{"id":28688,"date":"2013-10-11T22:21:00","date_gmt":"2013-10-11T22:21:00","guid":{"rendered":""},"modified":"2026-06-29T03:43:06","modified_gmt":"2026-06-29T03:43:06","slug":"genesis-de-la-restauracion-en-mexico","status":"publish","type":"post","link":"https:\/\/entrepalabrasmxdigital.com\/?p=28688","title":{"rendered":"G\u00e9nesis de la restauraci\u00f3n en M\u00e9xico"},"content":{"rendered":"
\n<\/a>A manera de antecedente diremos que la filosof\u00eda que sustentaba el nacimiento de la Filmoteca de la UNAM, hace 53 a\u00f1os, era muy clara y lo sigue siendo, hacer el acopio de la mayor cantidad posible de cine mexicano, darle preferencia en la preservaci\u00f3n al m\u00e1s antiguo, porque era el que estaba en mayor peligro de perderse; este sustento conceptual hizo su cometido y por eso subsisten en nuestro archivo pel\u00edculas de ficci\u00f3n silentes como Aniversario de la Muerte de la Suegra de Enhart, Hnos. Alva 1910; Tepeyac, Carlos Gonz\u00e1lez Jos\u00e9 M. Ramos y Fernando S\u00e1yago, 1917; Santa (incompleta) 1918, Luis G. Peredo; El Pu\u00f1o de Hierro, 1927, Gabriel Garc\u00eda Moreno; El Tren Fantasma, 1927, Gabriel Garc\u00eda Moreno. Del periodo inicial del sonoro, si hici\u00e9ramos menci\u00f3n de lo que hemos preservado y restaurado, la lista ser\u00eda muy larga para este documento, s\u00f3lo resaltar\u00edamos por su importancia cinematogr\u00e1fica nuestro trabajo que llev\u00f3 a la pel\u00edcula Los Olvidados de Luis Bu\u00f1uel a ser registrada en la UNESCO como documento Memoria del Mundo y a su restauraci\u00f3n. Ahora bien, al hacerse m\u00e1s grande el Acervo de la Filmoteca y utilizar para la restauraci\u00f3n de nuestros filmes a laboratorios mexicanos cuyos fines, naturalmente, eran comerciales se hizo patente que necesit\u00e1bamos nuestro propio laboratorio, as\u00ed en 1982 iniciamos con equipos usados (siempre hemos trabajado con este tipo de maquinaria) nuestro laboratorio de restauraci\u00f3n fotoqu\u00edmica donde, ahora s\u00ed, el principal objetivo ser\u00eda el obtener restauraciones que nos permitieran ver los filmes lo m\u00e1s cercano posible a como hab\u00edan sido realizados por sus creadores.<\/span><\/div>\n
\n
<\/span><\/div>\n
\nEl asunto de la t\u00e9cnica empleada tanto en la restauraci\u00f3n mec\u00e1nica como en la restauraci\u00f3n \u00f3ptica, pas\u00f3 necesariamente por una aclimataci\u00f3n con nuestras posibilidades f\u00edsicas y financieras y ahora en 2013, podemos afirmar categ\u00f3ricamente que ya no hay filme que se haya resistido a nuestra manera de trabajar, a nuestro viejo equipo y a nuestra voluntad de conservar y difundir nuestra cultura cinematogr\u00e1fica.<\/span><\/div>\n
\n
<\/span><\/div>\n
\nPor otro lado siempre hemos sabido que es necesario no s\u00f3lo recuperar el conocimiento y la experiencia ajenos sino que tambi\u00e9n debemos compartir este conocimiento con los que no han alcanzado nuestro desarrollo as\u00ed, en dos ocasiones, conjuntamente la Cinemateca Brasileira y la Filmoteca de la UNAM han hecho dos reuniones para t\u00e9cnicos en restauraci\u00f3n de Am\u00e9rica Latina, uno en Sao Paulo, Brasil, y otro en M\u00e9xico, D. F., donde se instruy\u00f3 a nuestros colegas de Latinoam\u00e9rica y se hicieron ejercicios pr\u00e1cticos en los laboratorios de ambas filmotecas, hasta tener un material duplicado para \u201carchivo permanente\u201d y una copia para exhibici\u00f3n en pantalla. Se ha vuelto ya una pr\u00e1ctica constante, cotidiana, el que vengan a nuestra Filmoteca de la UNAM colegas de toda Latinoam\u00e9rica y a\u00fan de Europa, mencionaremos a algunos de estos colegas que han hecho estancias en nuestro archivo y algunas de las pel\u00edculas que se han restaurado aqu\u00ed:<\/span><\/div>\n
\n
<\/span><\/div>\n
\nGuatemala:<\/span><\/div>\n
\nGenaro Cotom Sum, 5 Noticiarios de los a\u00f1os 20, de los Talleres Gr\u00e1ficos de la Naci\u00f3n.<\/span><\/div>\n
\n
<\/span><\/div>\n
\nEcuador:<\/span><\/div>\n
\n
<\/span><\/div>\n
\nBolivar Regalado, Pel\u00edculas en 16 mm del Padre Crespi, a\u00f1os 30.<\/span><\/div>\n
\nM\u00e1s de 40 rollos de 9.5 a 35 mm, obra de Miguel Angel Alvarez.<\/span><\/div>\n

<\/p>\n

\n
<\/span><\/div>\n
\nChile:<\/span><\/div>\n

<\/p>\n

\nCarmen Brito: El Cuerpo y la Sangre<\/span><\/div>\n
\nCarlos Ovando: Caliche Sangriento.<\/span><\/div>\n
\nGabriel Cea: R\u00edo Abajo<\/span><\/div>\n
\nLuis Felipe Horta, El Leopardo<\/span><\/div>\n
\nLlampo de Sangre<\/span><\/div>\n
\nYo vendo uno ojos negros<\/span><\/div>\n
\nEl Hechizo del Trigal<\/span><\/div>\n
\nCampeonato Sudamericano de Box<\/span><\/div>\n
\nLargo Viaje<\/span><\/div>\n
\nTerremoto en Chill\u00e1n<\/span><\/div>\n
\nLa Mano del Muertito<\/span><\/div>\n
\nLa Respuesta<\/span><\/div>\n
\nEl Cuerpo y la Sangre<\/span><\/div>\n
\nAndacollo<\/span><\/div>\n

<\/p>\n

\n
<\/span><\/div>\n
\nCuba:<\/span><\/div>\n

<\/p>\n

\n10 Noticiarios ICAIC, de Santiago \u00c1lvarez, considerados Memoria del Mundo.<\/span><\/div>\n

<\/p>\n

\n
<\/span><\/div>\n
\nColombia:<\/span><\/div>\n

<\/p>\n

\nRito Alberto Torres:<\/span><\/div>\n
\nAlma Provinciana<\/span><\/div>\n
\nBajo El Cielo Antioque\u00f1o<\/span><\/div>\n

<\/p>\n

\n
<\/span><\/div>\n
\nAlemania:<\/span><\/div>\n

<\/p>\n

\n9.5 a 35 mm, Ensayo del Congreso del Partido Nazi en Nurenberg.<\/span><\/div>\n

<\/p>\n

\n
<\/span><\/div>\n
\nPuerto Rico, Archivo General:<\/span><\/div>\n

<\/p>\n

\nMarisel Flores:<\/span><\/div>\n
\nUna Voz en la Monta\u00f1a, Jes\u00fas T. Pi\u00f1ero<\/span><\/div>\n
\nLuis Rosario Albert:<\/span><\/div>\n
\nMunicipo de San Juan, La Nueva Versi\u00f3n de el Pueblo<\/span><\/div>\n
\n
<\/span><\/div>\n
\nCosta Rica:<\/span><\/div>\n

<\/p>\n

\nWilliam Miranda:<\/span><\/div>\n
\nIsla de Coco<\/span><\/div>\n
\nAvenida de las Damas<\/span><\/div>\n
\nAs\u00ed es Costa Rica<\/span><\/div>\n
\nOtilio Ulate<\/span><\/div>\n
\nFinca Cafetalera<\/span><\/div>\n
\nAnales M\u00e9dicos de Costa Rica No. 1<\/span><\/div>\n
\nNoticiero Costa Rica – Walter Bolandi,<\/span><\/div>\n
\nCosta Rica Cuna de Libertades, Junta de Protecci\u00f3n Social<\/span><\/div>\n
\nEl Retorno<\/span><\/div>\n
\nLas Marimbas<\/span><\/div>\n
\nRodrigo Carazo<\/span><\/div>\n
\nCosta Rica My Contry, The Costa Rican Tourist Board<\/span><\/div>\n
\nLa OEA Presenta<\/span><\/div>\n
\nCompras en Costa Rica<\/span><\/div>\n
\nArte: Herencia y Expresi\u00f3n<\/span><\/div>\n
\nCosta Rica Garden of the Americas<\/span><\/div>\n
\nAs\u00ed es Costa Rica<\/span><\/div>\n
\nEducaci\u00f3n T\u00e9cnica Superior en C. R.<\/span><\/div>\n
\nVista por el Mundo<\/span><\/div>\n
\nLand The Marimba<\/span><\/div>\n
\nDoc. Rodrigo Carazo<\/span><\/div>\n
\nProblemas en Costa Rica<\/span><\/div>\n
\nSuces. Nacionales No.10<\/span><\/div>\n
\nComercial de Bicicletas<\/span><\/div>\n
\nC.N.P. rollos I y II<\/span><\/div>\n
\nClorito Picado<\/span><\/div>\n
\nMelico Salazar<\/span><\/div>\n

<\/p>\n

\nPer\u00fa:<\/span><\/div>\n

<\/p>\n

\nNorma Rivera:<\/span><\/div>\n
\nYo Perd\u00ed mi coraz\u00f3n en Lima<\/span><\/div>\n
\nDe Carne Somos<\/span><\/div>\n
\nDos Caminos<\/span><\/div>\n
\nLA Muerte LLega al Segundo Show<\/span><\/div>\n
\nTaita Cristo<\/span><\/div>\n
\nLas Voces de la Tierra<\/span><\/div>\n
\nYo Perd\u00ed mi Coraz\u00f3n en Lima<\/span><\/div>\n
\nDe Carne Somos<\/span><\/div>\n
\nLuis Pardo La Luna Reja Los Conflictos de Cordero<\/span><\/div>\n
\n
<\/span><\/div>\n
\nEspa\u00f1a:<\/span><\/div>\n
\nAmazonia. Mato Grosso<\/span><\/div>\n
\nLa Dama Atrevida<\/span><\/div>\n
\n\u00a1Viva Madrid que es mi Pueblo!<\/span><\/div>\n

<\/p>\n

\n
<\/span><\/div>\n
\nUruguay:<\/span><\/div>\n

<\/p>\n

\nFerrocarriles de Uruguay<\/span><\/div>\n
\nEstaci\u00f3n Fluvial de Colonia<\/span><\/div>\n
\nCerro Largo<\/span><\/div>\n
\nDurazno<\/span><\/div>\n
\nFlores, Artigas<\/span><\/div>\n
\nTucuarembo<\/span><\/div>\n
\nSoriano<\/span><\/div>\n
\nRivera<\/span><\/div>\n
\nCentenario del Pr\u00f3cer<\/span><\/div>\n
\nPiedra Fund. Hospital Colonia<\/span><\/div>\n
\nInag. Colonia Saint Bois<\/span><\/div>\n
\nInag. Hospital Canelones<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"

A manera de antecedente diremos que la filosof\u00eda que sustentaba el nacimiento de la Filmoteca de la UNAM, hace 53 a\u00f1os, era muy clara y lo sigue siendo, hacer el acopio de la mayor cantidad posible de cine mexicano, darle preferencia en la preservaci\u00f3n al m\u00e1s antiguo, porque era el que estaba en mayor peligro […]<\/p>\n","protected":false},"author":2,"featured_media":28689,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-28688","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nG\u00e9nesis de la restauraci\u00f3n en M\u00e9xico - EntrePalabras<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/entrepalabrasmxdigital.com\/?p=28688\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"G\u00e9nesis de la restauraci\u00f3n en M\u00e9xico - 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