Exploring Chile: Identities and Their Relation with the Environment through the Film 'Football Stories'
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| Title: | Exploring Chile: Identities and Their Relation with the Environment through the Film 'Football Stories' |
|---|---|
| Language: | English |
| Authors: | Gallardo, Marta (ORCID |
| Source: | Journal of Geography. 2018 117(5):205-215. |
| Availability: | Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals |
| Peer Reviewed: | Y |
| Page Count: | 11 |
| Publication Date: | 2018 |
| Document Type: | Journal Articles Reports - Evaluative |
| Descriptors: | Films, Geographic Concepts, Geography Instruction, Geographic Regions, Architecture, Social Differences, Spatial Ability, Rural Urban Differences, Foreign Countries, Self Concept |
| Geographic Terms: | Chile |
| DOI: | 10.1080/00221341.2018.1430163 |
| ISSN: | 0022-1341 |
| Abstract: | Cinema can be considered a useful tool for understanding different geographic concepts, showing physical and human factors and the interactions between them. Andres Wood's film "Football Stories" explores the Chilean territory allowing the observation of the differences between the north and south of the country. Geographic components such as landscapes, architectures, the impact of anthropogenic activities, social inequalities, ways of life, and city and countryside differences are analyzed, as well as the importance of location, the spatial environment, and cinematic narration. The study of geography through films could contribute to understanding of our world and to spatial knowledge. |
| Abstractor: | As Provided |
| Number of References: | 47 |
| Entry Date: | 2018 |
| Accession Number: | EJ1182132 |
| Database: | ERIC |
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| FullText | Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwFJHv-u07zD7WAp82ImSwASAAAA4zCB4AYJKoZIhvcNAQcGoIHSMIHPAgEAMIHJBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDGfLBpSNFQgmN5jQnAIBEICBm1RLdKR35blXqT2Fn8Zuta5GwcX7G_VFUeMSNs2REMg5VMM28tmCwhFZZHBESMeCOQJrVcjt1ZuwKScWtIJZs11qvw3_-lRHaHFsHqx8CgspnLdUt5FrLPLEhPpX4NAKO2lsXin8VFqTZlq3jBxx0HWQNukCVq8hGeoX6mlDyduQBqUpmippER1gYwED3xOXgCzvn5tCLI7ejLW_ Text: Availability: 1 Value: <anid>AN0130147279;2u201sep.18;2018Jun15.09:14;v2.2.500</anid> <title id="AN0130147279-1">Exploring Chile: Identities and Their Relation with the Environment through the Film Football Stories </title> <p>Cinema can be considered a useful tool for understanding different geographic concepts, showing physical and human factors and the interactions between them. Andres Wood's film Football Stories explores the Chilean territory allowing the observation of the differences between the north and south of the country. Geographic components such as landscapes, architectures, the impact of anthropogenic activities, social inequalities, ways of life, and city and countryside differences are analyzed, as well as the importance of location, the spatial environment, and cinematic narration. The study of geography through films could contribute to understanding of our world and to spatial knowledge.</p> <p>cinema and geography; media geography education; identities; landscape; Chile</p> <hd id="AN0130147279-2">Introduction</hd> <p>Media geography is a visual discipline that documents, guides, and represents reality through maps, globes, travel descriptions, paintings, photographs, and films (Zimmerman [<reflink idref="bib47" id="ref1">47</reflink>] ). Cinema can be considered a tool for analysis, especially of highly transformed spaces, and also for presenting geographic phenomena (Gámir [<reflink idref="bib17" id="ref2">17</reflink>] ). By viewing and analyzing films, different geographical components can be observed and analyzed. Depending on the subject of the film, several territorial factors and variables can be described, both physical and human, and their interactions. But film analysis can go beyond the analysis of these elements. As Duncan and Ley ([<reflink idref="bib15" id="ref3">15</reflink>] , in Lukinbeal [<reflink idref="bib27" id="ref4">27</reflink>] ) argue, visual media naturalize social and cultural differences, but can also serve to deconstruct hegemonic images (Ansell [<reflink idref="bib6" id="ref5">6</reflink>] ). The study of geography through films can promote spatial knowledge and society's vision of a fairer world (Zimmermann [<reflink idref="bib47" id="ref6">47</reflink>] ). In this context, Vergara ([<reflink idref="bib40" id="ref7">40</reflink>] ) considers that cinema is a vehicle to approach from a subjective way the study and the understanding of territory, and therefore can be used as a tool in teaching geography.</p> <p>In cinema, the visual appearance of the territory may be treated in very different ways. Some directors give it—consciously or unconsciously—prominence (as with landscape), while others dissolve its relevance or even its presence (Gámir and Manuel [<reflink idref="bib18" id="ref8">18</reflink>] ). Kennedy and Lukinbeal ([<reflink idref="bib24" id="ref9">24</reflink>] ) consider that nature is often set in opposition to cities. For Lukinbeal and Zimmerman ([<reflink idref="bib29" id="ref10">29</reflink>] ) nature is frequently misrepresented and stand-in locations are often seen as a problem of inauthenticity. Most films treat the territory simply as a stage. Nevertheless, the analysis of films that are rich in geographical details may offer a different view of the world from that taught by books (Vogeler [<reflink idref="bib43" id="ref11">43</reflink>] ).</p> <p>Gámir and Manuel ([<reflink idref="bib18" id="ref12">18</reflink>] ) explain that cinema works as a passive medium but also plays an active role in the construction of imagery, which overlaps with the knowledge that the viewer has of a certain place. In this sense, visual media can act today as cognitive maps or social cartographies in the formation of identity (Lukinbeal [<reflink idref="bib27" id="ref13">27</reflink>] ).</p> <p>Traditional geographic concepts such as space, place, distance, or scale may acquire a meaning from the viewing of films (Lukinbeal [<reflink idref="bib27" id="ref14">27</reflink>] ), but this analysis can go further to include the study of social and cultural meanings. Several authors have linked the cinema with different geographic features—the interaction of cinema and the landscape (Acosta [<reflink idref="bib1" id="ref15">1</reflink>] ), cinema and the city (Costa [<reflink idref="bib11" id="ref16">11</reflink>] ; Habibi, Farahmandian, and Mojdehi [<reflink idref="bib20" id="ref17">20</reflink>] ), cinema and rural environments (Crespo and Quirosa [<reflink idref="bib12" id="ref18">12</reflink>] ), cinema and climatology (Yow [<reflink idref="bib45" id="ref19">45</reflink>] ), cinema and tourism (Martínez Puche [<reflink idref="bib33" id="ref20">33</reflink>] ; Ho and Ryan [<reflink idref="bib21" id="ref21">21</reflink>] ; Jacobs [<reflink idref="bib23" id="ref22">23</reflink>] ; Hong, Thanh, and Ngoc [<reflink idref="bib22" id="ref23">22</reflink>] ), cinema and geopolitics (Lukinbeal [<reflink idref="bib27" id="ref24">27</reflink>] ), and cinema and women (Yea [<reflink idref="bib44" id="ref25">44</reflink>] ). In recent years, teaching different geographical concepts through films has been widely used (Ansell [<reflink idref="bib6" id="ref26">6</reflink>] ; Lukinbeal [<reflink idref="bib26" id="ref27">26</reflink>] ; Lawhorn [<reflink idref="bib25" id="ref28">25</reflink>] ; Di Palma [<reflink idref="bib13" id="ref29">13</reflink>] ) and new challenges have been analyzed (Buckingham [<reflink idref="bib9" id="ref30">9</reflink>] ).</p> <p>However, we caution that films re-present the world (Kennedy and Lukinbeal [<reflink idref="bib24" id="ref31">24</reflink>] ) and that no film can contain a total vision of place (Benton [<reflink idref="bib8" id="ref32">8</reflink>] ). Even documentaries can be considered a fiction by the choices made by filmmakers of what to frame and what not to frame or how to edit a particular sequence (Aitken [<reflink idref="bib2" id="ref33">2</reflink>] ).</p> <hd id="AN0130147279-3">Geography, Chile, and Film</hd> <p>As Flores ([<reflink idref="bib16" id="ref34">16</reflink>] ) points out, in Chile there are mighty rivers, leafy jungles, and huge mountains, as well as many kilometers of asphalt in the main cities. The country can be considered a synthesis of Latin American territory, with vast deserts like Atacama, big metropolises like Santiago de Chile, extensive agricultural and cattle-raising territories in the regions of Maule and Los Ríos, along with a mountain range shaped by huge glaciers and volcanoes, a sinuous coastline, and numerous islands sculpted by the force of the Pacific Ocean. Also to be found are a large urban population with the problems of large metropolises (such as air pollution, road congestion, and social segregation), and a rural population that appears almost marginally, despite the importance of agricultural activity. With all these rich and varied geographic elements, Chile can serve as a compendium of geography.</p> <p>Andrés Wood's filmography is a valuable example for showing the geographical diversity of Chile. By analyzing his films, one can understand how visual media act as a generator of geographic imagery. For these reasons, we have chosen Chile for the analysis of territory, and the cinema of Andrés Wood as a characterization of this geographic imagery. In his work, the Chilean territory is represented from north to south, from the northern desert to the southern Patagonian coasts, always in relation to historical, social, and economic contexts (García-Reyes and Gallardo [<reflink idref="bib19" id="ref35">19</reflink>] ). Peirano ([<reflink idref="bib35" id="ref36">35</reflink>] ) explains that Chilean cinema, and by extension Wood's films, reveals practices, experiences, and everyday life commonly identified by Chilean viewers. The same can be found, for example, in the successful Brazilian film Central Station (1998) by Walter Salles. The Brazilian filmmaker focuses on the journey of a woman and a boy, Dora and Josué, from the megacity Río de Janeiro up to a small countryside town in deep and dry northeast Brazil. In a documentarist approach, the Brazilian densely populated city and shanties as well as northern rural landscapes are shown. Poverty, loneliness, and traditions are topics displayed in the film.</p> <p>The film described here is Football Stories, also known as Soccer Stories (Historias de Fútbol, 1997). This film analyzes the Chilean geographic reality, including latitudinal differences, and how the population found in the scenarios acclimatizes to the territory in which they live. It is divided in three chapters that show, above all, the Chilean people's passion for football and to what extent this sport is a symbol of identity. In the first chapter, the passion of both the players and fans of the Peñalolen team are shown. In the second, we see the importance of a national championship match in a midsized city and that football is the children's favorite sport. In the third, two women from an isolated town carry a battery with the sole purpose of being able to connect it to the electricity supply to watch a decisive football match with their neighbors and friends. In all three episodes, we see a portrait of human groups, their passion, and their support for the local, regional, or national teams.</p> <p>The study corpus is very useful for describing the frontier elements of the Chilean director's filmography, not only from a geographic point of view but also in the way in which different places challenge human beings when they try to develop an activity in them. While avoiding folkloric topics, Wood displays characters marked by the extremes of their territory, where the landscape becomes an essential part of the story. In this work, we performed a contextual and referential analysis of the film. We made a characterization of its geographic elements and carried out a systematic study of the landscape and its relation to the human environment. We also analyzed the urban landscape and various problems relating to human geography.</p> <p>In this context, the film can be used as a teaching tool to carry out a “didactic mapping” (Zavala [<reflink idref="bib46" id="ref37">46</reflink>] , 6) of Chile, showing its regional diversity, its identity, the use of natural resources, and the adaptation of its inhabitants to the environment, as well as the verisimilitude of the imaginary represented in the film. It could appeal, for example, to first-year college students in a Latin American regional geography course.</p> <hd id="AN0130147279-4">Andrés Wood's Filmography and Its Relationship with Geography</hd> <p>Andrés Wood was born in Santiago de Chile in 1965. His work as film director covers from the 1990s to the present and it is characterized in its locations by its geographic variety. For him, the territory needs to become visible, both the natural landscape and the urban contexts. In his films, the landscape, as defined by Martinez de Pisón and Ortega Cantero ([<reflink idref="bib32" id="ref38">32</reflink>] , 7), is expressed: “it is a process and, in addition to being natural and historical, is an order of values, an aesthetic and moral order, where correspondences between the landscapes and the human groups, with their collective characterizations and their historical and national progresses, can be recognized, acquiring in that way a high identity value.”</p> <p>When selecting location shots, multiple factors determine the decision, such as the spatial frame of the story or the industrial suitability of the setting. Some directors, including Wood, want the place of the narration and the place of filming to be the same because they wish to present certain natural environments as “active protagonists” (Gámir and Manuel [<reflink idref="bib18" id="ref39">18</reflink>] , 169). In his films the director shows the need to locate the story in a specific geography. Acaso points out that in the analysis of a visual object, geographic variables can be conditioned by the place of realization, and the space as a place of contemplation entails great significance.</p> <p>Wood and his production team are experts on Chile's diverse landscape. Their company provides setting services in Chilean territory for foreign productions. As stated on their web page (<ulink href="http://www.awood.cl">http://www.awood.cl</ulink>) “the geography in Chile provides any type of location required: deserts, glaciers, mountains, lakes, beaches, high plains, vineyards, among others” and “cheaper production costs compared with other countries.” The company has produced and provided locations for Chilean and Argentinean films, such as The Painting Lesson by Pablo Perelman (2010) and Motorcycle Diaries by Walter Salles (2004), as well as for documentaries, television series, and advertising for Chilean supermarkets, banks, or newspapers. Their geographic knowledge, far from the centralism that characterizes the country, makes their cinema particularly attractive for analyzing the territory. The way in which extreme territories influence the everyday existence of the population is often depicted. This knowledge of Chilean geography and Wood's attitude are clear when he explains in an interview how he tells a story (DPA [<reflink idref="bib14" id="ref40">14</reflink>] ), expressing his “interest in the context, in which time and place are characters that determine the others. It is not the same for the film to be located in Santiago or in Concepción.”</p> <p>The democratic transition (1990s) and the development of contemporary Chilean cinema are the historical and social contexts in which his first works take place. From the point of view of territorial analysis, Wood's films characterize Chilean society and tries to capture the emotional and physical connection of the people to the space in which they live.</p> <p>Rural contexts and the isolation of Chilean rural populations are shown in the film studied, but also in his second and third films. Revenge (El Desquite, 1999) is shot within the Province of Ñuble (Biobío Region) and tells the story of an orphan child who grows up in the service of a rich landowner in the early twentieth century, showing the social and economic inequality of the Chilean society of that time. Loco fever (La fiebre del loco, 2001) is placed in Puerto Gala (Aysén Region), a small fishing town sited in the fjords where the main economic activity is the loco (Concholepas concholepas) fishing, a mollusk of great economic value. As in Football Stories, the film explores topics such as adaptation and isolation, prostitution, greed, and treachery, as well as the overexploitation of endemic species.</p> <p>The Chilean historical context, regarding the 1970s, is shown in his most famous film Machuca (2004), where he tells the story of two boys, one living in a wealthy neighborhood in Santiago and the other in a poor illegal settlement, who meet at school during the years of Salvador Allende's government before Pinochet's coup d'état in 1973. Topics such as childhood, social division, and political confrontations between left and right are shown. These differences between the rich Santiago's city center and the poor suburbs is also shown in his last work, the TV miniseries Ramona (2016). Here, rural-to-urban migration, seizure of lands, and the life in a slum in the 1960s are the focus. The injustice of the Pinochet dictatorship is presented in the TV miniseries Echoes of the desert (Ecos del desierto, 2013), a story about the activist and politician Carmen Hertz whose husband was murdered by the Caravan of Death, an army death squad that killed ninety-seven persons in 1973, primarily in the north of Chile, where the series is located.</p> <p>The Good Life (La Buena Vida, 2008) is also shot in the capital. It tells separate stories of four characters that run into each other at different places and streets of the city. While their characters try to fulfill their aspirations such as buying a car or playing in a symphonic orchestra, the film shows again problems such as Santiago's transport network saturation, noise pollution, prostitution, and the Chilean abortion penalty clause.</p> <p>In his latest film, Violeta went to heaven (Violeta se fue a los cielos, 2011), Wood shows once more the social injustice concerning poor and rich and city and rural dwellers, between 1920 and 1960. As shown in his film Revenge, these situations already existed at the beginning of the twentieth century, and continue today. It is a biography of the legendary folksinger and artist Violeta Parra, who travels through Chile to recover the Chilean folklore and traditional songs. Its shows cultural and ethnographic features from the regions of Antofagasta, O'Higgins, and Biobío, but also the Santiago Metropolitan region.</p> <p>As shown, recurrent topics in his films are social and political divisions, rural-urban differences, poverty, prostitution, isolation and adaptation to the environment, human relationships, or Chilean history related to the Pinochet's coup d'état. In each film, landscape has a significant role.</p> <p>The successful and iconic film Football Stories renewed the public interest in Chilean cinema and updated a particular national image of the people's Chile (Peirano [<reflink idref="bib36" id="ref41">36</reflink>] ), an image of low-income characters, everyday life, and rural areas as the real Chile.</p> <p>The episodic film converges around soccer in three completely different geographic settings (Fig. 1). In a comical and sometimes costumbrista (everyday life, mannerisms) tone, the director shows different territorial realities of Chile, from the desert mining city of Calama in the north to the Santiago suburbs, with their economic strength and pollution at the foot of the Andes, and the southern archipelago of Chiloé, whose climatic instability contrasts with the hospitable character of the chilotes.</p> <hd id="AN0130147279-5">Football from North to South: Identities and Territories</hd> <p>In the film Football Stories, Andrés Wood refers us to the concept of “crazy geography” devised by Subercaseaux ([<reflink idref="bib39" id="ref42">39</reflink>] ) to describe not only urban but also rural parts of Chile. Wood's cinema can be used to analyze the social diversity of Chile and to discuss different geographical issues—the countryside, the mountain range, the sea, the desert to the north, or the forests and canals of the south—representing Chile's tourist image and also showing the vision that Chileans themselves have of their country (Peirano [<reflink idref="bib35" id="ref43">35</reflink>] ). The imagery represented is recognizable to the Chilean public, but also presents an image that is attractive to international audiences. The characters in all three chapters of the film share a passion for soccer.</p> <p>In the film football is shown for its key role in cultural cohesion. National identity is strengthened through sporting successes, which also unifies the way people think and creates bonds between them (Marín [<reflink idref="bib31" id="ref44">31</reflink>] ). Fans of a team, and also the team players, feel like they are members of a community (Algeo [<reflink idref="bib4" id="ref45">4</reflink>] ).</p> <hd id="AN0130147279-6">Santiago de Chile, the Large Metropolis</hd> <p>The Chilean capital is well-known around the world. The metropolitan area had an estimated population of 7,314,176 inhabitants in 2015; approximately 41 percent of the Chilean population (of which 97% is considered urban) lives in the smallest region of the country (2.05% of its territory). Because of its location between mountains, greater Santiago suffers from orographic isolation that obstructs air flow both from the coast and from the high mountains. This lack of ventilation aggravates the serious problems of atmospheric pollution that characterize the city.</p> <p>The first chapter, called First half, Santiago, Chile, Do not believe him (Primer tiempo, Santiago, Chile, No le crea), adapts the story Puntero izquierdo by Mario Benedetti ([<reflink idref="bib7" id="ref46">7</reflink>] ), published in his anthology Montevideanos. It tells the story of Carlos Gonzalez, a construction worker who combines his job with football training with a very modest team, Peñalolén, located in a comuna in the southeast sector of Santiago of the same name. This chapter illustrates the metaphor of social inequality and economic growth in Chile in the mid-1990s, which did not lead to improved purchasing power for the most disadvantaged classes in the country. Several topics can be analyzed from this chapter.</p> <p>In the story, the locations are in the poorest neighborhoods of Santiago. Some spaces that represent social inequalities in urban Chile are the Peñalolén stadium, with only small patches of grass and grandstands of wooden boards, or a modest neighborhood bar where the main character, a teammate, and the coach drink beer while they talk about football. Working conditions are precarious. Carlos takes a shower with cold water in a shower room protected by planks and brushes his hair looking at himself with a piece of broken mirror. But the setting that best summarizes the situation of hardship is the room in which the main character's girlfriend lives, with its poor furnishings and belongings, not much more than some bird cages and a small television. The bird cages can work as a double metaphor. It represents the tiny living space in a poor room, but also the condition of Carlos's girlfriend who is caught up in a relationship where her opinions, interests, and wishes do not matter and are equally spare.</p> <p>At the same time, new urban developments in the capital being built during the period of the Chilean transition are shown (in particular Camino Real, a future luxury residence in a high-rent district on the outskirts of the capital). Construction and real estate activities appear to be one of the main sectors of economic growth and employment in the city. The socioeconomic inequalities are clear when the neighborhoods where the workers live are compared to where they work.</p> <p>Widespread use of public transport in Santiago is also represented. Carlos and a colleague go to work by bus but have to push to get on, ending up in the few free spaces on the stairs. This shows the very serious problem of transport saturation in the capital in the 1990s, a situation linked to demographic growth, most caused by migration, which continues today.</p> <p>Social issues are represented in the criminal act of bribery and the fixing of the football match. The manager of an opposing football club buys off the main character for twenty thousand pesos with the promise of playing on a better team; all Carlos has to do is not score a goal in the match. However, because of his personal pride, when the match is coming to its end he cannot resist playing, and shoots and scores a goal.</p> <p>Other sociocultural issues shown are the shopping options for Chileans. Despite the growth in the mall model, exported by the United States in recent years, there are still large markets with traditional commercial establishments. There is a scene that points to the importance of local markets: a shopping gallery where the main character's girlfriend works in a pet store (in fact this shop, called the Danitza bird shop, still exists and is located along Paseo Salvador Sanfuentes near Santiago's central train station) and in which a large number of people are shopping. These stores are still among the preferred buying options for Chilean society, especially for social segments that do not own a car or do not want to use public transport to travel to the mall.</p> <p>Also, public health facilities make an appearance. In the film we see the University of Chile Clinic Hospital, located in the comuna of Independencia. The chapter begins showing Carlos in an old, stark, and shared room and ends in a single and well-equipped room of this hospital. The hospital was built as a public hospital in 1952 and was privatized in 1995.</p> <p>The natural landscape in this section of the film is shown in a limited way, considering that most of the scenes are focused on representing the city and its urban suburbs. The Andean mountain range, inherent to the life of the Chilean capital's inhabitants, can be distinguished in different scenes but especially in the final sequence when Carlos contemplates its silhouette from the hospital room balcony. The mountain chain landscape is shown again in more detail in the following chapter.</p> <hd id="AN0130147279-7">Calama, Mining City</hd> <p>The second chapter of the film is called Second half, Calama, Chile, Last goal wins (Segundo Tiempo, Calama, Chile, Último gol gana), and it is located in the mining city of Calama (Antofagasta Region). Because of copper extraction, the region has the highest Chilean GDP per capita. This gives rise to high immigration rates and a large proportion of men to women (108 men for every 100 women). This chapter is based on the story Cuando me gustaba el fútbol by Raúl Pérez Torres ([<reflink idref="bib37" id="ref47">37</reflink>] ), an Ecuadorian writer. It was published in his anthology Micaela y otros cuentos.</p> <p>Calama was founded for economic activities related to the copper industry and mineral extraction. The north of Chile is associated with the country's wealth, first with the nitrate exploitations between the end of the nineteenth century and first decades of the twentieth century, and then from the middle of the last century until now with the copper mines. Various mining rushes led to demographic relocations from other regions of the country and abroad. Peruvian and Bolivian from the north and many Chilean workers from the south set out to take up the opportunity offered by the desert, in a similar way to the California gold rush (1848-1855). For this reason, the north of Chile is a clear reflection of multiculturalism, not only within Chile itself but also in other parts of the world.</p> <p>From a spatial perspective, the film shows an isolated city in the desert where the people learn to live with dust and sand, without distractions or amusement. It covers the issue of social inequality and the problems associated with the mining areas in the north, where historically the workers suffer poverty and exploitation under conditions close to slavery. Crises punish the local population more than in other areas of the country, because, despite being in the lead in GDP, the area is very poor. This poverty means the local children grow up with a harsh vision of reality.</p> <p>The story is told through Pablo, a calameño boy who lives with his family in a small house in a shack neighborhood where the copper miners reside. The boy, around twelve years old, spends his time playing with his friends. After obtaining a ball near the Cobreloa team soccer stadium and playing with it with his friends, a situation of need forces him to mature. This episode examines the theme of childhood, exemplified in friendship and family relationships in the absence of a father.</p> <p>The chapter shows the landmarks of Calama such as the municipal football stadium where Pablo and his friends try, without success, to see the match between their city team and the University of Chile team during the 1996 season, an important event for the calameños, considering that the University of Chile is one of the teams that embodies the country's centralism. Calama appears as a city with few attractions, except for the festive atmosphere of the match and the joy of all its inhabitants.</p> <p>The film refers implicitly to the difficulties faced by mining workers when a mine closes due to depletion of the deposit or unprofitability. The process of industrial restructuring pushes the population to situations of shortage and poverty. This is shown in a scene where Pablo has dinner with his mother and the only decoration in the dining room is a copy of the Last Supper painted by Leonardo da Vinci. The dinner is just a frankfurter and white rice, and the painting later has to be pawned so that the family can survive. Two kinds of shops are shown in this chapter: a small local food store where Pablo and his friends buy a Coca-Cola, the world's most popular soda, and the pawn shop. The latter represents the situation of need, where people must pawn or sell their belongings to obtain money to buy essential things.</p> <p>This chapter also shows the differences between different areas at an urban and an architectural level. Asphalt roads in rich areas are compared with the dusty tracks in poor neighborhoods. The green grass of the football stadium contrasts with the driest desert on the planet. Its large spotlights contrast with the contiguous abandoned mine building. Regarding the quality of housing, many houses are made of adobe and have tin roofs, and some are close to a substandard housing model known in Chile as a callampa neighborhood.</p> <p>Unlike the chapter located in Santiago de Chile, here the natural landscape is important. The desert is shown throughout the story: in the dust of the streets, the lack of trees, the places where the children play football, the urban periphery in the Andes foothills, and scenes that show the mining developments with mining subsidiary industries in the background.</p> <hd id="AN0130147279-8">Chiloé, Rural Archipelago</hd> <p>The Chiloé archipelago is located in the southern Los Lagos Region. It is a farming region, with agriculture, livestock breeding, forestry, aquaculture, and fisheries. Farming is done on both industrial and small scales. Tourism is also an important activity.</p> <p>This chapter, called Extra-time, Chiloé, Chile, passion of crowds (Alargue, Chiloé, Chile, Pasión de Multitudes), is located in the comuna of Dalcahue (province of Chiloé). Unlike the previous stories, this one is original. Several peculiarities of the inhabitants of the archipelago of Chiloé and also of the Chilean south are shown. This part of the country is noted for its isolation, rain, strong winds, and rough seas.</p> <p>Manuela and Elsira Serón are dressed in mourning because of the death of their father three weeks ago. They walk along the sand and pebble beach of Tenaún town, located in the comuna of Dalcahue. The women are traveling home by boat carrying an electric battery and other supplies. Also in the boat is Francisco, a young man from Santiago, who is going to visit his brother in Isla Mechuque, the westernmost island of the Chauques Islands, a smaller archipelago within the archipelago of Chiloé. The story takes place the day that Chile faces Germany in the 1982 Football World Cup. The importance of the match is shown when Francisco opens the newspaper and the front-page headline is the sporting-event advertisement: “Win or Win; The Key of Glory.” The boat's engine breaks down and Francisco has to land without seeing his brother. In a rainstorm, he decides to accept the hospitality of the Serón sisters to see this important match in their house. They have the only television on that side of the island and it will work with the battery that the women carry.</p> <p>This chapter shows how the environment, marked by insularity, isolation, and harsh weather conditions, influences the way of life of the population. It is in this chapter that the relation of landscape and population is strongest. It shows the lifestyle of the Chiloé inhabitants, the architecture, and the rich anthropology marked by the extremes of the territory in which they live.</p> <p>In this episode a special emphasis is placed on the traditions and identity of the inhabitants, which are preserved because of their isolation. This can be seen when Manuela asks Francisco where he comes from and when he answers that he is from Santiago, the woman says: “Oh, from the continent.” The peculiar way of talking and accent of the chilotes is also observed.</p> <p>The isolation is also shown by the use of boats to travel and the lack of cars and roads. When the sisters come ashore with the battery (whose only purpose is to be connected to the television so that they can watch the match), it is a friend who carries them to their house in a wooden platform without wheels pulled by two oxen.</p> <p>Another element related with the chilote idiosyncrasy is the traditional cuisine, with the preparation of the curanto casserole on a nalca leaf on the ground. The curanto is a traditional dish of the archipelago. It is cooked in a hole in the ground warmed by hot stones, and is made of seafood, potatoes, meat, sausages, among other ingredients, covered by nalca leaves. The nalca (Gunnera tinctoria) is a native plant, ornamental and edible, located in temperate areas of Chile and Argentina; its leaves are an essential part of the curanto, used to cover the ingredients during cooking, and its stems are edible. The curanto and nalca are unknown to Francisco, who comes from the capital. The seafood for the dish has been caught by friends of the sisters in a traditional way, who walk to see the football match in the Serón house. Men light the fire while they talk and drink apple chicha, a very sweet, fermented drink with low alcohol content. Women cook inside. It is a wood-burning stove kitchen, with aromatic and species plants and sausages drying on ropes. Food is shown as a social and sharing event. In Chiloé eating is an essential part of their raison d`être.</p> <p>The film also shows the incipient fishing industry and salmon farming in the south of the country where Francisco's brother works. The majority of Chilean salmon production now comes from the region of Los Lagos and most is exported. The industry is subject to criticism because of its excessive production and because of episodes of water pollution and red tides. For example, in 2007 the salmon were affected by a virus; since then the use of antibiotics has increased. In May 2014, much of the interior coast of the province of Chiloé was contaminated by the salmon industry (Villegas [<reflink idref="bib42" id="ref48">42</reflink>] ). May 2016 saw the latest red tide with waste being discharged into the sea (Medina [<reflink idref="bib34" id="ref49">34</reflink>] ).</p> <p>This chapter shows the cultural clash between Francisco, a city-dweller, and the chilotes, who have their own identity and are not very comfortable with the opinions of the young man. We also see how the national identity is strengthened and how the people's thinking is unified through sporting success. The men, on a boat, carry the Chilean flag to the Serón's living room. At the beginning of the match the Chilean national hymn is played and one of the guests stands up. “The most Chilean of the Chilean,” says Manuela. “You have to respect our homeland,” he replies. At the end of the match the commentator emphasizes the importance of the goal against the Germans in the World Cup, alluding to the colors of the Chilean flag: “the white of the mountain range, the red of the Araucanian blood and the blue of the sea.” This clearly identifies all Chileans with their national football team, and helps build a collective identity.</p> <p>The setting stands out for its green landscapes, with thick native vegetation that men used to take and transform to build houses, churches, or crafts, in contrast to the arid northern desert of the previous episode and the absence of nature in the Santiago chapter. The harsh climate of southern Chile features in this chapter, during which it rains regularly.</p> <p>The architectural landscape also differs with the previous chapters, from the concrete houses in the capital and the adobe houses in the north, to the houses with wooden roofing that are typical of the southern Chilean architecture. The church shown at the beginning of the chapter is the church of Tenaún, awarded by UNESCO with World Heritage status in 2000. The present-day building was rebuilt in the late nineteenth century. It was a large church for a small town, reflecting the presence of wealthy trading families among the inhabitants.</p> <p>In summary, the film with its three episodes helps explain how geographic and social conditions influence people's lives. The metropolis of Santiago appears as a social melting pot, based on the construction sector. The northern desert city is a land that promises better times after a past and a present of wealth from copper. The rural context of Chiloé depicts a population that is mostly dedicated to primary sector activities and has a unique identity that sets it apart from the rest of the country.</p> <p>The film shows how human beings adapt in three geographical contexts: to a big, oppressive, and violent city in the first chapter; to the desert, dust, and idleness in the second; and to the climate, in terms of cold and rain and territorial isolation, in the third. Moreover, despite the linguistic uniformity of Chile, the differences in environment and climate are evident (Fig. 2).</p> <p>The film also reveals the different industries of the Chilean economy. From the construction and commercial sectors in the first chapter, to the production of copper (which is the most important economic activity in Chile) in the second one, and local and industrial fishing (mollusks and salmon captures) in the third (Fig. 3).</p> <hd id="AN0130147279-9">Discussion and Conclusion</hd> <p>Geography is a visual discipline and therefore the use of audiovisual materials in a geography course fits properly as a pedagogic tool (Vergara [<reflink idref="bib40" id="ref50">40</reflink>] ). Cinema can be used to analyze the landscape through visual characterization, helping to explain the idiosyncrasy of certain geographic areas and how human beings adapt to their territory and environment. The relation between local films, national identities, and how those identities are countered is an extremely important way to imagine film geographies (Aitken and Dixon [<reflink idref="bib3" id="ref51">3</reflink>] ).</p> <p>Currently, teaching trends include didactic strategies that attract and stimulate students' critical thought. In contrast to classes taught in a traditional lecture-style mode, an interdisciplinary approach that combines contemporary and traditional media like film can be a strong addition to existing curricula (Conover and Miller [<reflink idref="bib10" id="ref52">10</reflink>] ; Sigler and Albandoz [<reflink idref="bib38" id="ref53">38</reflink>] ).</p> <p>The Chilean Ministry of Education includes in the school teaching guides for history and social sciences, which includes geography, the use of cinematographic sessions to complement teaching units (Almeyda, Milos, and Rivera [<reflink idref="bib5" id="ref54">5</reflink>] ). For this reason, among others, we consider that the film analyzed in this work can be used successfully in geography education. We recognize potential problems related to access. It is important that students watch the film not only in class, but on their own. As Madsen ([<reflink idref="bib30" id="ref55">30</reflink>] , 52) suggests, “encouraging individual contemplation allows students to internalize and deepen their understanding of the topic and find their own application for the knowledge.” In Chile, the film can be borrowed from public libraries such as Biblioteca Viva in Concepción o Los Ángeles and from university libraries such as Universidad Católica de Chile or Universidad de Talca. Researchers and students can also find the film within the National Film Archive in Santiago (<ulink href="http://www.ccplm.cl/sitio/mediateca">http://www.ccplm.cl/sitio/mediateca</ulink>).</p> <p>From the perspective of physical geography, the analysis and use of audiovisual materials help in the study and assessment of how human activities impact on natural landscapes and how changes can be generated by different natural phenomena. Some issues that can be studied from viewing of Football Stories are environmental vulnerability versus economic progress, environmental pollution, weather conditions, and different landscape configurations among others. Regarding the study of representations of human geography, this audiovisual tool illustrates different problems of human beings in relation to their environment, such as sociological matters including prostitution, poverty, unemployment, traffic congestion, as well as national identity through sport, and other aspects such as architecture or different sectors of economic activity.</p> <p>The film is characterized by a distinctive feature: the geographical space in which the stories are told has a decisive influence on them. The setting of Wood's films plays a relevant role, since the territory is not shown for its exoticism or beauty, but for the alienating nature of the environments. Wood moves away from centralist cinema, filmed entirely in the province of Santiago, and focuses on other areas of Chile to show the diversity of the country. Places are shot in real locations, and therefore they are a valuable tool to be considered and used for teaching geographical processes.</p> <p>Although it is not a blockbuster, the film can stimulate students' interest in learning different geographical concepts. It is an important resource that can be used to identify and evaluate territorial issues. It allows analyzing the interconnections between natural, social, and cultural features. As Gámir ([<reflink idref="bib17" id="ref56">17</reflink>] ) said, it can be used to enhance the capabilities of future geographers in spatial analysis. The film itself can work as a construction of the imagery of the country (Lukinbeal [<reflink idref="bib27" id="ref57">27</reflink>] ).</p> <p>Twenty years have passed since the film was released. Many characteristics of the Chilean socioeconomic and sociocultural reality persist at the present time. The film can be also used as a tool to analyze the recent historical context and to compare the Chilean society twenty years ago with the current one, answering questions such as what was the socioeconomic situation in the country during the return of democracy and what is the socioeconomic situation now? Have problems such as child poverty or social division improved or worsened? How has migration changed? Students should be able to discuss and understand how the landscape changes from north to south and why this occurs. What are the differences between urban and rural space? Which social classes are represented in the film and how are they described or differences in cultural and economic values? Other specific issues can be also taken into account such as how these areas will be affected by climate change or how access to public healthcare varies.</p> <p>Lukinbeal and Zimmermann ([<reflink idref="bib29" id="ref58">29</reflink>] , 321) point out that “the content and meaning of any given film is relative and dependent on the viewer, the situation, and the cultural era.” In addition, there will be always a bias, as the filmmaker has and films his/her own personal vision of the world (Kennedy and Lukinbeal [<reflink idref="bib24" id="ref59">24</reflink>] ). When Machuca or even Echoes of the Desert were released, Wood was criticized for deemphasizing ideological tenets of past Chilean history; however, both became a huge success and revived the national conversation about Pinochet's dictatorship (Vilches [<reflink idref="bib41" id="ref60">41</reflink>] ).</p> <p>For all these reasons, students must be critical with the cultural and political preconceptions and influences the film could have, as well as with the effect of film on audience perception and behavior. They have to be able to analyze how films produce meanings. As Lukinbeal ([<reflink idref="bib28" id="ref61">28</reflink>] , 41) said, geographers are increasing the use of media to teach, but “students often are not taught how to critically evaluate what are media and how they produce geographic meaning.”</p> <ref id="AN0130147279-10"> <title>References</title> <blist> <bibl id="bib1" idref="ref15" type="bt">1</bibl> <bibtext>Acosta, G. 2008. Cine y paisaje. 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In black, the regions of Antofagasta, Santiago Metropolitan and Los Lagos. Right: study regions. Dark gray indicates the provinces, and striped areas the Comunas. Maps by the authors.</p> <p>PHOTO (COLOR): Figure 2. Representations of landscape diversity. Top: urban landscape in Santiago. Narrow streets and old buildings. Middle: Desert in Calama. Children play football, one team takes off their shirts to distinguish themselves from the other. Below: Green vegetation and native forest in Chiloé. The Serón sisters and Francisco travel by boat. (A. Wood, Football Stories (1997). Screenshots.) (Color figure available online.)</p> <p>PHOTO (COLOR): Figure 3. Representations of economic activities. Top: Construction sector in Santiago. The men are looking forward and catcall because they see a girl walking. Middle: Abandoned mine and the football stadium behind with spotlights and surrounding trees in Calama. The children play nearby. Below: Mollusk capture in Chiloé. The men carry in a net the mollusk they have collected. They also carry the chicha and the Chilean flag. (A. Wood, Football Stories (1997). Screenshots.) (Color figure available online.)</p> <aug> <p>By Marta Gallardo and David García-Reyes</p> <p></p> <p>Marta Gallardo is a postdoctoral researcher in the Department of Geography at the University of Murcia, Murcia, Spain. Her research explores the relationship between cinema locations and space, taking a close interest in how cinema can explain different geographic concepts. She also performs territorial and planning studies and geospatial analyses.</p> <p>David García-Reyes is a predoctoral researcher in the Department of Spanish at the University of Concepción, Concepción, Chile. His research focuses on cultural studies, cinema scenography, and intermediality in relations among the arts, literature, cinema, and architecture.</p> </aug> |
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| Items | – Name: Title Label: Title Group: Ti Data: Exploring Chile: Identities and Their Relation with the Environment through the Film 'Football Stories' – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Gallardo%2C+Marta%22">Gallardo, Marta</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0003-4804-710X">0000-0003-4804-710X</externalLink>)<br /><searchLink fieldCode="AR" term="%22García-Reyes%2C+David%22">García-Reyes, David</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0003-3445-1304">0000-0003-3445-1304</externalLink>) – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Journal+of+Geography%22"><i>Journal of Geography</i></searchLink>. 2018 117(5):205-215. – Name: Avail Label: Availability Group: Avail Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 11 – Name: DatePubCY Label: Publication Date Group: Date Data: 2018 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Evaluative – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Films%22">Films</searchLink><br /><searchLink fieldCode="DE" term="%22Geographic+Concepts%22">Geographic Concepts</searchLink><br /><searchLink fieldCode="DE" term="%22Geography+Instruction%22">Geography Instruction</searchLink><br /><searchLink fieldCode="DE" term="%22Geographic+Regions%22">Geographic Regions</searchLink><br /><searchLink fieldCode="DE" term="%22Architecture%22">Architecture</searchLink><br /><searchLink fieldCode="DE" term="%22Social+Differences%22">Social Differences</searchLink><br /><searchLink fieldCode="DE" term="%22Spatial+Ability%22">Spatial Ability</searchLink><br /><searchLink fieldCode="DE" term="%22Rural+Urban+Differences%22">Rural Urban Differences</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink><br /><searchLink fieldCode="DE" term="%22Self+Concept%22">Self Concept</searchLink> – Name: Subject Label: Geographic Terms Group: Su Data: <searchLink fieldCode="DE" term="%22Chile%22">Chile</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1080/00221341.2018.1430163 – Name: ISSN Label: ISSN Group: ISSN Data: 0022-1341 – Name: Abstract Label: Abstract Group: Ab Data: Cinema can be considered a useful tool for understanding different geographic concepts, showing physical and human factors and the interactions between them. Andres Wood's film "Football Stories" explores the Chilean territory allowing the observation of the differences between the north and south of the country. Geographic components such as landscapes, architectures, the impact of anthropogenic activities, social inequalities, ways of life, and city and countryside differences are analyzed, as well as the importance of location, the spatial environment, and cinematic narration. The study of geography through films could contribute to understanding of our world and to spatial knowledge. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: Ref Label: Number of References Group: RefInfo Data: 47 – Name: DateEntry Label: Entry Date Group: Date Data: 2018 – Name: AN Label: Accession Number Group: ID Data: EJ1182132 |
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| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1080/00221341.2018.1430163 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 11 StartPage: 205 Subjects: – SubjectFull: Films Type: general – SubjectFull: Geographic Concepts Type: general – SubjectFull: Geography Instruction Type: general – SubjectFull: Geographic Regions Type: general – SubjectFull: Architecture Type: general – SubjectFull: Social Differences Type: general – SubjectFull: Spatial Ability Type: general – SubjectFull: Rural Urban Differences Type: general – SubjectFull: Foreign Countries Type: general – SubjectFull: Self Concept Type: general – SubjectFull: Chile Type: general Titles: – TitleFull: Exploring Chile: Identities and Their Relation with the Environment through the Film 'Football Stories' Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Gallardo, Marta – PersonEntity: Name: NameFull: García-Reyes, David IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 01 Type: published Y: 2018 Identifiers: – Type: issn-print Value: 0022-1341 Numbering: – Type: volume Value: 117 – Type: issue Value: 5 Titles: – TitleFull: Journal of Geography Type: main |
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