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<p>During the first year of Javier Milei's administration in Argentina, a series of measures reoriented public policy, with a notable impact on cultural policy. The law "Bases and Starting Points for the Freedom of Argentines," enacted in the administration's early months, enabled a substantial restructuring of public cultural institutions, accompanied by budget cuts and revised criteria for awarding subsidies. In this context, the case of the National Institute of Cinema and Audiovisual Arts (INCAA) is paradigmatic: debates over its restructuring received extensive media coverage and became a public cause that transcended the audiovisual sector. Using a pragmatic sociological approach focused on argumentation, this study analyzes public statements made by actors involved in the "cultural war" over INCAA. We identify and examine the arguments for and against the government's proposed restructuring of the institute, as well as the actions implied by those arguments. The study of this case shows how the radical right's "cultural war" becomes operationalized through belligerent discourse and concrete political action within the government. Consequently, the audiovisual community's response to the government's cultural policy permits an analysis of the repositioning of artistic critique in relation to the new policy, demonstrating how INCAA became a collective cause around which national imaginaries were mobilized in contemporary Argentina.</p>

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The Cultural Policies of the Radical Right in Argentina: Rhetoric and Repertoires in the "Culture War" Over the National Institute of Cinema and Audiovisual Arts

  • 期刊论文

  • 发表日期：

    2026年5月19日

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  • Florencia Dansilio,
  • Marcela País Andrade

摘要

During the first year of Javier Milei's administration in Argentina, a series of measures reoriented public policy, with a notable impact on cultural policy. The law "Bases and Starting Points for the Freedom of Argentines," enacted in the administration's early months, enabled a substantial restructuring of public cultural institutions, accompanied by budget cuts and revised criteria for awarding subsidies. In this context, the case of the National Institute of Cinema and Audiovisual Arts (INCAA) is paradigmatic: debates over its restructuring received extensive media coverage and became a public cause that transcended the audiovisual sector. Using a pragmatic sociological approach focused on argumentation, this study analyzes public statements made by actors involved in the "cultural war" over INCAA. We identify and examine the arguments for and against the government's proposed restructuring of the institute, as well as the actions implied by those arguments. The study of this case shows how the radical right's "cultural war" becomes operationalized through belligerent discourse and concrete political action within the government. Consequently, the audiovisual community's response to the government's cultural policy permits an analysis of the repositioning of artistic critique in relation to the new policy, demonstrating how INCAA became a collective cause around which national imaginaries were mobilized in contemporary Argentina.