<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0121-8417</journal-id>
<journal-title><![CDATA[Historia y Sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Hist. Soc.]]></abbrev-journal-title>
<issn>0121-8417</issn>
<publisher>
<publisher-name><![CDATA[Facultad de Ciencias Humanas y Económicas de la Universidad Nacional de Colombia, Sede Medellín]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0121-84172024000100071</article-id>
<article-id pub-id-type="doi">10.15446/hys.n46.106220</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El rodaje de Estado de sitio en Chile: debates de izquierda y tensiones sobre la imagen internacional de la Unidad Popular (1970-1973)]]></article-title>
<article-title xml:lang="en"><![CDATA[The Filming of State of Siege in Chile: Left-wing Debates and Tensions over the International Image of the Popular Unity (1970-1973)]]></article-title>
<article-title xml:lang="pt"><![CDATA[A filmagem de Estado de sitio no Chile: debates de esquerda e tensões sobre a imagem internacional da Unidade Popular (1970-1973)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Campos-Pérez]]></surname>
<given-names><![CDATA[Marcy]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Paris 8  ]]></institution>
<addr-line><![CDATA[arís ]]></addr-line>
<country>France</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<numero>46</numero>
<fpage>71</fpage>
<lpage>94</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0121-84172024000100071&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0121-84172024000100071&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0121-84172024000100071&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El artículo aborda la filmación en Chile de Estado de sitio (1973), una cinta del cineasta franco-griego Costa-Gavras, inspirada en una operación realizada por la guerrilla urbana en Uruguay a inicios de los años de 1970. Filmada en el contexto de la Unidad Popular, en 1972, las estrategias políticas representadas en la película suscitaron una fuerte crítica de la izquierda chilena, particularmente del Partido Comunista. Nuestro propósito es identificar dichas discusiones que emergieron a la luz de este rodaje. Por una parte, las tensiones subyacentes a la llamada &#8220;vía chilena al socialismo&#8221; y por otra, el debate acerca de la imagen que debía proyectar este proceso en el extranjero. Por cuanto proponemos una perspectiva de análisis transnacional, el artículo se estructura a partir del diálogo de múltiples tipos de fuentes primarias (archivos diplomáticos, cinematográficos y prensa periódica), procedentes de distintos espacios (especialmente Chile y Francia). Este tipo de estudio, centrado en la producción y la recepción cinematográfica, permite comprender un contexto de tensiones más amplias, relacionadas con la Guerra Fría en América Latina, conectando la escala local, regional y global. A pesar de las divergencias, veremos que este proyecto cinematográfico originó diferentes conexiones político-culturales, cuyas repercusiones se extendieron incluso luego del golpe de Estado chileno de 1973.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The article examines the filming in Chile of State of Siege (1973), a film made in Chile by the French-Greek filmmaker Costa-Gavras, inspired by an operation carried out by Uruguay&#8217;s urban guerrillas in the early 1970s. Filmed in the context of Popular Unity, in 1972, the political strategies represented in the movie produce a strong criticism from the Chilean left-wing movement, particularly from the Communist Party. Our purpose is to identify the discussions that emerged from this filming. On the one hand, the tensions underlying the so-called &#8220;Chile&#8217;s Road to Socialism&#8221; and, on the other hand, the discussions about the image that this process should be projected abroad. From a transnational perspective of analysis, the article is structured from the dialogue of multiple types of primary sources (diplomatic, cinematographic and periodical press archives), coming from different spaces (especially Chile and France). This study, focused on film production and reception, allows us to understand a context of broader tensions related to the Cold War in Latin America, connecting the local, regional and global scales. Despite the divergences, we will see that this film project originated different political-cultural connections, whose repercussions extended even after the 1973 Chilean coup d&#8217;état.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O artigo aborda a rodagem no Chile de Estado de sitio (1973), um filme do cineasta franco-grego Costa-Gavras, inspirado numa operação levada a cabo pela guerrilha urbana no Uruguai no início dos anos 70. Filmadas no contexto da Unidade Popular, em 1972, as estratégias políticas representadas no filme provocaram fortes críticas da esquerda chilena, particularmente do Partido Comunista. O nosso objetivo é identificar as discussões que surgiram à luz destas filmagens. Por um lado, as tensões subjacentes à chamada &#8220;via chilena ao socialismo&#8221; e, por outro, as discussões sobre a imagem que este processo devia projetar no estrangeiro. Como propomos uma perspetiva transnacional de análise, o artigo baseia-se no diálogo de múltiplos tipos de fontes primárias (arquivos diplomáticos, cinematográficos e de imprensa periódica), de diferentes espaços (especialmente Chile e França). Este tipo de estudo, centrado na produção e receção cinematográfica, permite-nos compreender um contexto de tensões mais alargadas relacionadas com a Guerra Fria na América Latina, ligando as escalas local, regional e global. Apesar das divergências, veremos que este projeto cinematográfico deu origem a diferentes conexões político-culturais, cujas repercussões se estenderam mesmo depois do golpe de Estado chileno de 1973.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Chile]]></kwd>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[Unidad Popular]]></kwd>
<kwd lng="es"><![CDATA[izquierda chilena]]></kwd>
<kwd lng="es"><![CDATA[Costa-Gavras]]></kwd>
<kwd lng="es"><![CDATA[Guerra Fría]]></kwd>
<kwd lng="es"><![CDATA[siglo XX]]></kwd>
<kwd lng="en"><![CDATA[Chile]]></kwd>
<kwd lng="en"><![CDATA[cinema]]></kwd>
<kwd lng="en"><![CDATA[Popular Unity]]></kwd>
<kwd lng="en"><![CDATA[Chilean left]]></kwd>
<kwd lng="en"><![CDATA[Costa-Gavras]]></kwd>
<kwd lng="en"><![CDATA[Cold War]]></kwd>
<kwd lng="en"><![CDATA[20th century]]></kwd>
<kwd lng="pt"><![CDATA[Chile]]></kwd>
<kwd lng="pt"><![CDATA[cinema]]></kwd>
<kwd lng="pt"><![CDATA[Unidade Popular]]></kwd>
<kwd lng="pt"><![CDATA[esquerda chilena]]></kwd>
<kwd lng="pt"><![CDATA[Costa-Gavras]]></kwd>
<kwd lng="pt"><![CDATA[Guerra Fria]]></kwd>
<kwd lng="pt"><![CDATA[século XX]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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<label>[20]</label><nlm-citation citation-type="">
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<collab>Ringside</collab>
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<source><![CDATA[Punto final 5]]></source>
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<ref id="B23">
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<year>1972</year>
<numero>1922</numero>
<issue>1922</issue>
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<numero>1925</numero>
<issue>1925</issue>
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<source><![CDATA[Primer plano]]></source>
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<source><![CDATA[Va où il est impossible d&#8217;aller]]></source>
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