Narrative, Visibility, and Trauma in Bus 174

  • Cecilia Sayad
Part of the Global Cinema book series (GLOBALCINE)


On June 12, 2000, 35 million television sets in Brazil tuned in to the live broadcast of a bus hijack in Rio de Janeiro. Surrounded by the police, cameras, and bystanders, the perpetrator, whom we later learned to be called Sandro do Nascimento, stuck his head out the window and shouted that what was being witnessed was not an “action movie.” Uttered by a man the police had been addressing by the fake name of Sérgio (following protocol in hostage negotiations), these words accidentally touched on a question that is at the core of Ônibus 174 (Bus 174, José Padilha, 2002), and which still haunts documentary filmmaking—the intersection between reality and fiction.


Penal System Juvenile Delinquent Social Existence Action Movie Traumatic Loss 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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Copyright information

© Vinicius Navarro and Juan Carlos Rodríguez 2014

Authors and Affiliations

  • Cecilia Sayad

There are no affiliations available

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