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.
The Isic f 
Italian inventor Marconi Bologna Guigielmo, after two years 
experiments with the use of Hertz apparatus, the antenna Popov, and coherer Branly, an achievement made in Bologna in 1894, a transmission of wireless telegraphy at a distance of 250 meters. about the invention and patented in 1896. Without support in Italy for his great invention, he continued his experiences in Britain. In 1897, Marconi set up the first season de radio del mundo en la Isla de Wight, al Sur de Inglaterra y en 1898 abrió la primera factoría del mundo de 
equipos de transmisión sin hilos en hall street ( Chelmsford, Reino Unido) empleando en ella alrededor de 50 personas. En 1899 Marconi consiguió establecer una comunicación de carácter telegráfico entre Gran Bretaña y Francia. Tan sólo dos años después, en 1901, esto quedaría como una minucia al conseguirse por primera vez transmitir señales de lado a lado del Océano Atlántico. Las primeras transmisiones de carácter público no fueron llevadas a cabo hasta el año 1920, desde Chelmsford a iniciativa de la compañía English created by Marconi. 
The August 27, 1920 takes place in Argentina's first radio broadcast. A group of young amateurs are responsible for airing Wagner's Parsifal opera from the Coliseo Theatre in Buenos Aries and passed into history with the name of "The Roaring of the roof." It was the doctor Enrique Susini with three medical students, his nephew and his friends Miguel Mujica Cesar and Luis Romero Carranza Guerrico. That August 27, 1920 between 21 and midnight, Enrique Susini was the kickoff to the story: "Ladies and gentlemen, the Radio Society 
Argentina presents today the sacred festival of Richard Wagner, Parsifal, starring tenor Maestri, Aldo Rossi Morelli baritone and soprano Sara Cesar Argentina, all with the orchestra of the Teatro Costanzi in Rome , directed by Master Felix von Weingarten. That's great invention of the "Crazy Roof" in 1920, will be deeply honored and take a new and deeper value when millions of voices are silenced they deserve on the radio and mass media. 
