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Political Visuality of Latin America in Narcos

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Political Visuality of Latin America in Narcos ° www. comunicacionymedios.uchile.cl 106 Comunicación y Medios N 37 (2018) Political Visuality of Latin America in Narcos: a te- levision style analysis Visualidad política de América Latina en Narcos: un aná- lisis a través del estilo televisivo Simone Rocha Universidade Federal de Minas Gerais, Belo Horizonte, Brasil [email protected] Abstract Resumen From the theoretical approach of the visual stu- Desde la fundamentación teórica ofrecida por dies articulated with television style analysis, I los estudios visuales articulados al análisis del intend to analyze visualities of Latin America estilo televisivo, propongo analizar visualidades and historical events on the contemporary drug de América Latina y de eventos históricos que problem exhibited in the first season of Narcos tratan la problemática contemporánea de las (Netflix, 2015). Based on the primary meaning drogas exhibidas en la primera temporada de established by the producers, it is possible to Narcos (Netflix, 2015). A partir de la identifica- understand the complex relationships between ción del sentido tutor, definido por los realizado- crime, economy, formal politics and corruption. res de la serie, es posible captar las complejas relaciones establecidas entre crimen, economía, Keywords política formal y corrupción. Visuality; Narcos; Latin America; Television Style. Palabras clave Visualidad; Narcos; América Latina; estilo tele- visivo. Received: 10-03-2018/ Accepted: 08-06-2018 / Published: 30-06-2018 DOI: 10.5354/0719-1529.2018.48572 Political Visuality of Latin America in Narcos: a television style analysis 1. Introduction There were four directors in the first season:107 the Brazilians Jose Padilha (episodes 1 and A little over a decade ago audiovisual produc- 2) and Fernando Coimbra (episodes 7 and 8); tions depicting the global issue of drug traffic- the Mexican Guillermo Navarro (3 and 4) and king began making an appearance. The issues the Colombian Andres Baiz (5, 6, 9 and 10). portrayed in these productions dealt with the The series is narrated in the first person by the politics of international relations and how the North American DEA (Drug Enforcement Ad- trade leads to corruption, violence, crime and ministration) agent Steve Murphy, who moved has an overall effect on local society. In confir- to Colombia to fight the growing cocaine tra- mation of this trend, in August of 2015 the digi- de in the US. “We wanted to create a series tal platform Netflix launched the first season of that would interest two audiences, the North the series Narcos, which primarily deals with the American and Latin viewers. The way we found rise, peak and dismantling of the Medellin drug was through the story of the DEA agent” ex- 1 cartel in Colombia. plains Padilha . In this case the narrator was a strategic choice to reach a greater market Most of the series was filmed in Colombia in (over 50% of the US) of Netflix users, given 2014. Having identified the ‘guiding principal’ that a first person narrative is an approach the study proceeded to audio-visually analyze that brings the viewer closer to the narrative, the subject matter, guided by the principals seen through the eyes of a character involved of visuality, and executed as per the struc- in the conflict. ture of studies of television style. The study briefly and critically outlines the first season The story starts in 1973 when cocaine produc- and how it visually represents Latin America tion was located in Chile, and interrupted by and the events surrounding the contemporary Pinochet’s zero tolerance of drug traffickers. drug problem. It also captures the complex re- Escobar, a smuggler at the time, seeing the lationships between crime, economy, politics wide acceptance of the drug in the US, begins and corruption. exporting it in small amounts and, due to the high demand and high profitability, begins to export the drug by the ton, arriving at a lucra- tive peak of 60 million dollars a day. This was how the Medellin Drug Cartel was born, and its 2. Narcos violent and terrifying Modus Operandi became known. Escobar was also deeply involved in po- Narcos is a Netflix production made in alliance litics, eventually becoming a congressman with with Gaumont International Television, the Ame- intentions of running for president of Colombia. rican branch of the French production company Given all that happened prior to being elected GaumontTelevision. The creative team consists a congressman, he is accused by the Minister of Chris Brancato, Carlo Bernard and Doug Miro. of Justice Rodrigo Lara Bonilla, and, from that The executive producers are Eric Newman, Jose moment on, Escobar declares war on the State, Padilha and Chris Brancato. Although it is an starting a period in Colombian history rife with original production, it is important to note that violence, bomb attacks, murder and kidnapping series like this bear a certain structural similarity that led to the coining of the term, narco-terro- to television narratives (Thompson, 2003). Ac- rism. cording to Françoise Jost’s study (2011) televi- sion is an important reference for productions The drug Capo was imprisoned for a time, then on digital media. Analyzing examples of these violated his agreement to surrender to the au- series the author highlights the fact that these thorities made with the President of Colombia, productions are based on the serial narrative of ran and went into hiding. He remained isolated television productions, extracting the best ele- until his capture by the Search Bloc that inclu- ments they have to offer. ded the dubious collaboration of the Cali drug ° Comunicación y Medios N 37 /2018 e-ISSN 0719-1529 S. Rocha 108cartel, and members of the paramilitary group today, in the same manner as language took Los Pepes (persecuted by Pablo Escobar) who on new meaning in the linguistic turn of the were particularly interested in killing him for sixties, that is to say, not only as a central to- multiple reasons. He was executed on the se- pic of a research paper, but also a cultural cha- cond of December, 1993. racteristic (31-32). As far as the object is concerned, Mitchell’s pro- porsal clarifies a central point. Visual studies is 3. A Visuality Analysis not a field dedicated to the study of images, ra- ther the visual experience of what we see on a The idea behind visual studies, especially that day-to-day basis. In summary, visuality becomes developed by William J. Thomas Mitchell (2009), a subject worth special attention, as it covers all is a displacement of the story and art to focus on the visual practices of ‘seeing’, of how we see culture and visuality, the latter focusing on histo- what we see, under the influence of socio-cul- ric and cultural depictions different to any other tural issues that are indelibly printed on the ex- visual experience. At the center of the concept perience. Mitchell proposes that: 1) to assimilate what he has dubbed a “pictorial turn”, not in the sense According to Brea (2005: 8-9) in the field of vi- of it being a better option than the “linguistic sual studies, visuality is a topic of research com- turn”, rather as a gesture of putting an image to prised of a set of factores processed between a theory, in other words, instead of ready-made operators (textual, mental, imaginary, technical, discourse to describe a picture, start with the bureaucratic and institutional) and the interests visual representation and how the image leads of each representation (of race, gender, class, to cultural and historical aspects; 2) adopt the cultural difference, beliefs and affinities etc.). concept of visuality; 3) analyze the picture (a pic- That is why the act of seeing and doing are re- ture refers to an image, with its corresponding sults of a cultural construction that is both com- support and medium); 4) study the interaction plex and hybrid. between visual and verbal representation throu- gh a composite of the two. The richness of this perspective is in the need to assume a critical position when faced with For Pablo Servio (2014) culture permeates our the myth of visual hegemony and the natu- visual experience in different ways. According ralization of the act of seeing to understand to the author our brain has limited capacity to visual culture and the rules of visuality, in the process information captured through the eyes, words of Mitchell “in a broad sense the cul- meaning that perception becomes selective and tural determination of a visual experience” in this context, the cultural dimension we per- (Servio, 2014: 199). This is what Brea (2005) ceive is such that, to a large extent, we focus on calls the political epistemology of visuality, in specific things, events or people. According to his view, seeing, and the manner in which a him, while neuroscience deals with the physio- person acts as a result of what they see, arti- logical aspects of vision and forms much of the culates with power relations, domination, pri- empirical basis of the visual experience, visuality vilege and control. deals with our experience based on the matrix of inter-subjectivity and the creation of specific For Mitchell, all media is mixed, cinema, co- ways of seeing based on history and culture. Ac- mics, television are the most evident given the cording to Scholhammer (2002) Mitchell was the way they materialize the heterogeneity of the driving force behind the process with his propo- composition of image and text to reflect on sal of a pictorial turn; his the modality in which semiotic and perceptio- nal elements combine. Observing the point at proposal of the idea of how we percieve an which they meet or join is not just a matter image is as a paradigm within human science of formality, that place also begs the question “what the specific forms of heterogeneity mi- Political Visuality of Latin America in Narcos: a television style analysis ght be.
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