Narcos and the Promotion of an U.S. (Informal) Cultural Empire Based on Processes of Stereotyping and Comparison

Total Page:16

File Type:pdf, Size:1020Kb

Narcos and the Promotion of an U.S. (Informal) Cultural Empire Based on Processes of Stereotyping and Comparison FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 12.1 (JUN. 2019) 43-55 ISSN: 1867-1519 © forum for inter-american research Narcos and the Promotion of an U.S. (Informal) Cultural Empire Based on Processes of Stereotyping and Comparison CLAUDIA HACHENBERGER (FAU ERLANGEN-NÜRNBERG) Abstract According to postcolonial critic Edward Said, European imperialism was not only based on arms; it was also based on forms of knowledge affiliated with domination and on a vocabulary that constructed and promoted the inferior Other. Contemporary practices of imperialism may be more subtle but are no less powerful. After the end of traditional and formal European colonization, the United States is still exerting influence on other countries, particularly Latin American countries, either in a formal, political, and interventional way, or, as I propose, in an informal way that privileges cultural ideological strategies and knowledge production. By reformulating and readapting Said’s concept of Orientalism, my paper suggests that the concept of Latinism illuminates the workings of an imperialist gaze in representations of Latinos in the media. By its promotion, the U.S. informal cultural empire introduces and installs negative portrayals of Latinos as the perceived ethnic Other. This presentation of stereotypes can influence the audience’s view on Latinos and thus poses an undesirable factor obstructing constructive tendencies in a globalized world, an argument I elaborate on by focusing on the first two seasons of the Netflix exclusive series Narcos. The series’ presentation of stereotypes is accomplished by different practices of comparing on the visual, verbal, and structural/ productional levels. By exploring the construction of Latino Otherness on these three levels, I assert that cinematic stereotypes are used to depict the Latino Other in an inferior way in the majority of the cases, simultaneously representing the U.S.-American characters and culture as superior. Keywords: US Informal Imperialism, Latino Otherness, Latinism, Stereotyping, Narcos (Netflix) 1. Introduction I take evaluative stereotyping as unfavorable comparisons in which one group always fares In his well-known publication Orientalism, better than the other. In a colonial or imperialist postcolonial critic Edward Said describes the context, the practices of comparing performed various disciplines, institutions, mentalities, and by European agents were characterized by discourses by which Europeans experienced the implicit claims of dominance and power over Near and Middle East, referred to as ‘the Orient,’ the perceived ethnic Other. They predominantly in the course of the consolidation of European focused on differences between cultural groups. colonies in the 19th century. By shifting the study Relying on Edward Said’s definition of of colonialism “towards its discursive operations, imperialism as “the practice, the theory, and the showing the intimate connection between attitudes of a dominating metropolitan centre language and forms of knowledge developed for ruling a distant territory” (Culture & Imperialism the study of cultures and the history of colonialism 8), my article will investigate how contemporary and imperialism” (Young, Colonial Desire 159), practices of imperialism that are still put into [1] Said’s study established that European practice after the end of traditional and formal imperialism was not only based on arms, but also colonization by several European nations on forms of knowledge affiliated with domination may be more subtle but are no less powerful. and on the vocabulary with which the Oriental Today it is the United States that is exerting Other was described in contrast to the European influence on other countries, particularly Latin citizen (Culture & Imperialism 8). In this essay, American countries, [2] either in a political, 44 C. HACHENBERGER: NARCOS AND THE PROMOTION OF AN U.S. interventionalist, and thus more formal way, or in is depicted from a U.S. perspective. The series’ a cultural, ideological, and hence more informal presentation of stereotypes is accomplished by way. As Michael Doyle (qtd. in Said, Culture & different practices of comparing on the visual, Imperialism 8) specifies, verbal, and structural/productional levels. [e]mpire is a relationship, informal or formal, in which one state controls the 2. From Orientalism to Latinism and on the effective political sovereignty of another U.S. Cultural Informal Empire political society. It can be achieved by force, by political collaboration, by Introducing his concept of Orientalism, economic, social, or cultural dependence. Edward Said radically questions the systems of Imperialism is simply the process or policy values supported by former colonizing nations of establishing or maintaining an empire. and offers a crucial critique of Eurocentrism (Lenz 317) by examining dominating European Postcolonial and hemispheric studies strive discourses of knowledge concerned with the to move beyond the inflexible black and white construction of the Oriental Other (Culler 145). portrayals of the history of colonization by The Orient is seen from a twofold perspective. focusing on dynamic shifts, the richness of the On the one hand, it is constructed as a European coexistence between, and the hybridity of the utopia and invention which, since antiquity, has various cultures on the American continent. provoked a certain fascination as a “place of However, entrenched stereotyping processes romance, exotic beings, haunting memories in cultural relations are still put into practice and landscapes, [and] remarkable experiences” regularly, also through practices of comparing. (Said, Orientalism 1). On the other hand, in The hegemonic dominance and cultural spite of its great history and its lure of exoticism, leadership of one social group or nation over the Orient (considered from a European another, as well as the silent consent and perspective) has remained static and did not acceptance of that superiority and influence by develop, in contrast to European culture, which the inferior group is no longer established by has maintained a certain dynamism and has governmental institutions but by the mass media. progressed as part of its historical development In order to account for the imperialist gaze on work (Prashad 174). in representations of Latinos [3] in the media, I The construction of alterity is easily propose to reformulate and readapt Edward accomplished by the attribution of certain values Said’s abovementioned concept of Orientalism to both the Orient and the Occident (Prashad in terms of ‘Latinism’. [4] By promoting certain 175). The relationship between the East and the television and Netflix series, the U.S. informal West is a relationship of power establishing a cultural empire introduces and installs the pattern of hierarchy in which the West adopts a Latinos portrayed as the perceived ethnic Other. dominant position (Said, Orientalism 5; Prashad My article analyzes constructions of Otherness 175). The conceived difference between the particularly in the Netflix series Narcos. Other familiar, productive, and dynamic compared publications on Narcos either focus primarily on and contrasted to the strange, lazy, and static the opening sequence of the series, discovering was used as justification for imperialism and principles of its creation and providing a colonialism because if “the Orient was primitive microanalysis of the ‘collage technique’ from and barbaric, then it was up to the enlightened a productional point of view, or investigate West to civilize and tame it, and at the same visualities of Latin America and historical events time rescue and preserve the ancient knowledge in Colombia in the series, trying to understand the and wisdom held by the great traditions of complex relationships between crime, economy, the East” (Wise 23). As applied ideology, politics, and corruption by viewing Narcos from Orientalism powerfully reinforces the dichotomy a visual studies perspective. In contrast, I will and is supported by institutions, scholarship, focus on Latino Otherness and illustrate how it and different styles of representation (Said, FORUM FOR INTER-AMERICAN RESEARCH VOL. 12.1 (JUN. 2019) 43-55 45 Orientalism 2). uncovered (Ashcroft et al. 21). However, as there As Stuart Hall (234ff.) explains, difference is are various categories of difference, including fundamental for the production of meaning, the race, ethnicity, gender, sexuality, religion, and establishment of symbolic order, the construction class, an intersection of categories of difference of individual and collective identities, and, may lead to the collective marginalization of a especially important in this context, social people. inclusion and exclusion. The perceived The representational practice of comparison difference between two cultures is shown by the employed to construct and reinforce notions installation of binary oppositions, which do not of difference is called stereotyping. Ramírez only construct an unjust hierarchy “swallowing Berg (13) comments on the difficulty of finding up all distinctions in their rather rigid two-part a single definition of the concept ‘stereotype.’ structure” (Hall 235), but also exist to confirm Still, most scholars would define it as such: “A the dominance of one group. According to Said widely held but fixed and oversimplified image (Orientalism 227), the generalizations which or idea of a particular type of person or thing” are produced by dichotomizing processes
Recommended publications
  • Organized Crime and Terrorist Activity in Mexico, 1999-2002
    ORGANIZED CRIME AND TERRORIST ACTIVITY IN MEXICO, 1999-2002 A Report Prepared by the Federal Research Division, Library of Congress under an Interagency Agreement with the United States Government February 2003 Researcher: Ramón J. Miró Project Manager: Glenn E. Curtis Federal Research Division Library of Congress Washington, D.C. 20540−4840 Tel: 202−707−3900 Fax: 202−707−3920 E-Mail: [email protected] Homepage: http://loc.gov/rr/frd/ Library of Congress – Federal Research Division Criminal and Terrorist Activity in Mexico PREFACE This study is based on open source research into the scope of organized crime and terrorist activity in the Republic of Mexico during the period 1999 to 2002, and the extent of cooperation and possible overlap between criminal and terrorist activity in that country. The analyst examined those organized crime syndicates that direct their criminal activities at the United States, namely Mexican narcotics trafficking and human smuggling networks, as well as a range of smaller organizations that specialize in trans-border crime. The presence in Mexico of transnational criminal organizations, such as Russian and Asian organized crime, was also examined. In order to assess the extent of terrorist activity in Mexico, several of the country’s domestic guerrilla groups, as well as foreign terrorist organizations believed to have a presence in Mexico, are described. The report extensively cites from Spanish-language print media sources that contain coverage of criminal and terrorist organizations and their activities in Mexico.
    [Show full text]
  • Violence Within: Understanding the Use of Violent Practices Among Mexican Drug Traffickers
    Violence within: Understanding the Use of Violent Practices Among Mexican Drug Traffickers By Dr. Karina García JUSTICE IN MEXICO WORKING PAPER SERIES Volume 16, Number 2 November 2019 About Justice in Mexico: Started in 2001, Justice in Mexico (www.justiceinmexico.org) is a program dedicated to promoting analysis, informed public discourse, and policy decisions; and government, academic, and civic cooperation to improve public security, rule of law, and human rights in Mexico. Justice in Mexico advances its mission through cutting-edge, policy-focused research; public education and outreach; and direct engagement with policy makers, experts, and stakeholders. The program is presently based at the Department of Political Science and International Relations at the University of San Diego (USD), and involves university faculty, students, and volunteers from the United States and Mexico. From 2005 to 2013, the program was based at USD’s Trans-Border Institute at the Joan B. Kroc School of Peace Studies, and from 2001 to 2005 it was based at the Center for U.S.-Mexican Studies at the University of California-San Diego. About this Publication: This paper forms part of the Justice in Mexico working paper series, which includes recent works in progress on topics related to crime and security, rule of law, and human rights in Mexico. All working papers can be found on the Justice in Mexico website: www.justiceinmexico.org. The research for this paper involved in depth interviews with over thirty participants in violent aspects of the Mexican drug trade, and sheds light on the nature and purposes of violent activities conducted by Mexican organized crime groups.
    [Show full text]
  • PARAMILITARIES Kill Suspected Supporters of the FARC
    UniTeD SelF-DeFenSe FoRCeS oF ColoMBiA (AUC) PARAMiliTARY TRooPS, lA GABARRA, noRTe De SAnTAnDeR, DeCeMBeR 10, 2004 PARAMiliTARieS kill suspected supporters of the FARC. By 1983, locals reported DEATh TO KIDNAPPERs cases of army troops and MAS fighters working together to assas- sinate civilians and burn farms.5 After the 1959 Cuban revolution, the U.S. became alarmed power and wealth, to the point that by 2004 the autodefensas had this model of counterinsurgency proved attractive to the Colom- that Marxist revolts would break out elsewhere in latin Ameri- taken over much of the country. bian state. on a 1985 visit to Puerto Boyacá, President Belisario Be- ca. in 1962, an Army special warfare team arrived in Colombia to As they expanded their control across Colombia, paramil- tancur reportedly declared, “every inhabitant of Magdalena Medio help design a counterinsurgency strategy for the Colombian armed itary militias forcibly displaced over a million persons from the has risen up to become a defender of peace, next to our army, next to forces. even though the FARC and other insurgent groups had not land.3 By official numbers, as of 2011, the autodefensas are estimat- our police… Continue on, people of Puerto Boyacá!”6 yet appeared on the scene, U.S. advisers recommended that a force ed to have killed at least 140,000 civilians including hundreds of Soon, landowners, drug traffickers, and security forces set made up of civilians be used “to perform counteragent and coun- trade unionists, teachers, human rights defenders, rural organiz- up local autodefensas across Colombia. in 1987, the Minister of terpropaganda functions and, as necessary, execute paramilitary, ers, politicians, and journalists who they labelled as sympathetic government César gaviria testified to the existence of 140 ac- sabotage, and/or terrorist activities against known communist pro- to the guerrillas.3 tive right-wing militias in the country.7 Many sported macabre ponents.
    [Show full text]
  • Retired DEA Agents Steve Murphy and Javier Pena Talk to Blue About Hunting Down Pablo Escobar
    THIS ARTICLE WAS PUBLISHED BY THE BLUE MAGAZINE FALL 2020 Exclusive Interview: Retired DEA Agents Steve Murphy and Javier Pena Talk to Blue About Hunting Down Pablo Escobar By Eddie Molina (www.eddiemolina.com) When it comes to television shows, I’m very picky. I keep a watchful eye out for flaws, inconsistencies, unlikely coincidences- anything that will make me shun the show and give up on it. But every once I while I come across a gem that is perfect in every way. My favorite are shows based on actual events. And that show is Netflix’s Narcos. Narcos is the true story of the DEA’s hunt for the world’s first narco-trafficker- Pablo Escobar, one of the most ruthless drug lords in modern history. The Blue Magazine sat down with the two retired lead DEA agents responsible for hunting Escobar: Steve Murphy and Javier Pena. We discussed everything from the accuracy of Narcos, the extreme right wing group Los Pepes, their new book Manhunters: How We Took Down Pablo Escobar and much more. The first thing I wanted to know was the accuracy of Narcos. Javier Pena tells Blue, “I tell people that the chronology is pretty accurate on the show; the timeline, the assassination, a lot of the major events, but the producers have to make it interesting.” Javier’s character in the series was pretty bad-a**; a booze-chugging womanizer who threw policy and morality right out of the window. But I wondered how accurate that was, especially considering his role as a law enforcer.
    [Show full text]
  • Pink Unicorn Program
    M T H A E Y E OUT OF THE BOX 9 P I - S 2 C 5 THEATRICS O , P 2 A 0 L 1 A presents 9 C T O R A L I C E R I P L E Y in S ' G U I L D MUSIC & LYRICS BY STEPHEN SONDHEIM BOOK BY JAMES LAPINE BOOK E L I S E F O R I E R E D I E DIRECTION A M Y E . J O N E S @ootbtheatrics Opening Night: May 15, 2019 The Episcopal Actors' Guild 1 East 29th Street Elizabeth Flemming Ethan Paulini Producing Artistic Director Associate Artistic Director present Alice Ripley* in Out of the Box Theatrics' production of By Elise Forier Edie Technical Design Dialect Coach Costume Design Frank Hartley Rena Cook Hunter Dowell Board Operator Wardrobe Supervisor Joshua Christensen Carrie Greenberg Graphic Design General Management Asst. General Management Gabriella Garcia Maggie Snyder Cara Feuer Press Representative Production Stage Management Ron Lasko Theresa S. Carroll* Directed by AMY E. JONES+ * Actors' Equity OOTB is proud to hire members of + Stage Directors and Association Choreographers Society AUTHOR'S NOTE ELISE FORIER EDIE People often ask me “how much of this play is true?” The answer is, “All of it.” Also, “None of it.” All the events in this play happened to somebody. High school students across the country have been forbidden to start Gay and Straight Alliance clubs. The school picture event mentioned in this play really did happen to a child in Florida. Families across the country are being shunned, harassed and threatened by neighbors, and they suffer for allowing their transgender children to freely express their identities.
    [Show full text]
  • 2017 DGA Episodic Director Diversity Report (By STUDIO)
    2017 DGA Episodic Director Diversity Report (by STUDIO) Combined # Episodes # Episodes # Episodes # Episodes Combined Total # of Female + Directed by Male Directed by Male Directed by Female Directed by Female Male Female Studio Title Female + Signatory Company Network Episodes Minority Male Caucasian % Male Minority % Female Caucasian % Female Minority % Unknown Unknown Minority % Episodes Caucasian Minority Caucasian Minority A+E Studios, LLC Knightfall 2 0 0% 2 100% 0 0% 0 0% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC Six 8 4 50% 4 50% 1 13% 3 38% 0 0% 0 0 Frank & Bob Films II, LLC History Channel A+E Studios, LLC UnReal 10 4 40% 6 60% 0 0% 2 20% 2 20% 0 0 Frank & Bob Films II, LLC Lifetime Alameda Productions, LLC Love 12 4 33% 8 67% 0 0% 4 33% 0 0% 0 0 Alameda Productions, LLC Netflix Alcon Television Group, Expanse, The 13 2 15% 11 85% 2 15% 0 0% 0 0% 0 0 Expanding Universe Syfy LLC Productions, LLC Amazon Hand of God 10 5 50% 5 50% 2 20% 3 30% 0 0% 0 0 Picrow, Inc. Amazon Prime Amazon I Love Dick 8 7 88% 1 13% 0 0% 7 88% 0 0% 0 0 Picrow Streaming Inc. Amazon Prime Amazon Just Add Magic 26 7 27% 19 73% 0 0% 4 15% 1 4% 0 2 Picrow, Inc. Amazon Prime Amazon Kicks, The 9 2 22% 7 78% 0 0% 0 0% 2 22% 0 0 Picrow, Inc. Amazon Prime Amazon Man in the High Castle, 9 1 11% 8 89% 0 0% 0 0% 1 11% 0 0 Reunion MITHC 2 Amazon Prime The Productions Inc.
    [Show full text]
  • 6769 Shary & Smith.Indd
    ReFocus: The Films of John Hughes 66769_Shary769_Shary & SSmith.inddmith.indd i 110/03/210/03/21 111:501:50 AAMM ReFocus: The American Directors Series Series Editors: Robert Singer, Frances Smith, and Gary D. Rhodes Editorial Board: Kelly Basilio, Donna Campbell, Claire Perkins, Christopher Sharrett, and Yannis Tzioumakis ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of neglected American directors, from the once-famous to the ignored, in direct relationship to American culture—its myths, values, and historical precepts. The series ignores no director who created a historical space—either in or out of the studio system—beginning from the origins of American cinema and up to the present. These directors produced film titles that appear in university film history and genre courses across international boundaries, and their work is often seen on television or available to download or purchase, but each suffers from a form of “canon envy”; directors such as these, among other important figures in the general history of American cinema, are underrepresent ed in the critical dialogue, yet each has created American narratives, works of film art, that warrant attention. ReFocus brings these American film directors to a new audience of scholars and general readers of both American and Film Studies. Titles in the series include: ReFocus: The Films of Preston Sturges Edited by Jeff Jaeckle and Sarah Kozloff ReFocus: The Films of Delmer Daves Edited by Matthew Carter and Andrew Nelson ReFocus: The Films of Amy Heckerling Edited by Frances Smith and Timothy Shary ReFocus: The Films of Budd Boetticher Edited by Gary D.
    [Show full text]
  • Beyond War: Bin Laden, Escobar, and the Justification of Targeted Killing, 69 Wash
    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2012 Beyond War: Bin Laden, Escobar, and the Justification of arT geted Killing Luis E. Chiesa Pace Law School Alexander K.A. Greenawalt Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Human Rights Law Commons, International Humanitarian Law Commons, International Law Commons, Military, War, and Peace Commons, National Security Law Commons, and the Rule of Law Commons Recommended Citation Luis E. Chiesa & Alexander K.A. Greenawalt, Beyond War: Bin Laden, Escobar, and the Justification of Targeted Killing, 69 Wash. & Lee L. Rev. 1371 (2012), http://digitalcommons.pace.edu/lawfaculty/853/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Beyond War: Bin Laden, Escobar, and the Justification of Targeted Killing Luis E. Chiesa* Alexander K.A. Greenawalt∗∗ Abstract Using the May 2011 killing of Osama bin Laden as a case study, this Article contributes to the debate on targeted killing in two distinct ways, each of which has the result of downplaying the centrality of international humanitarian law (IHL) as the decisive source of justification for targeted killings. First, we argue that the IHL rules governing the killing of combatants in wartime should be understood to apply more strictly in cases involving the targeting of single individuals, particularly when the targeting occurs against nonparadigmatic combatants outside the traditional battlefield.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • Documental De Narcos En Netflix
    Documental De Narcos En Netflix Sparing and olde-worlde Hendrik fagot almost recently, though Hayes shooks his gibberellins jutties. Garvin telecasts his matrass crenelled denumerably, but heavy-handed Rodge never skirls so erratically. Briery Georgia flubs his sonatas ice-skates milkily. Pedro Pascal relativiza su continuidad en Narcos tras exigencias de hermano. El cartel movie Osiedle Tygrysie. Also known registrations can be the. The Netflix original series Narcos and its spinoff Narcos Mexico will begin airing free and. Netflix tiene un amplio catlogo de pelculas series documentales animes. No decepciona como violenta expansin del universo estrella de Netflix. Believed to see in narcos deliberately proposes an online or even invited to netflix, de operações especiais junto ao corpo do you help. Il tuo punto de narcos es que todos tus temas en la cotidianeidad de. Each mausoleum is narcos work cut out at the sunshine state, en persona por la dea lo hizo todo tipo de la casa editorial. Andrés lópez y en la de películas y vídeos de sorprender que otorga el documental de narcos en netflix es de deshumanización muy interesantes. La serie documental de Netflix 'Cuando conoc al Chapo la historia de. Directed by Shaul Schwarz To a growing despite of Mexicans and Latinos in the Americas narco traffickers have become iconic outlaws and baby new models of. Contenido relacionado 5 Documentales sobre Marihuana para Ver en Netflix. The truth universally acknowledged that they did not supported by joining, en clave documental de narcos en netflix, en la tercera en tanto éxito que seremos tratados con tintes de.
    [Show full text]
  • Pablo Escobar: Drug Lord As Heroic Archetype Adem Ahmed Bucknell University, [email protected]
    Bucknell University Bucknell Digital Commons Honors Theses Student Theses 2016 Pablo Escobar: Drug Lord as Heroic Archetype Adem Ahmed Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/honors_theses Recommended Citation Ahmed, Adem, "Pablo Escobar: Drug Lord as Heroic Archetype" (2016). Honors Theses. 344. https://digitalcommons.bucknell.edu/honors_theses/344 This Honors Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Honors Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. PABLO ESCOBAR Drug Lord as Heroic Archetype by Adem Ahmed Submitted to the Honors Council For Honors In Comparative Humanities April 1, 2016 Approved by: ________________________ Adviser: James Mark Shields ________________________ Co-Adviser: David Rojas _______________________ Department Chair: Katherine Faull 2 ACKNOWLEDGEMENTS First and foremost, I would like to thank Professor James Shields, both my academic and primary thesis advisor. His patience, dedication and continual support in my endeavors have played a large role in my accomplishments. I would like to thank Professor David Rojas, who courteously agreed to serve as my co- advisor. As a native Colombian, without his expertise I would not have been able to complete this thesis. I also find it appropriate to thank Professor Slava Yastremski, who served as my advisor for as long as he could. Lastly, I would like to thank my family for their continuous support in both my personal and academic success. My gratitude towards them cannot be expressed in words.
    [Show full text]
  • Narcos De Bad Guy? Een Onderzoek Naar Representatie Binnen De Netflix Original Serie Narcos
    Narcos de bad guy? Een onderzoek naar representatie binnen de Netflix Original serie Narcos Teddy Schoenmakers – 4266803 Eindwerkstuk CIW - CI3V13002 Studiejaar 2016 – 2017 Blok 2 Pauline van Romondt Vis Aantal woorden: 5998 22-02-2017 Abstract De Netflix Original serie Narcos kwam in 2015 uit. Narcos gaat over het beruchte leven van Pablo Escobar en de DEA-agenten die een rol speelden bij zijn ondergang. Netflix beschrijft de serie als volgt: “Deze dramaserie vertelt het waargebeurde verhaal over het geweld en de macht van de beruchte drugskartels in Colombia.” In Narcos worden verschillende etniciteiten gerepresenteerd. Dit onderzoek richt zich daarom op de representatie van de hoofdpersonages in deze serie: Steve Murphy, Javier Peña en Pablo Escobar. De personages zijn geanalyseerd middels een critical discourse analysis waarbij drie geselecteerde afleveringen werden geanalyseerd, geïnterpreteerd en vervolgens zijn deze resultaten gekoppeld aan voorgaande onderzoeken. Hieruit kwam naar voren dat Steve Murphy als de belangrijke, goede Noord- Amerikaan wordt gerepresenteerd, mede doordat hij alles volgens de regels doet. Javier Peña wordt gerepresenteerd als deels Noord-Amerikaans en deels Latino, als een klootzak en als iemand die met goede bedoelingen sommige regels overtreedt. Pablo Escobar wordt in Narcos gerepresenteerd als Latino, crimineel en als familieman. Hij overtreedt alle regels. Pablo kan helemaal gezien worden als de “Ander” en Javier deels. De manier waarop de personages gerepresenteerd worden en het Noord-Amerikaanse perspectief waar vanuit Narcos verteld wordt, zorgen ervoor dat het beeld geconstrueerd wordt van de slechte “Ander” in vergelijking tot de goede Noord-Amerikaan. Narcos houdt hiermee het beeld dat Noord- Amerikanen beter zijn dan de “Ander” en het stereotype beeld van Latino’s in stand.
    [Show full text]