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Visualidad Política De América Latina En Narcos: Un Análisis a Través Del Estilo Televisivo

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Visualidad Política De América Latina En Narcos: Un Análisis a Través Del Estilo Televisivo ° www. comunicacionymedios.uchile.cl 106 Comunicación y Medios N 37 (2018) Visualidad política de América Latina en Narcos: un análisis a través del estilo televisivo Political visuality of Latin America in Narcos: an analysis through the television style Simone Rocha Universidade Federal de Minas Gerais, Belo Horizonte, Brasil [email protected] Resumen Abstract Desde la fundamentación teórica ofrecida por From the theoretical approach of the visual stu- los estudios visuales articulados al análisis del dies articulated with television style analysis, I estilo televisivo, propongo analizar visualidades intend to analyze visualities of Latin America de América Latina y de eventos históricos que and historical events on the contemporary drug tratan la problemática contemporánea de las problem exhibited in the first season of Narcos drogas exhibidas en la primera temporada de (Netflix, 2015). Based on the primary meaning Narcos (Netflix, 2015). A partir de la identifica- established by the producers, it is possible to ción del sentido tutor, definido por los realizado- understand the complex relationships between res de la serie, es posible captar las complejas crime, economy, formal politics and corruption. relaciones establecidas entre crimen, economía, política formal y corrupción. Keywords Visuality; Narcos; Latin America; Television Style. Palabras clave Visualidad; Narcos; América Latina; estilo tele- visivo. Recibido: 10-03-2018/ Aceptado: 08-06-2018 / Publicado: 30-06-2018 DOI: 10.5354/0719-1529.2018.48572 Visualidad política de América Latina en Narcos: un análisis a través del estilo televisivo 1. Introducción La primera temporada tuvo cuatro directores:107 los brasileños José Padilha (episodios 1 y 2) y Hace poco más de una década emergieron pro- Fernando Coimbra (7 y 8), el mexicano Guiller- ductos audiovisuales que tematizan el problema mo Navarro (3 y 4) y el colombiano Andrés Baiz global del narcotráfico, la manera como este (5, 6, 9 y 10) y es narrada en primera persona envuelve la política de relaciones internaciona- por el agente norte-americano de la DEA (Drug les, genera corrupción, violencia, criminalidad y Enforcement Administration) Steve Murphy, que afecta las sociedades locales. Confirmando esta se mudó para Colombia para combatir el tráfico tendencia, en agosto de 2015 la plataforma di- de cocaína que estaba creciendo en los Estados gital Netflix exhibió la primera temporada de la Unidos. “Queríamos una serie que interesase a serie Narcos que abordó el surgimiento, el auge las dos audiencias, la norte-americana y la la- y el desmantelamiento del Cartel de Medellín tina. Y la manera que encontramos fue contar 1 en Colombia. la historia de la DEA”, explica Padilha . En ese sentido, el narrador fue una elección estratégica La mayor parte de la serie fue realizada en este para alcanzar el mayor mercado (más de 50% país en 2014. Luego de identificar el “sentido en los E.E.U.U.) de usuarios de Netflix, pues, la tutor”, se emprende un análisis audiovisual narración en primera persona busca aproximar guiado por el concepto de visualidad, ejecutada el espectador de los hechos relatados según la conforme la propuesta de los estudios de estilo interpretación de quien estuvo dentro del con- televisivo. Se trazan breves críticas sobre como flicto. esa primera temporada ofreció representacio- nes visuales sobre América Latina y figuró even- La historia comienza a ser contada a partir de tos que tratan la problemática contemporánea 1973 cuando la producción de la cocaína estaba de las drogas, así como captan las complejas en Chile y fue interrumpida por política de tole- relaciones establecidas entre crimen, economía, rancia cero a los narcotraficantes por parte de política formal y corrupción. la dictadura de Augusto Pinochet. Escobar, que ya actuaba como contrabandista, al vislumbrar la amplia aceptación de la droga en el mercado estadounidense, comienza exportando pocas cantidades y, por fuerza de la demanda y de 2. Narcos los altos lucros, pasa exportar toneladas cuyos lucros diarios llegan a 60 millones de dólares. Narcos es una producción de Netflix realizada Así nace el Cartel de Medellín y su modus ope- en alianza con la Gaumont International Televi- randi violento y aterrorizante. Escobar también sion, brazo americano de la productora francesa se envuelve en la política formal invistiendo de GaumontTelevision. El equipo de creación es congresista, con pretensiones de llegar a la pre- conformada por Chris Brancato, Carlo Bernard y sidencia de Colombia. Con todo, el día de la Doug Miro. La producción ejecutiva está a cargo posesión del cargo, él es denunciado por el en- de Eric Newman, José Padilha y Chris Brancato. tonces ministro de justicia, Rodrigo Lara Bonilla Aunque se trata de una producción original es y, a partir de ese momento, Escobar declara una importante resaltar que series como esta guar- guerra frontal contra el Estado dando inició a dan semejanza con la estructura del modelo un periodo de escalada de violencia y de ata- instituido de narrativas televisivas (Thompson, ques con bombas, asesinatos y secuestros que 2003). De acuerdo con el estudio hecho por podríamos llamar de narcoterrorismo. François Jost (2011), la televisión se constituye como una importante referencia para los pro- El capo estuvo preso, violó el acuerdo de ren- ductos hechos en medios digitales. Al analizar dición que había hecho con el presidente de la algunos ejemplos de series, el autor destaca República, huyó y pasó a vivir escondido y aisla- que tales productos toman por base el modelo do hasta su captura, llevada a cabo por el blo- de las narrativas seriadas televisivas, extrayendo que de búsqueda que contó con la discutible de este lo mejor. ° Comunicación y Medios N 37 /2018 e-ISSN 0719-1529 S. Rocha 108colaboración de traficantes del Cartel de Cali y expone esta idea viendo la imagen, hoy, emer- de miembros de grupos paramilitares llamados ger como paradigma dentro de las ciencias Los Pepes (Perseguidos por Pablo Escobar), in- humanas, de la misma manera que ocurrió en teresados en su muerte por varios factores. Fue los años sesenta con el lenguaje y con el lla- ejecutado el dos de diciembre de 1993. mado giro lingüístico, o sea, no solo como un tópico central de estudio sino característica cultural (31-32) 3. Análisis de la visualidad En cuanto al objeto Mitchell aclara un punto central bastante coherente con su propuesta. La propuesta de los estudios visuales, sobre todo Los estudios visuales no se corresponden a un como ha sido desarrollada por William J. Thomas campo de estudio de las imágenes, sino de la Mitchell (2009), propone un desplazamiento del experiencia visual que se expresa en las prácti- concepto de historia y de arte por el de cultura cas cotidianas del ver. En síntesis, la visualidad y visualidad, respectivamente, dedicándose esta pasa a ser objeto de especial atención, pues co- última al entendimiento de las manifestaciones rresponde a las prácticas de ver el mundo en históricas y culturales distintas de toda experien- que se procesan los modos como vemos lo que cia visual. Centralmente Mitchell propone que: 1) vemos, bajo la agencia de cuestiones sociocul- asumir lo que él denominó “giro pictórico”, no turales, impresas en esa experiencia. como la superación del “giro lingüístico”, sino como un gesto de dar imagen a la teoría, o sea, De acuerdo con Brea (2005: 8-9) en el campo de en vez de partir de discursos ya listos para des- los estudios visuales, la visualidad es un obje- cifrar una picture, comenzar por la propia repre- to de estudio comprendido en un juego que se sentación visual y cómo ésta nos conduce a as- procesa entre los operadores (textuales, menta- pectos que son culturales e históricos; 2) adoptar les, imaginarios, sensoriales, mnemónicos, me- el concepto de visualidad; 3) analizar las pictures diáticos, técnicos, burocráticos, institucionales) (una picture se refiere a la situación completa en y los intereses de representación (de raza, gé- la cual aparece una imagen, o sea, imagen, so- nero, clase, diferencia cultural, grupos de creen- porte y medio); 4) estudiemos la interacción en- cias y afinidades, etcétera). Por eso los actos de tre representaciones visuales y verbales a través ver y de hacer son resultados de una construc- del compuesto imagen/texto. ción cultural, compleja e híbrida. Para Pablo Sérvio (2014) la cultura permea nues- La riqueza de esta perspectiva se encuentra en tra experiencia visual en diferentes modos. Según la necesidad de asumir una posición crítica fren- este autor nuestro cerebro tiene una capacidad te al mito de la hegemonía de los visible y de limitada de procesar las informaciones que le la naturalización de los actos de ver para com- son enviadas por los ojos conduciéndonos a una prender una cultura visual y sus regímenes de percepción selectiva y que en este proceso la di- visualidad, considerada por Mitchell como “las mensión cultural es aquella que, en gran medida, determinaciones culturales de la experiencia vi- nos orienta a enfocar nuestra atención en deter- sual en sentido amplio” (Sérvio, 2014:199). Es minadas cosas, eventos o personas. De acuerdo lo que Brea (2005) denomina de epistemología con él, mientras la neurociencia se ocuparía de política de la visualidad, pues los actos de ver y los modos de hacer implicados en ese acto los aspectos fisiológicos relacionados a la visión y se constituiría en una de las bases empíricas de la están articulados a relaciones de poder, domi- experiencia visual, la visualidad abordaría esa ex- nación, privilegio y control. periencia por la matriz de la intersubjetividad y de la creación de modos específicos de ver, situados Para Mitchell todos los medios son mixtos, histórica y culturalmente. Según Schollhammer siendo el cine, el cómic y la televisión los más (2002), Mitchell fue el impulsor de este proceso a evidentes por el modo como concretizan la partir de su propuesta de pictorial turn, pues relación heterogénea del compuesto imagen/ texto para poder reflexionar sobre los modos Visualidad política de América Latina en Narcos: un análisis a través del estilo televisivo en que elementos semióticos y perceptivos se 4.
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