Detalhes bibliográficos
| Ano de defesa: |
2020 |
| Autor(a) principal: |
Saboia, Carolina Troccoli de Nogueira
 |
| Orientador(a): |
Castro, Gisela Grangeiro da Silva |
| Banca de defesa: |
Tondato, Marcia Perecin,
Ferraz, Rogério |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Escola Superior de Propaganda e Marketing
|
| Programa de Pós-Graduação: |
Programa de Mestrado em Comunicação e Práticas de Consumo
|
| Departamento: |
ESPM::Pós-Graduação Stricto Sensu
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://tede2.espm.br/handle/tede/496
|
Resumo: |
Bearing in mind the importance of communication and consumption in our days, as well as the centrality of teleficton in the Latin American cultural context, we chose "Pablo Escobar: el patrón del mal (2012)", a Colombian television production as the empirical object of our research. As its name suggests, the work presents the life of the famous drug dealer Pablo Escobar, whom we consider to be a narcocelebrity. As a contribution to the communication, media and consumption studies concerning the phenomenon of narcoculture, we seek to understand which elements (re)produced in "Pablo Escobar: el patrón del mal'' contribute to approaching a narcocelebrity. In order to answer the proposed questions with clarity, we also tackle the following objectives: a) to reflect on the so-called narcoculture and its media spectacularization and b) to discuss the media treatment dispensed to narcocelebrities. To this end, we will undertake a critical communicational analysis based on studies on the phenomenon of Colombian narcoculture, and more specifically on the perspectives proposed by Rincón (2009; 2013; 2015a, 2015b), Bragança (2012, 2015a, 2015b) and Traumann (2018). For them, narcoculture, as well as part of Latin American culture, has its foundation in the traditional triad: family-religion-property. For this reason, the set of analyses comprises a discussion regarding the dramatic construction of Pablo Escobar in scenes that dialogue with the aforementioned cultural matrices, as well as the ambiguities tangent to the character. In the end, we consider that Pablo Escobar: el patrón del mal works as a showcase for narcoculture, and its controversial protagonist is, paradoxically, worshiped in the pantheon of celebrated Colombian figures. |
