[6] More recently some bestselling novels by Peruvian author and talk show host Jaime Bayly, including No se lo Digas a Nadie and La Mujer de mi Hermano, have been made into movies.

These were the first images of Peruvian geography projected by a cinematographic camera that included places such as the road to La Oroya at Chanchamayo or the Cathedral Basilica of Lima.

Thereafter an age of documentary film making started as cameramen traveled to Peru, the Pacific Ocean, the Andes, and the Amazon regions to record landscapes,ceremonies, feasts, rites, public works as a means of visual identification.

Fernando Lund's Compañía Internacional Cinematográfica (Cinematographic Company) delighted the audience about journeys from southern Peru, Bolivia, regattas and hydroelectric facilities in Chosica.

[24] The decade of the Twenties witnessed a revival in the cinema industry marked by documentary news and cinematographic footage of galas, carnivals, banquets, horse races etc.

The decade was marked by the prosperous regime of Augusto B. Leguía whose imposition of the modernization movement called the Oncenio (Patria Nueva) created new areas of occupation such as reporters and writers.

The film was noted for its clothing, richness in details, composition and sets in Rospigliosi Castle and the Quinta de Presa mansion in Rímac.

The endeavor to create the industry in stone was undertaken by talented directors from local and foreign countries whose goal was to establish continuity with production companies.

Luis Ugarte's Camino de la Venganza featured Teresita Arce as the main role of Juanacha, a young native woman who must defend against the exploitation of the miner McDonald.

In comparison to this great anachronism, Luis Pardo, one of the most popular tapes of Peruvian cinema, was released in October 1927, the same year as Alan Crosland's sound film The Jazz Singer.

[19][g] They were also known to capture and imprint the Peruvian culture into cinema with narratives that address themes of the suffering of the people who endured to survive in the midst of marginal living conditions.

Peruvian literature flourished in this time written by notable authors such as Felipe Pardo y Aliaga and Manuel Ascencio Segura [es] whose works were used by Amauta Films.

[19][h] By 1940, eleven million people made up the Peruvian audience and according to information gathered by Ricardo Bedoya, film critic and academic at the University of Lima, the number of theaters increased to 242.

However, the directors were still innovating in the field and later found itself again in anachronistic competition with Mexican cinema called the "espectaculares" that is said to have captured the public imagination of Latin America during the 1940s.

[22][28] In July 1944, a law by President Manuel Prado was signed to promote the production of national weekly news and documentaries that would be shown in cinemas across Peru.

Out of all the films that found the locales and low production cost of Peru appealing was the Italian movie L'Imperio del Sole (The Empire of the Sun) by Enrico Grass.

A new wave of film directors from Victor and Manuel Chambi, Luis Figueroa and Eulogio Nishiyama lead the way in publishing Andean cinema in the Quechua language.

The club members were dedicated to maintaining cinematographic activity in the interior of the country and their short documentaries reflected the density of the indigenous populations, their social gestures and the variation of color of the landscape.

After this film, Manuel Chambi and Luis Figueroa toured the streets of Cusco, recording the pre-Inca, Inca, and colonial constructions that are intermingled in the buildings of the imperial city.

[31] Constructed around an Andean mythological story about the fight of a man against the ukuku ice bear for the love of a maiden, the film contained native poetry and landscapes.

Although the club disbanded in 1966, their filmography deeply entrenched the Cuscan experience of Andean universe, the indigenous world and the peasants to the Peruvian film industry.

The decade bought new filmmakers to the industry such as Francisco Lombardi, José Carlos Huayhuaca, Augusto Tamayo San Román [es] and Nelson García.

From the drectorial debut Ganarás el Pan to No Stars in the Jungle (1966), La Muralla Verde (The Green Wall) (1970), Espejismo (Mirage) (1973), these films became landmarks in world cinema.

Its managers were: Armando Robles Godoy, Manuel Chambi, Isaac Leon Frias, Jorge Volkert, Miguel Reynel and Luis Figueroa Yábar [es].

[19][n] The rule was in favor by government members Franklin Urteaga and rear admiral of the Ministry of Industries Alberto Jiménez de Lucio [es].

Arturo Sinclair's Agua Salada (1974), one of the first fiction shorts made in Peru was released after the law was passed that depicted a mystical theme combining images and music.

[19][o] In 1980 the ruling by Fernando Belaúnde, reversed the decision of the earlier government to restrict access to cinema as films of all nations were allowed to be displayed in Peru.

From 1996, CONCAINE was awarded by President Alberto Fujimori in the Congress of Andean filmmakers of Cusco a disbursement of 500,000 thousand soles as the guild's first budget.

[38] Critically acclaimed films in the 2000s include Jonatan Relayze directed Rosa Chumbe, Daniel Vega Vidal's October that won the award in Vladivostok International Festival for the performance by Carlos Gassols as well as Andes Mountains classic Eternity (Wiñaypacha).

[39] The El Archivo Peruano de Imagen y Sonido (Peruvian Image and Sound Archive) (Archi) has been the primary force in preserving Peru's audiovisual history dating back to the 1900s.