Authorial Intention, Social Memory, and Intermedial Tensions in “Miño” by Los Bunkers
Main Article Content
Keywords
Popular music, Intermediality, Chilean rock-pop, Music video, protest, Incivility, Asbestosis, Politics, Memory, Los Bunkers, Eduardo Miño
Abstract
The hit song “Miño” by the Chilean band Los Bunkers is inspired by the story of Eduardo Miño, a former worker at the Pizarreño plant in Maipú, Chile, who in 2001 immolated himself in front of the Palacio de La Moneda to bring visibility to the victims of asbestosis. According to band member Mauricio Durán (2023), the song seeks to reflect the sense of abandonment experienced by Miño, eschewing an evocation of pity in favor of emphasizing the need for mutual social support. However, a preliminary analysis suggests that this authorial intent is not immediately evident due to the apparent disconnection between the work’s different intermedial elements: lyrics, music, and video. The lyrics omit precise biographical details regarding Miño, the pop-rock melody adopts a festive rather than commemorative tone, and the video depicts the band members traveling on a yellow bus through Santiago de Chile, without an explicit reference to the song’s tragic context. Based on these observations, and through a detailed analysis of each intermedial dimension, this article argues that an integrated and holistic approach would work best to both corroborate the authorial intent and reframe the song’s significance.
Downloads
References
Beck, U. (1998). La lógica del reparto de la riqueza y del reparto de los riesgos. En La sociedad del riesgo. Hacia una nueva modernidad (pp. 25-29; J. Navarro Pérez, Trad.). Paidós.
Bernhart, W. (2007). Words and Music as Partners in Song: ‘Perfect Marriage’ – ‘Uneasy Flirtation’ – ‘Coercive Tension’ – ‘Shared Indifference’ – ‘Total Destruction’. En J. Arvidson, M. Askander, J. Bruhn & H. Führer (Eds.), Changing Borders. Contemporary Positions in Intermediality (pp. 85-93). Intermedia Studies Press. [Versión digital: https://n9.cl/uc8mnx].
Coplan, A. (2004). Engagement with Narrative Fictions. The Journal of Aesthetics and Art Criticism, 62(2), 141-152. https://n9.cl/ba813.
Djikic, M. (2011). The Effect of Music and Lyrics on Personality. Psychology of Aesthetics, Creativity, and the Arts, 5(3), 237-240. https://doi.org/10.1037/a0022313.
Durán, M. (2023). Canción para mañana. Planeta.
Frith, S. (1996). Performing Rites. On the Value of Popular Music. Harvard University Press.
González, J. P. (2022). Hacia el estudio intermedial de la música popular latinoamericana autoral. ArtCultura, 24(45), 37-50. https://doi.org/10.14393/artc-v24-n45-2022-68252.
González, J. P. (2023). Música popular autoral de fines del siglo XX. UAH/Ediciones.
Griffiths, D. (2003). From lyric to anti-lyric: analyzing the words in pop song. En A. F. Moore (Ed.), Analyzing Popular Music (pp. 39-59). Cambridge University Press.
Hurtado Galves, J. (2003). Lógica poética – Un acercamiento al ser de la poesía. Hispanista, (14). http://www.hispanista.com.br/revista/artigo122esp.htm.
Los Bunkers. (2002). Miño. En Canción de lejos [Álbum musical]. Sony Music.
Massumi, B. (1995). The Autonomy of Affect. Cultural Critique, The Politics of Systems and Environments, Part II(31), 83-109. https://doi.org/10.2307/1354446.
Moraga Cifuentes, I. (2017). Uso del cuerpo en la protesta política. Significación e implicancias subjetivas de la Autoinmolación en el plano de “lo político”. Revista Academia y Crítica, (1), 1-24. https://n9.cl/ko5s6.
Morris, N. (1986). Canto porque es necesario cantar: The New Song Movement in Chile, 1973-1983. The Latin American Studies Association, 21(2), 117-136. https://doi.org/10.1017/S0023879100015995.
Munguía Villanueva, E., Téllez Montalvo, I. y López Rodríguez, A. (2020). “Espejos sonoros”: una aproximación geométrica a la teoría matemática de la música. En N. Takeuchi, M. Villanueva, D. Tarhuni y J. C. Serio (Eds.), Conocimientos, Ciencia y Tecnología en un Mundo
Multicultural (pp. 93-102). Universidad Nacional Autónoma de México. [Versión digital: https://n9.cl/6mlwc].
Parsons, T. (2011). Fictional Characters and Indeterminate Identity. En F. Lihoreau (Ed.), Truth in Fiction (pp. 27-42). De Gruyter.
Pérez, A. (2013). El “negocidio” de Pizarreño: la mafia del asbesto. Observatorio Latinoamericano de Conflictos Ambientales. https://n9.cl/2woz3.
Pino-Ojeda, W. (2021). Resisting Neoliberal Totality: The “New” Nueva Canción Movement in Post-Authoritarian Chile. Popular Music and Society, 44(2), 175-192. https://doi.org/10.1080/03007766.2020.1820783.
Rajewsky, I. O. (2005). Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality. Intermédialités, (6), 43. https://doi.org/10.7202/1005505ar.
San Juan Standen, C. y Muñoz Cuevas, T. (2013). Asbesto en Chile. En Fibras grises de muerte. El silencio del mayor genocidio industrial en Chile (pp. 35-122). Unidos Contra el Asbesto.
Sedeño-Valdellós, A. (2012). Video musical y cultura: propuestas para analizar el cuerpo en el videoclip. Revista de Comunicación Vivat Academia, (120), 91-101. https://n9.cl/2vg1xm.
Uribe Ugalde, J. (2025). Los Bunkers: Neoliberalismo y postmodernidad en las canciones “Sabes qué” y “Deudas”. Contrapulso, 7(1), 83-99. https://doi.org/10.53689/cp.v7i1.275.
Villavicencio, S. (2007). Ciudadanía y civilidad: acerca del derecho a tener derechos. Colombia Internacional, (66), 36-51. https://doi.org/10.7440/colombiaint66.2007.02
Article Sidebar
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
Attribution 4.0 International (CC BY 4.0)
You are free to:
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Avisos:
- No tiene que cumplir con la licencia para elementos del material de dominio público o cuando su uso esté permitido por una excepción o limitación aplicable .
- No se dan garantías. Es posible que la licencia no le otorgue todos los permisos necesarios para el uso previsto. Por ejemplo, otros derechos como la publicidad, la privacidad o los derechos morales pueden limitar la forma en que utiliza el material.
