“They will not erase the blood, of those who fell here”: a multimodal analysis of the music video as a site of (post)memory and resistance against negationism in post-dictatorial Chile

This paper explores how a contemporary music video can pass down memories and trauma in post-dictatorial Chile. Focusing on a video by the Chilean band Illapu, it uses theories of collective trauma and (post)memory to show how the video represents past traumas and challenges dominant narratives and current negationist discourses. The study finds that the video uses audio-visual and (inter)textual elements to make viewers reflect on the past, underlining its ability to counter attempts to deny or distort history. This contributes to understanding how music videos can serve as sites of “voiced postmemories” and act as powerful tools in the collective processing of traumatic events, promoting truth, justice, and reconciliation in post-dictatorial Chile.

Previous research has shown the fundamental role of different media as central sites for engaging with the past (Garde-Hansen 2011; Neiger, Meyers, and Zandberg 2011).The process of passing down memories of traumatic events to generations who did not directly experience them is known as postmemory (Hirsch 2001).Media is crucial in shaping and perpetuating postmemory allowing a deeply personal and emotional engagement/connection with the past (Hirsch 2012).While there is knowledge about media contributing to the construction of postmemories and collective memories, particularly in Chile (Carvajal, 2021;Donoso Macaya 2020;Ramírez-Soto 2019;Richard 2019;Ros 2012;Sorensen, 2009), there is little research on the potential role of music videos as sites of commemoration, negotiation, and contestation of traumatic pasts.
Today, post-dictatorial generations are dependent on different media, including forms of (industrialised) popular culture such as music videos, to understand, cope with and learn from this recent past.In this paper, I carry out a Multimodal Analysis (Ledin and Machin 2018;Machin 2010) illustrating how a contemporary music video serves as a crucial site for the intergenerational transmission of memory, trauma, and resistance in post-dictatorial Chile.
Music videos continue to serve as influential cultural artefacts watched largely by older teenagers and young adults, increasingly on social media platforms (Burns and Hawkins 2022).They are multimodal and highly complex semiotic artefacts, combining, for instance, lyrics, sound, and visual (moving) images to convey meaning (Machin 2010;Vernallis 2004).As polysemic texts, open to varying audience interpretations, researchers have analysed music videos focusing primarily on their aesthetics; the cultural, economic, social and historical context of its production; on its (political) content in relation to issues such as, for example, race, gender and class (Frith, Goodwin, and Grossberg 1993;Goodwin 1992;Railton, Watson, and Sexton 2011;Way and McKerrel 2017).Thus, their potential as sites of postmemory remains underexplored.
More broadly, music serves as a powerful tool for individuals and communities to express and process complex social processes and emotions linked to the past (Annegret and Figueroa 2020;Kotarba 2018;Momcilovic 2011;Party 2023).In the context of postmemory, songs serve as collective memory sources, transmitting previous generations' stories and struggles.This fundamental role in intergenerational memory transmission shapes and sustains postmemory, ensuring that past experiences are remembered and valued, nor forgotten or overlooked (Friedman 2017;Kollender 2024;Romera-Figueroa 2020).Moreover, music can serve to mourn and/or express solidarity with victims; as means of honouring the experiences of ancestors; and to express resilience and hope in confronting the legacies of the past.
Inspired by the idea of "voiced postmemories" (Romera-Figueroa 2020), Illapu's music video, "Aunque los pasos toquen-un viaje a la memoria" (2023), emerges as a significant cultural artifact that reflects and shapes collective memory and serves as a site of postmemory.It acts as a medium through which viewers can engage with and navigate traumatic histories amidst the 50th commemoration of the coup, aligning with broader societal efforts to remember and confront the past, while actively contributing to ongoing efforts for truth, justice, and reconciliation in post-dictatorial Chile.
In what follows, I begin with a brief overview of the Chilean military coup, focusing on the extensive repression of civilians and the politics of remembering in post-dictatorial Chile.This context is crucial for understanding how the music video (1) relates to this collective trauma and (2) challenges dominant narratives and contemporary negationist discourses.

The military coup, post-dictatorial Chile and the politics of remembering
Following the military coup, on 11 September 1973, the military immediately initiated violent rule by terror.The scale of repression against civilians was extensive.Hundreds of thousands of political opponents, including musicians of La Nueva Canción (Chilean New Song), workers, peasants, activists and intellectuals were targeted for persecution (McSherry 2015).More than 1100 (clandestine) detention camps were established throughout the country and above 3000 supporters and officials of the UP were forcibly "disappeared" and/or murdered (Richard 2019).In a society of Chile's size, most families had someone they knew who experienced one or another form of repression (Stern 2004), as it is estimated that one in every ten families experienced arrest, torture, and/ or exile (Hite 2005).
The widespread human rights abuses between 1973 and 1990 inflicted profound wounds upon Chile, dismantling political projects, eroding social bonds, tearing apart families, and destroying individual lives, causing immense trauma and division within Chilean society (Ros 2012;Sorensen, 2009;Stern 2006).Following the restoration of political democracy in Chile, reflecting on the dictatorship -its causes and effects -therefore involves divergent (official) narratives and interpretations (Collins, Hite, and Joignant 2013;Jean 2023;Stern 2010).
The first post-dictatorial government (1990) established a National Commission of Truth and Reconciliation (Rettig Commission) promoting a "Nunca Más" (Never Again), aiming at reconciliation and "looking forward."The latter, at the expense of justice and accountability (Frazier and Jo 2007), leading to a "culture of silence," relegating memory debates to the margins of public life (Richard 2019).However, the arrest of Pinochet in London in 1998, forced Chilean governments, the military and society to confront the horrors of the past more directly (Frazier and Jo 2007;Stern 2004).Numerous officers and civilians began now to be prosecuted for human rights violations, yet silence prevailed among governing elites obstructing society's efforts to come to terms with the past (Jean 2023).
Despite progress in addressing the legacy of the dictatorship, during later governments (e.g.Valech Commission in 2003, inauguration of the National Museum of Memory and Human Rights in 2010), challenges remain.These include issues of impunity, the incomplete truth, the marginalization of victim perspectives (Richard 2019) and the proliferation of negationist discourses.Fifty years on, the wounds left in Chilean society by the coup are still very much open and continue to haunt the present in which secrets remain untold, and the bodies of many victims are yet to be found.These ongoing struggles and negotiations over the meaning and significance of the past in Chile are an important background to consider in the analysis of Illapu's music video.

Collective trauma, (voiced)postmemory and collective memory
While trauma is usually examined as an individual psychological phenomenon, it can also be understood as a collective phenomenon (Audergon 2004).The Chilean dictatorship was indeed a collective trauma due to its profound impact on the entire society (Stern 2010).Societies respond to trauma by engaging in narrative reconstruction that seeks to make sense of the traumatic event(s) (Alexander 2012).This process involves the creation of collective narratives, often transmitted through the media.Mediated representations of distant traumas profoundly affect post-generations without direct experience.
Postmemory refers to the emotional and psychological connection between those who didn't directly experience trauma and their ancestors who did (Hirsch 1995).It depends on knowledge that has been passed down through various mediums (Hirsch 2001(Hirsch , 2008(Hirsch , 2012)).While postmemory typically involves a connection to a traumatic event through personal or familial narratives, it is also possible to feel strong emotional and psychological connection to the past without having personal or familial connection to those who experienced trauma.
Popular culture has a fundamental role in terms of how a culture remembers as well as the meanings that are assigned to memory (Nouzilles 2005;Plate and Smelik 2013).Thus, popular culture, including music videos, not only contributes to a wider dissemination, formation and operationalisation of (post)memories within societies, but it also establishes a relationship between the past and the present (Grainge 2003), allowing a deep and emotional engagement/connection with the past (cf.Hirsch 2012).
While postmemory has primarily been studied through visual media, Romera-Figueroa (2020, 204) argues for "the need to include music and sonic art in the aesthetics of postmemory," defining voiced postmemories as "those expressions of postmemory manifested through music and sound that could potentially help us mourn 'inherited' traumas or to react to powerful collective experiences that preceded our birth." Postmemory often contributes to the construction of collective memory.Collective memory refers to the shared representations of the past within a society or group and is composed of individual memories from the members of a given society (Halbwachs 1992).Both, postmemory and collective memory can serve as mechanisms for coping with collective trauma, providing ways for processing and memorializing traumatic events within communities.
Analysing the music video through the lens of collective memory therefore allows us to examine how it reflects and reinforces shared cultural narratives, values and historical perspectives, thereby contributing to the construction of collective identity and heritage.As a well-known music band, Illapu, have the ability to act as a carrier group, i.e. agents capable of creating symbolic meaning in the construction of collective memory and trauma within the environment in which they operate (Alexander 2012).Carrier groups are essential shaping memory articulating the concerns and aspirations of those affected to a wider audience.
Drawing on existing frameworks, this paper explores how this particular music video serves as; (i) a site of (post)/collective memory, (ii) to honour victims and their political ideals, (iii) constitutes an important vehicle in ongoing processes and struggles for a collective understanding of the past, truth, justice in contemporary Chilean society.

Method and material
This paper analyses the Chilean band Illapu's music video "Aunque los pasos toquen-Un viaje a la memoria" ("Even as footsteps touch-A journey to memory"), released on YouTube (4th September 2023) within the context of the 50 years commemoration of the Chilean coup.The selection is based on purposive sampling and is intentional due to its relevancy with the themes that are central to this research: collective trauma, postmemory, and collective memory.The song was initially recorded in 1982, during the civicmilitary dictatorship.The lyrics are originally a poem from the national poet; Pablo Neruda's book Canto General (1950), in which he honours the memory of those who have fallen in the struggle for social justice and freedom within the context of foreign exploitation and antiimperialist struggles in Chile/Latin America.
Illapu, founded in 1971, is a popular and well-known Chilean band that follows the tradition of the Chilean New Song Movement (see McSherry 2015), often addressing social and political issues through their music -aiming at raising awareness and inspiring activism.Illapu's work is deeply embedded in the socio-political history of Chile (Campos and Victor 2024).Personally affected by the "disappearance" of a family member and exile, Illapu have since their return to Chile dedicated themselves, through their music, to the collective experiences of the Pinochet dictatorship and its aftermath.As such, contributing to keeping the memory of past events alive and relevant for post-dictatorial generations, both in Chile and internationally.
Methodologically I perform a multimodal analysis, focusing on the interplay between different semiotic resources such as lyrics, music and (moving) images (Kress and van Leeuwen 1996;Ledin and Machin 2018;Machin 2010;Osborn 2021).I pay particular attention to the analysis of the following analytical categories: narrative structure, lyrics, editing, participants, actions, visual elements, symbolism, and intertextuality.These were selected to capture the multifaceted ways in which the music video communicates themes of collective trauma, postmemory, and collective memory.During the analysis, I transcribed the lyrics and highlighted phrases/words that related to the themes of collective/(post) memory.I segmented the music video (see Table 1) and watched it systematically multiple times, focusing on the previously mentioned analytical categories.For example, when looking at the "Intro" I analyse how "settings," "intertextuality," "editing" and "symbolism" are specific elements that contribute to set the tone of the overall theme in the video.This structured approach allowed me to uncover how Illapu's video communicates themes of collective trauma, postmemory, and collective memory through various semiotic elements.

Results
The main themes of the lyrics include remembrance, resistance, and the endurance of memory.It conveys the idea that atrocities as well as the sacrifices made by previous generations should not be forgotten or overlooked and encourages viewers to remember and honour the victims of the past.
Table 1, shows that the overall standard form of the music video is the strophic form (Osborn 2021), consisting of several verses but lacking a contrasting chorus.It uses both diegetic and non-diegetic sound and online editing in the form of the addition of written text.Throughout the video, band members are carrying out different actions at the actual places in which people were either imprisoned, murdered, tortured or buried.These places are gradually introduced and reappear throughout the video.Fast cuts, or jump cuts, that last between one and four seconds are predominantly used.In what follows, I have structured the presentation of the results around three themes that emerged from the analysis: (1) Setting the Tone: Remembering the Atrocities by Visiting the "Crime Scenes"; (2) Paying Tribute to (Political) Prisoners Victims of Human Rights Abuses; and (3) Resistance Against Negationist Discourses.
Setting the tone: remembering the atrocities by visiting the "crime scenes" The music video starts with a high-angle shot of the sea to the diegetic sound of waves while a white coloured quote is added to the screen: "And the death of the people was as it has always been: as if no one, nothing died, as if stones were falling onto the earth, or water onto water" (Pablo Neruda).Different camera angles and jump cuts are initially used during this introduction (0:0.14):high angle, bird's eye, aerial and wide shot (Figure 1) and lastly an in-zooming on a graveyard, symbolising the "arrival" to the first "Crime Scene."This introduction sets the tone of the narrative of the video, consisting of visiting different places in which atrocities were committed during the dictatorship.
The communicative purpose of this intro is highly connotative.The sea, in the Chilean context, carries historical and cultural significance that can trigger collective memories and associations.For example, the sea is an important symbol of Chilean national identity; however, in the context of postmemory it becomes a powerful connotation of the atrocities committed by the dictatorship, who threw hundreds of bodies of murdered political opponents into the sea.The sea's vastness can evoke a sense of collective memory and mourning for the victims of the dictatorship mirroring the magnitude of Chile's collective trauma.The intertextual reference to Neruda and the re-contextualization of part of his poem Massacre from Canto General (1950) in the form of a quote into this particular setting (Figure 1), serves to "anchore" (Barthes 1977) the meaning of the narrative of the video, about past death and atrocities.The quote communicates the idea of historical patterns of indifference towards working-class victims in Chile's history: their death as something "unimportant" and "natural."However, the sound of waves can symbolize the cyclical nature of memory and history.Similar to how waves continually crash upon the shore and retreat back into the sea, memories of traumatic pasts ebb and flow within societies.Thus, in contrast to the official indifference to past traumas, the video serves as a carrier of those marginalized perspectives and memories offering the viewer a "journey" to encounter those.
The music in the video begins after this diegetic introduction, when we "arrive" at the first place, out of five, that the musical group visits in their "journey" throughout the video, Pisagua.Pisagua was a detention/concentration camp during Pinochet in which many bodies were found later in mass graves.The arrival is visualised by zooming in on crosses and graves (0.19:0.24).The visual inclusion of (mass) graves, at this point, serves as a reminder of the atrocities committed during the dictatorship, functioning symbolically as representing death, oppression and suffering.Moreover, they serve as visual evidence, "historical facts," against negationist discourses that seek to downplay or even deny these events.
In terms of participants and actions, the video is clearly of the narrative type (Kress and van Leeuwen 1996).For example, band members are shown engaged in action processes by visiting the "crime scenes" creating a narrative action indicating their journey.Playing instruments show them actively engaging in a performance.The act of placing carnations is both a reactional process, symbolizing respect, remembrance, and emotional connection to the past as well as a transactional action where the memorials (representing the dead) are the goal of the band members' actions.Thus, the activities of band members visiting memorials, playing instruments at these sites, and placing carnations in Pisagua; The Chilean National Stadium; The Victor Jara Stadium (formerly, The Chile Stadium); Villa Grimaldi and Patio 29 in Santiago General Cemetery, forms a coherent narrative.By engaging in these activities, the band members are not just passively present at the "crime scenes": they actively participate in the narrative.In terms of postmemory, collective memory and the deeper meanings these places convey, they all connote horror, atrocities, terror, torture and death during Pinochet.
In a multimodal manner, the lyrics of the song (starts at 0:21) are obviously fundamental to the meaning(s) the video tries to convey.One of them is honouring the victims of the dictatorship (and their ideals).

Paying tribute to (political) prisoners victims of human rights abuses
The lyrics are originally a poem from Neruda's Canto General (1950), therefore re-contextualized in the video to the particular context of the dictatorship (1973)(1974)(1975)(1976)(1977)(1978)(1979)(1980)(1981)(1982)(1983)(1984)(1985)(1986)(1987)(1988)(1989)(1990).It contains metaphors and hyperboles.The visuals are complementary to the lyrical narrative and serve to create vivid imagery, emphasize a point, and potentially evoke emotional responses among viewers.For example, the first verse (0.19:0.49): "Even if footsteps touch this place for a thousand years, they will not erase the blood of those who fell here," emphasises, with hyperbole, the duration and resilience of the memory of those who died.It speaks to the lasting impact of previous generations' actions and the continuing memory of their courage.The visuals used here in the form of a "crime scene" complement the lyrics helping the viewer understand that the people who should not be forgotten but honoured are particularly the victims of the dictatorship.Those whose dead history is often deemed "unimportant," as the Neruda quote in the beginning suggests.
Victims are honoured by the band members in several (audio-visual) ways.For example, band members' visit in their "journey" the "crime scenes."In each of these places, we see them placing red carnations (see Figure 2).
In Figure 2, different camera angles, shots and actions are (strategically) used potentially evoking different emotions, fostering empathy, compassion, solidarity and recognition.Of particular intertextual and symbolic importance is the use of the redcoloured carnations when paying tribute to the victims.Red coloured carnations have historically been used as a symbol for socialism and the labour movement as well as serving as a form of protest against state violence and oppression (e.g.The Carnation Revolution in 1974 in Portugal).Many victims of the Chilean dictatorship were socialists, Marxists, communists and labour union leaders.Thus, given the historical context in which these were targeted, the symbolic significance is further enriched here.Placing red carnations at these memorials symbolises that the sacrifices and contributions of those who defended these ideologies should not be forgotten.Moreover, it can symbolise a commitment to carry forward the legacy and ideals of those who were murdered.
That the video pays tribute to the victims while simultaneously recognising their struggle for the ideals associated with socialism and communism, such as social justice and equality, is further reinforced by the way that some tombstones are foregrounded and zoomed in.There are two examples worth noting when the camera zooms in the texts in the tombstones: (i) "You paid with your life to give us a better Chile.You will always be with us.We love you, your family" (3.57:3.58),and (ii) "To the fallen.Their example endures in the memory of Chile and germinates in a free and solidary homeland.Their admirable courage will always commit us" (4.21:4.22).The personalisation here humanises and brings the victims "closer" to the viewer, making their experiences relatable, potentially evoking emotions of compassion and empathy.At the same time, it pays tribute to their struggles and their meaning for Chile, recognising, in the context of collective/(post)memories, the victims personal courage and wider societal importance.The music video could therefore be said to pay tribute, not only to the death as such, but also recognising their political ideals and struggles, By so doing, reaffirming their place in collective memory and history symbolizing a commitment to continue the struggle for a more just and equitable society in the present.
The above interpretation is further reinforced by the (complementary) synergy between the image and lyrics at different points.For example, in verse 2: "A thousand nights will fall with their dark wings, without destroying the day that these dead await,  Stadium (right), where thousands of prisoners were tortured and executed.Among them, Victor Jara, who sat in the white coloured chair.
the day so many men await throughout the world.The final day of suffering" (2.26:3.17).This part, using metaphors and hyperbole, evokes a sense of mourning and resilience.However, it conveys, at the same time, hope for a future free from suffering and oppression.This optimistic future is, visualised exactly at the end of this verse using a photograph (taken during the UP government) of a child holding a written text "Allende, the people defend you" with a subsequent image of Allende himself saluting, creating a moment of heightened meaning and potential emotional impact.
Adding a child at this moment, with this particular text about the people defending him and by making a visual intertextual reference to Allende, in which he is shown smiling and saluting is highly symbolically, and could be understood drawing on the idea of "punctum" (Barthes 1977).It can resonate with the viewer in a profound way.
To understand this, we need to take into consideration the social context.In this context, where post-dictatorial (official) narratives of "forgetting the past" have remained strong, these historically re-contextualised images, reaffirm the legacy of Allende's political ideals at the same time envisioning a belief in the eventual arrival of a brighter day characterized by the ideals that Salvador Allende embodied.Therefore, rather than "forgetting the past," or ignoring past ideals, the video uses different multimodal strategies to reinforce the tribute to these ideals and convey the broader message that we should preserve their memory.This challenges discourses of "forgetting the past" in contemporary post-dictatorial Chile.
That the video serves as an important vehicle in ongoing processes and struggles for collective understanding of the past, truth, justice, and reconciliation, is further demonstrated by the way different multimodal strategies and symbolic imagery are deliberately used to challenge contemporary negationist discourses in Chilean society.

Resistance against negationist discourses
One major visual strategy to counteract negationist discourses in the video, besides visiting actual "crime scenes," is the use of archival photos.There are several occasions in which this happens.
For example, in Figure 3, we see band members walking around among several photos of prisoners at The National Stadium memorial (3.04:3.16).This action process can be interpreted as witnessing past atrocities committed there.The analog photos are zoomed in (see Figure 3 to the right) to encompass the whole screen, thus foregrounding its importance.Worth noting is that this happens in synergy with the lyrics exactly at the moment we can hear the word "suffering."Thus, the images of men walking in line with their hands on their necks, surrounded by military police with machine guns, are complementary to the lyrics and visualise and give meaning to what "suffering" meant in this particular context.
Moreover, the use of (archival) photos often creates a sense of witnessing and documentation (Ledin and Machin 2018).Black and white analog photos have, high modality (Kress and van Leeuwen 1996) in relation to truth and are generally used to document and to capture the uncensored "truth."In the context of postmemory, they serve as testimonies to the experiences of individuals and communities who suffered state violence, repression, and human rights violations during Pinochet (Donoso Macaya 2020).Therefore, incorporating these photos adds authenticity and documentary-like qualities to the video, and becomes further "facts" and "proofs," serving as evidence against negationist discourses.In the context of the video itself as well as in relation to postmemories, this material provides snapshots of the prisoners' everyday lives potentially intensifying the memory of the years of military violence, at the same time increasing its credibility.
Produced in the context of the commemoration of the 50 years since the coup, and in an environment where negationist discourses proliferate, the music video's emphasis on postmemory and the transmission of collective memory, acquires particular importance at the end of the video.
Using foreshadowing as a narrative technique, we are visually set once again at the initial settings of the video: the graveyard of Pisagua and, most importantly, the sea (6.10: 6.41).The camera is now moving away from the land back to the sea, thus signalising that the "journey" has come to its (visual) end.We can simultaneously hear the diegetic sound of the sea and the waves while a white-coloured final text is rolling upwards on the screen, paralleling, to some extent, the manner in which the movies ends (see Figure 4).
The coup d'etat on 11 September 1973, marked the beginning of one of the most brutal dictatorships in Latin America, which left a deep scar of blood and fire on our political, social, and cultural history.Many of its remnants still remain throughout the country, hundreds of sites tragically transformed into detention centers, where rapes, torture, murders, and other atrocities occurred.These are the "Sites of Memory," places of extermination and pain that must be protected and preserved to educate and engage in dialogue about our history, so that there is no forgetting.Places that bear witness against negationism and impunity, a collective commitment to never again experiencing a coup d'etat and human rights violations.This is a profound and heartfelt journey through some of them: Pisagua, Victor Jara Stadium, National Stadium, Villa Grimaldi, Memorial and Patio 29 of the General Cemetery, and it is our homage to the thousands of victims who endured horrors in these places and to their families, who continue their struggle for truth, justice, reparation, memory, and non-repetition.
Interestingly, the upward-rolling text adds layers of meaning for the viewers to consider even after the music video ends.Overall, it interweaves historical context, the importance of memory and educating future generations about past atrocities, and the need for justice.The opening statement provides a historical anchor, establishing the gravity of the coup and its extensive impact on Chile's history.The use of metaphors when referring to its effects on Chilean society in the form of "scar of blood and fire" conveys the violence and destruction that characterized the dictatorship.The second part of the text points to its enduring legacy as many of these sites "[…] still remain throughout the country" as well as the importance of protecting and preserving these sites for educational purposes to prevent historical amnesia.The "crime scenes" are explicitly said to "bear witness against negationism and impunity," thus reinforcing the idea that these sites are testimonies against denial and revisionism.The text ends with a tribute to the victims and their families, acknowledging their ongoing struggle for justice and remembrance.It connects the past to the present, showing that the fight for truth and reparation is an enduring effort.
Therefore, contrasting the quote of Neruda that was used at the beginning of the video suggesting, in a critical manner, that people's deaths are often officially considered "unimportant" or/and as something "natural," this final text, challenges this "official" stance reaffirming their place in collective memory and history in post-dictatorial Chile.

Conclusions
This study has, through a multimodal analysis focusing on narrative structure, lyrics, editing, participants, actions, visual elements, symbolism and intertextuality, provided valuable insights into the mechanisms of meaning-making in a contemporary music video in post-dictatorial Chile, showing their potential as sites of (voiced)postmemory and collective memory.It has delved into the way different modes of communication interact and influence one another serving to develop historical consciousness, while simultaneously fostering collective understanding and connection with the past.
In the context of postmemory, this music video can be seen as an example of narrative reconstruction that seeks to make sense of traumatic events (Alexander 2012).It allows for cognitive elaboration of the past rather than (the official) "forgetting of the past."In that sense, the band acts as a carrier group for the victims and their marginalized voices, creating symbolic meaning in the construction of collective memory.By focusing on the "crime scenes" and the collective commitment to remember, the video underlines the importance of shared historical consciousness.These memories are not just individual but belong to the entire community, forming a crucial part of national identity.
In sum, through lyrics and powerful visual imagery, the video serves as a site of collective/(Voiced) (Post)memory.Its multimodal content asserts the importance of memory, truth, and justice, promoting contemporary resistance against negationist narratives and discourses in post-dictatorial Chile.

Figure 1 .
Figure 1.Wide shots are often used to establish the beginning or the end of a scene.In this case, a written quote by the Chilean poet, Pablo Neruda, is added to the screen.

Figure 2 .
Figure 2. Band members paying tribute to the victims in Pisagua (left), The National Stadium (middle) and in The Victor JaraStadium (right), where thousands of prisoners were tortured and executed.Among them, Victor Jara, who sat in the white coloured chair.

Figure 3 .
Figure 3. Band members walking around among archival photos at The National Stadium, in Santiago.

Table 1 .
Segmentation, form of the song, lyrical themes, settings, and main participants and their actions in the music video.