director de fotografía) | Almafuerte |
| Special mention | 1949 | Alejandro Gutiérrez del Barrio (músico) | Almafuerte |
| Special mention | 1949 | Mario Fezia (operador de cámara) | Almafuerte |
| Special mention | 1949 | José María Paleo (sonidista) | Almafuerte |
| Special mention | 1949 | Jorge Garate (montajista) | Almafuerte |
| Special mention | 1949 | Alberto Curchi (operador de cámara) | Almafuerte |
| Special mention | 1950 | Zully Moreno (actriz) | Nacha Regules |
| Special mention | 1950 | Arturo de Córdova (actor) | Nacha Regules |
| Special mention | 1950 | Gori Muñoz (escenógrafo) | Nacha Regules |
| Special mention | 1950 | Juan Ehlert (músico) | Nacha Regules |
| Special mention | 1950 | Mario Fezia (operador de cámara) | Nacha Regules |
| Special mention | 1950 | Carlos Marín (sonidista) | Nacha Regules |
| Special mention | 1950 | Jorge Garate (montajista) | Nacha Regules |
| Special mention | 1950 | Alberto Curchi (operador de cámara) | Nacha Regules |
| Special mention | 1951 | Documentary film | Soñemos |
| Special mention | 1951 | Diana Myriam Jones | Soñemos |
| Special mention | 1951 | Federico Valle (productor) | Por su contribución al desarrollo inicial de la cinematografía argentina |
| Special mention | 1952 | Secretaría de Prensa y Difusión de la Presidencia de la Nación (productora) | Eva Perón inmortal |
| Special mention | 1952 | Daniel Tinayre (director) | Deshonra |
| Special mention | 1952 | Juan José Guthman (productor) | Deshonra |
| Special mention | 1952 | Sucesos Argentinos, Noticiario Panamericano and Semanario Argentino | Eva Perón inmortal |
| Special mention | 1952 | Adrianita (actriz) | La melodía perdida |
| Special mention | 1953 | Secretaría de Prensa y Difusión de la Presidencia de la Nación (productora) | Argentina de fiesta |
| Special mention | 1953 | Paramount Film (Major foreign film) | Antesala del infierno |
| Special mention | 1953 | Carlos Thompson (protagonista) | La mujer de las camelias |
| Special mention | 1953 | Wassen Eisen (adaptador) | La mujer de las camelias |
| Special mention | 1953 | José Serra (montajista) | La mujer de las camelias |
| Special mention | 1953 | Mario Fezia (operador de cámara) | La mujer de las camelias |
| Special mention | 1953 | Carlos Marín (sonidista) | La mujer de las camelias |
| Special mention | 1953 | Alberto Curchi (operador de cámara) | La mujer de las camelias |