Skip to content
1981
Volume 19, Issue 1
  • ISSN: 2050-4837
  • E-ISSN: 2050-4845

Abstract

The first episode of , the Netflix TV series inspired by the life of Pablo Escobar, begins with the programmatic intertitle: ‘Magical realism is defined as what happens when a highly detailed, realistic setting is invaded by something too strange to believe. There is a reason why magical realism was born in Colombia’. It is this ‘too strange to believe’ philosophy of the gaze that underlies the United States–Brazil–Colombia co-production series echoing the Drug Enforcement Administration version of events, commodifying the rise of Colombia’s drug economy for global audiences. places more value on realism than it does on the magical (although the two poles of attraction are inseparable, mutually enriching each other). The shift towards the insertion of heavy doses of non-fiction in the TV series is worth the utmost attention because it opens the way to a consideration of the differences between outsider and insider perspectives on culture and race, and the way they emerge on-screen. Magical realism in is also a tool to unmasks the war on drugs as a US hidden agenda to create antagonism. After 1989, an intensification of the rhetoric against narco-traffic became a pretext to respond to the upcoming geopolitical tensions, while simultaneously perpetrating the structural domination typical of the Cold War era.

Loading

Article metrics loading...

/content/journals/10.1386/slac_00068_1
2022-03-01
2024-06-18
Loading full text...

Full text loading...

References

  1. Al Fin Cayó!. ’ ( 2016), A. Baiz. (dir.), Narcos, Season 2 Episode 10 (2 September, USA and Colombia:: Netflix;).
    [Google Scholar]
  2. Arau, A.. ( 1992), Como agua para chocolate, Mexico:: Miramax;.
    [Google Scholar]
  3. Baiz, A.. ( 2007), Satanás, Mexico:: Proyecto Tucan;.
    [Google Scholar]
  4. Baiz, A.. ( 2011), La cara oculta, Colombia:: Fox International Productions;.
    [Google Scholar]
  5. Burroughs, W.. ( 2010), Queer, London:: Penguin Books;.
    [Google Scholar]
  6. Carpentier, A.. ( 1995;), ‘ The Baroque and the magical real. ’, in L. P. Zamora, and W. B. Faris. (eds), Magical Realism: Theory, History, Community, Durham:: Duke University Press;, pp. 89108.
    [Google Scholar]
  7. Carpentier, A.. ( 2017), The Kingdom of This World, New York:: Farrar, Straus & Giroux;.
    [Google Scholar]
  8. Chomski, N.. ( 1993), Year 501: The Conquest Continues, London:: Verso;.
    [Google Scholar]
  9. Dark Tourist ( 2018, New Zealand:: Netflix;).
    [Google Scholar]
  10. Del Toro, G.. ( 2006), El laberinto del fauno, Spain and Mexico:: Warner Bros. Pictures;.
    [Google Scholar]
  11. Demme, T.. ( 2001), Blow, USA:: New Line Cinema;.
    [Google Scholar]
  12. Denning, M.. ( 2004), Culture in the Age of Three Worlds, New York:: Verso;.
    [Google Scholar]
  13. Díaz, S., and Farina, P. M.. ( 2017), Countdown to Death: Pablo Escobar, USA:: Fusion Media Network;.
    [Google Scholar]
  14. Drug Lords ( 2018–present, USA:: Netflix;).
    [Google Scholar]
  15. Dupler, S.. ( 1998), Pablo Escobar: King of Coke, USA:: Parco Films;.
    [Google Scholar]
  16. El Cartel ( 2008–10, Colombia:: Caracol Televisión;).
    [Google Scholar]
  17. El Dedazo. ’ ( 2020), A. Baiz. (dir.), Narcos: Mexico, Season 2 Episode 6 ( USA and Mexico:: Netflix;).
    [Google Scholar]
  18. Fredes, C.. ( 2017;), ‘ Pedro Pascal, en su punto. ’, La Tercera, 1 September, https://www.latercera.com/noticia/pedro-pascal-punto/. Accessed 26 May 2021.
    [Google Scholar]
  19. Granier, J.. ( 2007), Pablo Escobar, ángel o demonio, Colombia and Venezuela:: Sierralta Entertainment;.
    [Google Scholar]
  20. Haacke, P.. ( 2019;), ‘ The melancholic voice-over in film Noir. ’, Journal of Cinema and Media Studies, 58:2, pp. 4670.
    [Google Scholar]
  21. Hart, S., and Ouyang, W.. ( 2010), A Companion to Magical Realism, Woodbridge:: Tamesis;.
    [Google Scholar]
  22. Hobsbawm, E.. ( 1969), Bandits, London:: Weidenfeld & Nicolson;.
    [Google Scholar]
  23. Infiltrados ( 2011, Colombia:: Caracol Televisión;).
    [Google Scholar]
  24. Jefe de Jefes. ’ ( 2018), Narcos: Mexico, Season 1 Episode 7 (16 November, USA and Mexico:: Netflix;).
    [Google Scholar]
  25. Jameson, F.. ( 1986;), ‘ On magic realism. ’, Critical Inquiry, 12:2, pp. 30125.
    [Google Scholar]
  26. Jaramillo, D.. ( 2019;), ‘ Tv’s war on drugs: Local crises as public service crusades. ’, in E. Thompson, and J. P. Jones. (eds), Television History, the Peabody Archive, and Cultural Memory, Athens:: University of Georgia Press;.
    [Google Scholar]
  27. Keane, D.. ( 2002), The True Story of Killing Pablo, USA:: History Channel;.
    [Google Scholar]
  28. Medellín ( 2007, USA:: HBO;).
    [Google Scholar]
  29. Metástasis ( 2014, USA:: UniMás;).
    [Google Scholar]
  30. Mizrahi, E.. ( 2018), Pensar el fenómeno narco: el narcotráfico en los discursos audiovisuales (2010–2015), Buenos Aires:: CLACSO;.
    [Google Scholar]
  31. Moses, M. V.. ( 2001;), ‘ Magical realism at world’s end. ’, Literary Imagination, 3:1, pp. 10533.
    [Google Scholar]
  32. Naef, P. J.. ( 2018;), ‘ The commodification of narco-violence through popular culture and tourism in Medellin, Colombia. ’, in C. Lundberg, and V. Ziakas. (eds), The Routledge Handbook of Popular Culture and Tourism, London:: Routledge;, pp. 8092.
    [Google Scholar]
  33. Narcos ( 2015–17, USA and Colombia:: Netflix;).
    [Google Scholar]
  34. Narcos: Mexico ( 2018–present, USA and Mexico:: Netflix;).
    [Google Scholar]
  35. Nietzsche, F.. ( 2005), The Anti-Christ, Ecce Homo, Twilight of the Idols: And Other Writings, Cambridge:: Cambridge University Press;.
    [Google Scholar]
  36. Mugshots: Pablo Escobar – Hunting the Druglord ( 2013, USA:: TruTV;).
    [Google Scholar]
  37. Padilha, J.. ( 2007), Tropa de élite, Brazil:: Universal Pictures;.
    [Google Scholar]
  38. Padilha, J.. ( 2010), Tropa de Elite 2: O Inimigo Agora é Outro, Brazil:: Zazen Produções;.
    [Google Scholar]
  39. Ripstein, G.. ( 2015), 600 Millas, Mexico:: Lucía Films;.
    [Google Scholar]
  40. Rosenberg, F.. ( 2016), After Human Rights: Literature, Visual Arts, and Film in Latin America, 1990–2010, Pittsburgh, PA:: University of Pittsburgh Press;.
    [Google Scholar]
  41. Smith, C.. ( 2019), Fyre: The Greatest Party That Never Happened, USA:: Netflix;.
    [Google Scholar]
  42. Stanska, S.. ( 2016;), ‘ Excited about the 2nd season of Narcos? See what Fernando Botero had to do with Pablo Escobar. ’, DailyArt Magazine, 6 September, https://www.dailyartmagazine.com/excited-2nd-season-narcos-see-fernando-botero-dealt-pablo-escobar-spoiler-alert/. Accessed 19 January 2022.
    [Google Scholar]
  43. Stretcher, M.. ( 1999;), ‘ Magical realism and the search for identity in the fiction of Murakami Haruki. ’, Journal of Japanese Studies, 25:2, pp. 26368.
    [Google Scholar]
  44. Tobias, S.. ( 2016;), ‘ Narcos Season 2 finale: The last stand. ’, The New York Times, 10 September, https://www.nytimes.com/2016/09/09/arts/television/narcos-netflix-season-2-finale-recap.html. Accessed 24 October 2020.
    [Google Scholar]
  45. Van Sant, G.. ( 1989), Drugstore Cowboy, USA:: International Video Entertainment;.
    [Google Scholar]
  46. Wladyka, K.. ( 2014), Manos sucias, Colombia and USA:: Cine Colombia;.
    [Google Scholar]
  47. You Will Cry Tears of Blood. ’ ( 2015), F. Coimbra. (dir.), Narcos, Season 1 Episode 7 (28 August, USA and Colombia:: Netflix;).
    [Google Scholar]
  48. Zeitlin, B.. ( 2014), Beasts of the Southern Wild, USA:: Fox Searchlight Pictures;.
    [Google Scholar]
  49. Zimbalist, J., and Zimbalist, M.. ( 2010), The Two Escobars, USA:: ESPN Films: 30 for 30;.
    [Google Scholar]
  50. Cilento, Fabrizio. ( 2022;), ‘ Too strange to believe: Magical realism and Cold War politics in Narcos. ’, Studies in Spanish & Latin American Cinemas, 19:1, pp. 7389, https://doi.org/10.1386/slac_00068_1
    [Google Scholar]
/content/journals/10.1386/slac_00068_1
Loading
/content/journals/10.1386/slac_00068_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error