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Los Misterios De Medellín: Representación Y Consumo Cultural De La Narcotelenovela Escobar, El Patrón Del Mal En La Localidad De Kennedy De Bogotá

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Los Misterios De Medellín: Representación Y Consumo Cultural De La Narcotelenovela Escobar, El Patrón Del Mal En La Localidad De Kennedy De Bogotá Los misterios de Medellín: representación y consumo cultural de la narcotelenovela Escobar, el patrón del mal en la localidad de Kennedy de Bogotá. Luis Felipe Neira Reyes Universidad Nacional de Colombia Facultad de Ciencias Humanas. Centro de Estudios Sociales Bogotá, Colombia 2020 Los misterios de Medellín: representación y consumo cultural de la narcotelenovela Escobar, el patrón del mal en la localidad de Kennedy de Bogotá Luis Felipe Neira Reyes Trabajo de investigación presentado como requisito parcial para optar al título de: Doctor en Ciencias Humanas y Sociales Director: Fabio López de la Roche Doctor en Estudios Literarios. Línea de investigación: Estéticas y Narrativas Universidad Nacional de Colombia Facultad de Ciencias Humanas. Centro de Estudios Sociales Bogotá, Colombia 2020 A la memoria de Edith y a mi familia en las fronteras de Macondo… Agradecimientos Estas páginas cierran un largo esfuerzo de interrogar el melodrama televisivo sobre la mafia criolla. En el curso de su desarrollo he contraído una deuda de gratitud con el doctorado de Ciencias Humanas y Sociales del Centro de Estudios Sociales de la Universidad Nacional y con más de una persona. La condición de investigador que me proveyó el doctorado hizo posible no solo el espacio interior para escribir el texto, sino también el acercamiento al rico y complejo mundo de la comunicación y de la cultura de masas de América Latina. En particular agradezco la confianza del director de la investigación, profesor Fabio López de la Roche del Instituto de Estudios Políticos y Relaciones Internacionales y su énfasis en aportarme la entrada empírica y teórica al complejo y espinoso campo de los medios masivos de comunicación en plena revolución tecnológica. Mi gratitud también con el grupo de investigación en Comunicación, Cultura y Ciudadanía del Instituto de Estudios Políticos y Relaciones Internacionales de la Universidad Nacional que dirige el mismo Fabio. Otra entidad apoyó el proceso en un momento decisivo del trabajo de campo. Mi agradecimiento al profesor Fabián Acosta director del Observatorio de Juventud de la Universidad Nacional y a mi asistente de investigación de campo, politólogo Andrés Torrente quién es miembro de dicho Observatorio. También agradezco al sociólogo Josué Sánchez con quién discutimos en otro momento del proceso, la pertinencia o no de clasificar los datos de campo con un programa de software. En cuanto a las personas, mi gratitud especial al profesor de sociología Jaime Eduardo Jaramillo y al profesor de sociología Boris Nicolás Esquerra, ambos del departamento de sociología de la Universidad Nacional. Jaime Eduardo y Boris leyeron una parte de mis borradores e hicieron un conjunto de comentarios iluminadores para mi esfuerzo de escritura. Finalmente, agradezco a las personas entrevistadas de Ciudad Kennedy de quienes este texto habla. Resumen Esta tesis comparte el enunciado de que la narcocultura es un conjunto de representaciones que son índice del conflicto irresoluto entre el narcotráfico y la política prohibicionista. En particular dicha cultura, en el marco de la industria de la televisión privada, responde al proceso de producción, distribución y consumo cultural de narcotelenovelas. La necesidad de revisar el concepto de representación, habida cuenta la producción, distribución y consumo cultural antes indicada, nos llevó a revisitar los conceptos de cultura de masas, televisión, consumo cultural, narcocultura y narcotelenovela. Por ello, la selección y estudio de la narcotelenovela Escobar, el patrón del mal (2012), se llevó a cabo desde el encuentro entre conceptos que permiten operar en esta perspectiva cultural: cultura de masas, televisión, representación, narcocultura, consumo cultural. La propuesta de operar sobre la narcotelenovela con los conceptos seleccionados, hizo posible por una parte describir con detalle la representación y por otra, recuperar el novedoso consumo cultural de la narcotelenovela en el escenario popular urbano. Frente a estudios que privilegian la producción y distribución de narcocultura y narcotelenovelas, esta tesis sin desconocer lo anterior, añade el consumo cultural como opción para reconocer un conjunto de apropiaciones que hibridan la cultura popular urbana. Se trata de representaciones audiovisuales en clave de decodificación, es decir, de una gama de lecturas colectivas dominantes, negociadas y críticas frente a la narcotelenovela de Escobar, el patrón del mal. La tesis lleva a cabo un trabajo transdiciplinar al combinar herramientas conceptuales y metodológicas provenientes de los Estudios Culturales, en las cuales se reconoce la profunda relación entre producción, distribución y consumo cultural en América Latina; y con los Estudios Semióticos, interesados principalmente en el texto, esto es, la representación, su sentido y sus estructuras. Palabras claves: cultura de masas, televisión, representación, consumo cultural, narcocultura, narcotelenovela. Abstract This thesis shares the statement that narcoculture is a set of representations that are an index of unresolved conflict between drug trafficking and prohibitionist politics. In particular, this cultura, within the framework of the private television industry, responds to the process of cultural production, distribution and consumption of narco-soap operas. The need to review the concept of representation, taking into account the cultural production, distribution and consumption indicated above, let us to revisit the concepts of mass culture, television, cultural consumption, narcoculture and narco- soap opera. For this reason, the selection and study of Escobar, el patrón del mal (2012), was carried out from the meeting of concepts that allow operating in this cultural perspective: mass culture, television, representation, cultural consumption, narcoculture.The proposal to operate on the narco-soap operas with the selected conceps, made it posible, on the one hand, to describe the representation in detail and, on the other, to recover the novel cultural consumption of the narco-soap operas in the popular urban setting. Faced with studios that privilege the production and distribution of narcoculture and narco-soap operas, this thesis without ignoring the above, adds cultural consumption as an option to recognize a set of appropriations that hibridize urban popular culture. These are decoding audiovisual representations, that is, a range of hegemonic, negociated and critical collective readings of the Escobar, el patrón del mal. The thesis carries out a transdiciplinary work by combining conceptual and methodological tools from Cultural Studies, in which the deep relationship between production, distribution and cultural consumption in Latin America is recognized; and with Semiotic Studies, mainly interested in the text, that is, representation and its structures. Keywords: mass culture, television, representation, cultural consumption, narcoculture, narco-soap operas. Contenido Pág. Resumen………………………………………………………………………………… V Introducción……………………………………………………………………………... 1 Primera parte Contexto histórico y socio-cultural de la televidencia de Escobar, el patrón del mal. 1. La ciudad se expande hacia el suroccidente…………………………………32 1.1. Los barrios de la localidad…………………………………………………35 1.2. Relaciones cara a cara……………………………………………………...41 1.3. Medios e internet……………………………………………………………43 1.4. Consumo y microtráfico……………………………………………………48 2. Vida cotidiana y cultura de masas: entre la canción romántica de la radio comercial y el video de YouTube en el teléfono celular……………………59 2.1. Televisión y melodrama………………………………………………………68 Segunda parte La cuestión de la representación de la mafia. 3. Representación del Cartel de Medellín y la política de guerra contra las drogas…………………………………………………………………………79 3.1. Rasgos de la producción………………………………...……………. 79 3.2. La polémica entre apocalípticos e integrados………………………...81 3.3. El relato…………………………………………………………………...86 3.3.1. Estructuras narrativas de la narcotelenovela………………………...87 3.3.2. La trama……………………………………………………………………96 3.3.3. Ideología……………………………………………………………………99 3.3.4. Una obra de no ficción: el material del melodrama.… .………………102 3.3.5. Pablo, superhombre de masas…………………………………………105 3.3.6. El aspecto documental………………………………………………… .110 3.3.7. La cultura de la mafia criolla……………………………………………112 Tercera parte El consumo cultural de la narcotelenovela. 4. La lectura colectiva, expresiva y oblicua de Escobar, el patrón del mal……140 5. Lectura dominante o lectura de rechazo moral a Pablo Escoba…………153 6. Lectura negociada o lectura de transacción moral de Pablo Escobar……173 7. Lectura crítica o de oposición a la narcotelenovela………………………...194 8. Conclusiones……………………………………………………………………211 Bibliografía………………………………………………………………………………238 Introducción. El presente trabajo es el resultado de un ejercicio de investigación en torno a la narcotelenovela Escobar, el patrón del mal, presentada como representación y como consumo cultural. La narcotelenovela fue distribuida por primera vez en Colombia por el canal de televisión privada Caracol en 2012. La serie televisiva sobre Pablo Escobar tuvo un éxito sustentado en un consumo masivo por parte de audiencias nacionales e internacionales. El trabajo está motivado por el interés de reconocer el proceso comunicativo y cultural que le ha dado expresión a la mafia en Colombia. Para ello se sostiene que el surgimiento y la expansión del narcotráfico en las décadas del setenta y del ochenta del siglo XX, comenzó a proyectarse con intensidad sobre la vida social
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