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De Breaking Bad a Black Mirror 3 6.941 L os derechos 34 78.96 en Se rie. De Breaking Bad a Black Mirror Walter M. Arellano (Coordinador) Prólogo de Jorge Linares Presentación de Armando Casas CIUDAD DE MÉXICO, 2019 LOS DERECHOS EN SERIE. DE BREAKING BAD A BLACK MIRROR Presentación de Armando Casas Prólogo de Jorge Linares Walter M. Arellano (Coordinador) CIUDAD DE MÉXICO, 2019 Primera edición: 2019 D.R. © 2019 Editorial Libitum S.R.L. de C.V. Cerrada Tlecoate número 18, Colonia San Fernando, Tlalpan, 14070, Ciudad de México. Cuidado de la edición y formación: Ana Lucía Mena Tachiquín Diseño de forro: Héctor Muñóz Donjuán, todos los derechos registrados. Impreso y hecho en México. ISBN: 978-607-97694-5-1 CONTENIDO PRESENTACIÓN VII PRÓLOGO XI NOTA DEL COORDINADOR XVII I. BREAKING BAD: UNA MIRADA IN(JUS)TIFICADA 23 Walter M. Arellano II. BETTER CALL SAUL CRIMINAL LAW: EL EJERCICIO ÉTICO DE LA ABOGACÍA 51 Abril Uscanga Barradas Javier Díez García III. EL DERECHO A LA LUZ DE EL MUNDO SUBMARINO DE JACQUES COUSTEAU 69 Fausto Kubli-García IV. OUTLANDER, UNA SERIE QUE NOS REMONTA AL PASADO DEL PASADO 85 Alberto J. Montero V. CARBONO ALTERADO: LA ENCRUCIJADA DE LA MERCANTILIZACIÓN 101 DEL CUERPO HUMANO Antonio Guiza Cabrera VI. DERECHO Y EXISTENCIALISMO EN EL FIN DEL MALDITO MUNDO 117 Alejandro López García VII. BILLIONS: LA CONCIENCIA ESTÉTICA DE LA SIMULACIÓN 133 DE LO INNEGOCIABLE EN EL DEBIDO PROCESO Ramsés Samael Montoya Camarena VIII. SUITS: UN VIAJE AL NÚCLEO DEL GREMIO 155 Tanya Sarai Fuentes González IX. DISTOPÍA, DERECHO Y PLURALISMO JURÍDICO. 171 ALGUNAS REFLEXIONES EN TORNO A BLACK MIRROR Sergio Martín Tapia Argüello PRESENTACIÓN Armando Casas* My name is Walter Hartwell White. I live at 308 Negra Arroyo Lane, Albuquerque, New Mexico, 87104. This is my confession. If you’re watching this tape, I’m probably dead– murdered by my brother-in-law, Hank Schrader. Walter White. Breaking Bad Recientemente, el periódico británico The Guardian publicó su lista con las 100 mejores series de televisión del siglo XXI. La lista es encabezada por The Sopranos y continuada por The Wire, la notable serie, ampliamente reconocida como una obra mayor, creada por el periodista David Simon, Mad Men, la comedia política inglesa de la BBC The thick of It y Breaking Bad en los primeros cinco lugares. La lista 100 Greatest TV Shows of All Time, que publicó hace al- gunos años la popular revista estadounidense Rolling Stone, es encabezada tam- bién por The Sopranos, seguida, una vez más, por The Wire, Breaking Bad, Mad Men, Seinfeld, probablemente la mejor serie de comedia de todos los tiempos junto con Monty Python Flying Circus, y The Simpsons, la emblemática serie de animación que supera las 30 temporadas. A diferencia de la lista de The Guar- dian, que sólo considera series del siglo XXI, la de la revista Rolling Stone revisa las de toda la historia de la televisión. No cabe duda que las series de televisión de los últimos 20 años se han convertido en un fenómeno social y creativo que, incluso, ha superado y desplazado en gran medida la atención que an- tes despertaba el cine hegemónico hollywoodense en los críticos y analistas, y, por supuesto, en las audiencias. ¿Cómo es que en estos tiempos, donde la televisión vive un cambio tecnológico profundo y se ha modificado de manera esencial su forma de consumo, tiene una oferta inédita de series inteligentes y atractivas? Como afirma el crítico Jorge Carrión en su libro Teleshakespeare: En el principio no fue el cine. En el principio fue la oración. Y la poesía y el mito y la tragedia y el cuento y la comedia. Y, después, la novela –tragicómica–. Y el ensayo. Y la pintura. Y la fotografía. Y, finalmente, el cine. Y su hija, la televisión. * Cineasta y académico de la Universidad Nacional Autónoma de México. Fue di- rector del Centro Universitario de Estudios Cinematográficos y de TVUNAM. Actualmente dirige Canal 22, el canal cultural de México. VII LOS DERECHOS EN SERIE. DE BREAKING BAD A BLACK MIRROR Lo que los une es la repetición: el rezo, lo poético, el relato, mucho antes de que pudieran ser escritos fueron memorizados y repe- tidos, mediante fórmulas retóricas, mediante estructuras emuladas, mediante la mnemotecnia que articula la cultura. La imprenta no es más que una máquina de repetir. De multiplicar las lecturas y, por tanto, las imitaciones y, por tanto, las variantes; es decir, las series. 2 Ciertamente, al igual que en la obra shakesperiana, nos encontramos frente a un momento paradigmático de la narración audiovisual en donde las series de televisión han encontrado en la poesía y la mitología la expo- sición compleja y clara de la condición humana. Podemos afirmar que en la actualidad vivimos una educación sentimental televisiva con productos de una alta calidad; de hecho, podemos decir que nos encontramos, en muchos casos, frente a verdaderas obras de autor. Precisamente, Vince Gilligan, autor de Breaking Bad, es un ejemplo claro de cómo las series de televisión pueden ser tan complejas como cualquier lograda obra artística y pueden encontrar un amplio público que, lejos de ser complaciente, espera los retos que estas narraciones les sugieren. A propósito de Breaking Bad y de la obra de Gilli- gan, el editor y académico alemán Jürgen Müller escribe en su compilación Las mejores series de TV, las series favoritas de Taschen de los últimos 25 años: Las series viven de las expectativas del espectador. Uno de los aspectos que distinguen las producciones corrientes de las extraor- dinarias es su disposición a poner a prueba al público. Durante mucho tiempo, la insistencia en pautas narrativas aceptadas, en el juego con valores reconocidos, fue garantía de éxito. Hoy en día, virtuosos de la televisión como Gilligan se han creado un público que de hecho espera que la vorágine de los acontecimientos se lleve por delante sus sospechas y predicciones, de episodio en episodio y de temporada en temporada. Si los espectadores esperan algo, es lo imprevisible.3 En este sentido es que hay que reconocer la aportación editorial que hace este libro: Los derechos en serie. De Breaking Bad a Black Mirror, coordinado por Walter M. Arellano. Es indudable que, al igual que la literatura y el cine, las series de televisión se han convertido en un valioso objeto de estudio, desde la 2 Carrión, Jorge. Teleshakespeare. Madrid, Errata Naturae, 2011, p. 9. 3 Müller, Jürgen y Steffen, Haubner. “Bienvenidos a la familia” en Las mejores series de TV, las series favoritas de Taschen de los últimos 25 años. Köln, Taschen, 2015, p. 6. VIII PRESENTACIÓN filosofía a la historia, pasando por la sociología, la comunicación, la arquitec- tura, la medicina y, por supuesto, el derecho no podía ser la excepción. El cine ha dado varias obras maestras donde la justicia o la profesión de abogado es el eje central. Baste recordar solamente La costilla de Adán (Adam’s Rib, Georges Cukor, 1949), Testigo de cargo (Witness for the Prosecution, Billy Wilder, 1957), Doce hombres en pugna (12 Angry Men, Sidney Lumet, 1957), La patrulla infernal (Paths of Glory, Stanley Kubrick, 1957), Matar un ruiseñor (To Kill a Mockinbird, Robert Mulligan, 1962), El proceso (Le Procès, Orson Welles, 1962), Sacco y Vanzetti (Sacco e Vanzetti, Giulano Montaldo, 1971), JFK (JFK, Oliver Stone, 1991), Cuestión de honor (A Few Good Men, Rob Reiner, 1992), por citar algunos ejemplos emblemáticos. En el caso de las series de televisión, encontraremos títulos tan interesantes, analizados en el libro, desde la mencionada Breaking Bad, su precuela Better Call Saul, hasta The Suits y la muy intrigante Black Mirror. Es apasionante leer estos ensayos y encontrar las diversas perspectivas jurídi- cas que nos permiten apreciar desde un ángulo diferente las diversas series que tratan temas esenciales como la familia, la condición social y la justicia. Este libro es una obra que no es exclusiva para los estudiosos del dere- cho, por el contrario, para los que nos dedicamos profesionalmente al oficio cinematográfico y televisivo, así como para todos los seguidores de las series de televisión inteligentes, resultará una grata experiencia que nos permitirá ahondar con mayor profundidad en la comprensión de la disciplina jurídica desde el ámbito de la condición humana. IX PRÓLOGO El cine y la televisión se convirtieron en los medios dominantes de la cultura popular por su rápida expansión por todo el orbe y por su habilidad de penetración en los hogares de todos los estratos sociales. La televisión, en particular, como lo planteaba Günther Anders en su Obsolescencia del hombre (1956), convirtió a la pantalla chica en la única ventana por la que la realidad irrumpe en la intimidad de nuestros hogares, logrando con ello que no tengamos que salir a buscar experiencias del mundo o emprender viajes para recorrerlo, porque el mundo nos es suministrado en la TV “a domicilio” y en paquetes digeribles, perfectamente etiquetados y clasificados, como sucede en Netflix. No obstante, estos medios de comunicación masiva también se volvieron predominantes para configurar nuestras representaciones del mundo al operar la traslación de la literatura y el teatro tradicionales al lenguaje audiovisual cinematográfico, fenómeno que hizo posible la difusión global de viejos arquetipos simbólicos y de nuevas representaciones dramáticas que han profundizado en nuestra visión de la realidad social. Es innegable que el cine y la televisión, con sus enormes potencialidades narrativas, visuales y sonoras, poseen un alcance mucho mayor que la literatura tradicional, y una notable capacidad de exploración de los conflictos y dilemas de la vida humana, gracias a que pueden representar de forma más directa y vívida las experiencias de personas comunes y, al mismo tiempo, relatar historias extraordinarias de vidas ordinarias.
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