Estadio Nacional

Another remarkable scene comes toward the end of the film when the prisoners are released and we see family and friends waiting for them outside the stadium gates: the moving camera follows a woman hurriedly walking through the crowd while people pass between her and the camera, adding to the sense...

Full description

Saved in:
Bibliographic Details
Published inChasqui Vol. 38; no. 1; p. 221
Main Author Roberts-Camps, Traci
Format Journal Article
LanguageEnglish
Published Tempe Arizona State University - Languages and Literatures 01.05.2009
Subjects
Allende Gossens, Salvador (1908-73)
Armed forces
Cameras
Children
Documentary films
Families
Families & family life
Parents & parenting
Pinochet Ugarte, Augusto
Prisoners
Tone
Chile
Online AccessGet full text

Cover

More Information
Summary:Another remarkable scene comes toward the end of the film when the prisoners are released and we see family and friends waiting for them outside the stadium gates: the moving camera follows a woman hurriedly walking through the crowd while people pass between her and the camera, adding to the sense of confusion. In a tone that could only be maintained years after such an experience, she tells of how the soldiers administered electric shocks to several parts of her body. Parot's film gracefully carries the parallelism between past and present to the end of Estadio Nacional where the image turns from reunions betweens the original prisoners and their families - some exceedingly heart wrenching with crying children clinging to their parents - to a contemporary art exhibit on the soccer field in honor of the detainees.
ISSN:0145-8973
2327-4247