mandatory. Halperín Donghi, Tulio, La república imposible (1930-1945) pág. 264, 2004, Buenos Aires, Ariel Historia, The problems associated with foreign policy took on more importance in Argentina and revived the conflict between the three political factions, the one pushing for siding with the Allies, the neutrals, and the one more in tune with the Axis. This latter minority group included the followers of nationalism and some officers of the army. The subject of the position the country should take on the war displaced other issues in the national political arena. Buchrucker, Cristian, Nacionalismo y peronismo pág. 222, 1987, Buenos Aires, Editorial Sudamericana, Starting in the 1930s, and following a general tendency in Latin America, nationalist ideas were fortified in the countryside and many diverse sectors of Argentina. Political parties such as the Unión Cívica Radical, the Socialist Party of Argentina, and in the unions organized under the umbrella of the Confederación General del Trabajo the favorable currents for the State to become interventionist were growing, in order to push the preservation on the national interests and promote industrialization. This ideological change was also observable in the cultural movements, with the vindication of the tango and the indigenous "gaucho roots".Potash, Robert A., El ejército y la política en la Argentina; 1928-1945, 1981, Buenos Aires, Ed. Sudamericana. La guerra gaucha was then selected as the subject, written and filmed in the context of expansive nationalism and debates over issues of war. State of the film industry in Argentina In 1938, 41 films opened and 16 new directors debuted. In 1939, the number increased to 51 films. Argentine cinema was very popular. In Mexico, almost all Argentine films were shown. In 1940, 49 films opened, despite the shortage of celluloid due to the war. In 1941, there were 47 openings and in 1942, 57. Artistas Argentinos Asociados A group of unemployed artists, Enrique Muiño, Elías Alippi, Francisco Petrone, Ángel Magaña, the director Lucas Demare and the chief of production of a movie company Enrique Faustín (son) met regularly at the beginning of the 1940s at the "El Ateneo" cafe in Buenos Aires. The Ateneo Group ("Barra del Ateneo") decided to found a cooperative film production company following the style of the American United Artists, so on September 26, 1941 they started "Artistas Argentinos Asociados Sociedad Cinematográfica SRL". Zolezzi, Emilio, Noticias del viejo cine criollo, pág.119, 2006, Buenos Aires, Ediciones Lumiere S.A., Origins of