Abstract Through films such as Tony Manero (2008), Santiago 73, Post Mortem (2010), and No (2012), the productions of Chilean director Pablo Larraín have focused on the historical and political themes that marked the last decades in the life of his country: the putsch against Salvador Allende and Augusto Pinochet’s dictatorship. This paper analyses the last film of the trilogy, dedicated to the 1988 Chilean national plebiscite and the communication battle between supporters of the “Yes” and “No” sides. Why does Larraín identify the copywriter René Saavedra as the main character of the film? And why does the film accord such importance to the advertising campaign in recounting the historical reality of democratic transition? How does the fictional film remediate the archival footage of the 1988 campaign? To answer these questions, this paper investigates the film as an audiovisual form of interpretation of historical events and film montage as an intermedial “authentication” of the archival documents relating to this traumatic past.

中文翻译：

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当撰稿人是主角时。PabloLarraín的《 No（2012）》中的历史和中间性

摘要智利导演帕勃罗·拉兰（PabloLarraín）的电影通过托尼·马内罗（Tony Manero）（2008），圣地亚哥73，Post Mortem（2010）和《无》（2012）等电影，着重讲述了标志着智利生命最后几十年的历史和政治主题。他的祖国：反对萨尔瓦多·阿连德和奥古斯托·皮诺切特的独裁政权。本文分析了三部曲的最后一部影片，该片致力于1988年智利全国公民投票以及“是”与“否”支持者之间的交流战。Larraín为什么将撰稿人RenéSaavedra视为电影的主角？为什么电影在叙述民主过渡的历史现实时对广告宣传如此重要？这部虚构电影如何补救1988年竞选活动的档案录像？要回答这些问题，