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The history of cinema begins on December 28, 1895, date on which the Lumiere brothers publicly projected sali da French factory workers in Paris. Film history has been dominated by the discovery and proof of paradoxes inherent in the medium itself. The film uses machines to record images of life, combining still photographs to give the illusion of continuous movement appears to be life itself, but also offers impossible realities to which only approximate dreams. The film was developed from the union of photography which records the physical reality, with the game of persistence of vision that made it appear that the pictures were moving. The film is considered the youngest art forms and has inherited much of the arts more old and traditional. However, it is one of the few arts that is both space and time, intentionally manipulating both the time and space. This synthesis has generated two conflicting theories about cinema and its historical development. Some theorists such as Sergei M. Eisenstein and Rudolf Arnheim, argued that cinema should take the path of the other modern arts and concentrate on telling stories and not represent reality, but to investigate time and space of a pure and consciously abstract. Others, such as Andre Bazin and Siegfried Kracauer, argue that cinema should completely and carefully develop their connections to nature so that it can portray human events as revealing and exciting as possible.

Cinema arrived in Argentina just after its launch in Paris, shortly after filming began and the first productions. Among other attractions, there were global pioneers in scientific and animation movies. But the real industry began only in 1933, with the statement sound film. The good times, when the Argentine films were seen in all of Latin America, lasted until the early 50s. Then, the gradual closure of the major studios, the growth of television, the stagnation of popular cinema and the isolation of an auteur imposed other rules. On these rules, the current Argentine cinema has restricted quantity and market, but retains a special quality, internationally recognized. The whole industry came with the talkies in 1933. Born about the same time Argentina Sono Film, Tango (which debuted Libertad Lamarque, Tita Merello and Luis Sandrini) and Lumiton, with the three berretines.