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The tour that Dino Pancani invites us to includes the writings he disseminated in the digital newspaper El Mostrador and the most recent in the column section of the Cooperativa radio station edited by the journalist Manola Robles, who left us a few months ago. The selection of the articles is not chronological, nor is it random, but rather has a logic that readers understand as we turn the pages, with the memory aid of the titles of the different chapters or sections. It is a division by major themes to which the author devoted special time and attention at his time, because of what he was observing with his critical and inquisitive gaze or because of the reminiscences they brought to him. Some lived them as a protagonist or witness. Others studied them or on them has stopped to reflect until today. But there is something very special in these writings. An interesting mix of styles, almost a hybrid between the expression of his committed and challenging thinking and the story rich in descriptions. Between the column and the chronicle. Between a journalism of clear, clear and strong opinion that with arguments tries to demonstrate to the reader the validity of its judgment on a certain topic and an attractive chronicle abundant in nouns and especially in adjectives that give color and life to what it exposes.

The tour that Dino Pancani invites us to includes the writings he disseminated in the digital newspaper El Mostrador and the most recent in the column section of the Cooperativa radio station edited by the journalist Manola Robles, who left us a few months ago. The selection of the articles is not chronological, nor is it random, but rather has a logic that readers understand as we turn the pages, with the memory aid of the titles of the different chapters or sections. It is a division by major themes to which the author devoted special time and attention at his time, because of what he was observing with his critical and inquisitive gaze or because of the reminiscences they brought to him. Some lived them as a protagonist or witness. Others studied them or on them has stopped to reflect until today. But there is something very special in these writings. An interesting mix of styles, almost a hybrid between the expression of his committed and challenging thinking and the story rich in descriptions. Between the column and the chronicle. Between a journalism of clear, clear and strong opinion that with arguments tries to demonstrate to the reader the validity of its judgment on a certain topic and an attractive chronicle abundant in nouns and especially in adjectives that give color and life to what it exposes.

The films about the recent past of Chile and Argentina bring questions that lead to the work hypothesis from inside the film and its relationship with the outside. Content that is explained from the context of the film: Is there agreement between the historic and sociologic theme that explained the fall of the military dictatorships and their transition to democracy, with the content of the audio visually told stories? Is the proposed construction of collective memory inclusive? Up to what point is the cinematographic cultural production a reflection of the dominant political processes? It is implicit within these questions a hypothesis: the films could be related to the dominant discourses that turn invisible and/or condemn the various forms of resistance. ; Las películas que tratan el pasado reciente chileno y argentino, plantean interrogantes que conllevan hipótesis de trabajo desde dentro del film y su relación con el afuera. Contenido que se explica desde el entorno de la película: ¿Existe concordancia entre los argumentos históricos y sociológicos que explican la caída de las dictaduras militares y el tránsito a la democracia, con el contenido de las historias narradas audiovisualmente?, ¿la propuesta de construcción de memoria colectiva es incluyente?, ¿hasta dónde la producción cultural cinematográfica es reflejo de los procesos políticos dominantes? Estas preguntas traen implícita una hipótesis: Las películas podrían estar asociadas a discursos dominantes que invisibilizan y/o condenan formas de resistencia.

The films about the recent past of Chile and Argentina bring questions that lead to the work hypothesis from inside the film and its relationship with the outside. Content that is explained from the context of the film: Is there agreement between the historic and sociologic theme that explained the fall of the military dictatorships and their transition to democracy, with the content of the audio visually told stories? Is the proposed construction of collective memory inclusive? Up to what point is the cinematographic cultural production a reflection of the dominant political processes? It is implicit within these questions a hypothesis: the films could be related to the dominant discourses that turn invisible and/or condemn the various forms of resistance. ; Las películas que tratan el pasado reciente chileno y argentino, plantean interrogantes que conllevan hipótesis de trabajo desde dentro del film y su relación con el afuera. Contenido que se explica desde el entorno de la película: ¿Existe concordancia entre los argumentos históricos y sociológicos que explican la caída de las dictaduras militares y el tránsito a la democracia, con el contenido de las historias narradas audiovisualmente?, ¿la propuesta de construcción de memoria colectiva es incluyente?, ¿hasta dónde la producción cultural cinematográfica es reflejo de los procesos políticos dominantes? Estas preguntas traen implícita una hipótesis: Las películas podrían estar asociadas a discursos dominantes que invisibilizan y/o condenan formas de resistencia.