The role of the journalist in Colombian lm noir: opposing the quest
for truth and visualizing state repression
El papel del periodista en el cine negro colombiano: oposición de la búsqueda
de la verdad y visualización de la represión estatal
doxa.comunicación |
nº 39, pp. 293-309
| 293
July-December of 2024
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Laverde Román, A. and Berrio-Meneses, C. (2024). e role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing
state repression.
Doxa Comunicación
, 39, pp. 293-309.
https://doi.org/10.31921/doxacom.n39a2111
Alejandra Laverde Román.
Professor-Researcher in the Communication and Audiovisual Languages program at the
Universidad de Medellín
. She holds a PhD in Film eory and Analysis from the
Universidad Complutense
de Madrid
,
a Master’s in Literature from the
Universidad de Antioquia
and a Master’s Degree in Ibero-American International
Relations from
Universidad Rey Juan Carlos de España
. She graduated in Social Communication-Journalism from the
Universidad de Antioquia
. Member of Studies in Audiovisual Culture group, classied as A1 by Minciencias, Colombia.
She has authored articles in indexed journals and other publications, including chapters and a book resulting from her
research. Also, she has been involved in research and development projects on literary historiography in Colombia,
literary and audiovisual narratives between 1920 and 2008, memory and its audiovisual representation focusing
on director Carlos Saura, and comparative analysis of the hero and narrative structures in brand communication
campaigns. Her lines of research are Literary Studies and Audiovisual Narratives (literary and lm narratology), with
extensive experience in lm theory and analysis utilising the methodology of Film Textual Analysis. She was awarded the
Francisco José de Caldas Scholarship from Colciencias in the International Doctorate modality.
University of Medellín, Colombia
[email protected]
ORCID:
0000-0002-9059-3502
Carlos Berrio-Meneses.
Doctorate in Audiovisual Communication, Advertising, and Public Relations from the
Universidad Complutense de Madrid.
His doctoral research focused on the use of the gure of the hero in the
propaganda discourse of the Colombian Army. Additionally, he holds a Master's degree in Political Studies from
the
Ponticia Universidad Bolivariana
and has pursued a career in advertising at the same institution. With over 15
years of teaching and research experience, he specialises in political communication, symbolic narratives, branding,
and business intelligence. Currently, his research interests encompass the impact of generative articial intelligence
on advertising in Colombia and the characterisation of the propaganda discourse of the Russian Federation in Latin
America. Currently, he is a research professor at the
Universidad Católica Luis Amigó
in Medellín, Colombia, and
leader of the Urbanitas research group within the same institution. He also holds an occasional teaching position at the
Politécnico Grancolombiano.
Luis Amigó Catholic University, Colombia
[email protected]
ORCID:
0002-0172-5586
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
294 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction
1.1. e representation of crime in Colombian and Latin American cinema
Colombian cinema has addressed the theme of crime throughout its history, from the controversial recreation of the
assassination of General Rafael Uribe in the di Domenico brothers’
El Drama del 15 de Octubre (1914)
, later venturing into
the detective genre
with
El Amor, el deber y el crimen
(1926). However, the impetus towards the noir genre came in the 1970s
with the Cali group, which combined horror and social criticism in lms such as
Pura Sangre
(Ospina, 1982) and
Carne de tu
Carne
(Mayolo, 1983). In the 1990s, the emergence of “
Sicaresca
,” focusing on crime linked to drug tracking, was seen in lms
such as
Rodrigo D. No Futuro
(1990) by Víctor Gaviria and
Rosario Tijeras
(2005) directed by Emilio Maillé. In this case, the
exploration of the
sicario,
or hitman, unfolds within a context of poverty and marginalisation.
In this regard, Colombian cinema is similar to the observations made by Paula García Talabán in her study of the Latin-
American detective novel, where she asserts that, in Colombia, “the detective novel shares the stage with the local genre of
Sicaresca,
[however, in the former] authors such as Santiago Gamboa and Rubén Varona stand out” (García, 2014: 72). is
Received: 07/10/2023 - Accepted: 12/12/2023 - Early access: 16/01/2024 - Published: 01/07/2024
Recibido: 07/10/2023 - Aceptado: 12/12/2023 - En edición: 16/01/2024 - Publicado: 01/07/2024
Abstract:
is article analyses the character of the journalist in four Colombian
noir lms,
Perder es cuestión de método
(2004),
El Rey
(2004),
La
historia del baúl rosado
(2005) and
Antes del fuego
(2015). Our
hypothesis posits that in American lm noir, the journalist is often
depicted as a truth seeker who fulls a heroic role. rough textual
analysis, we aim to identify similarities and dierences between the
functions of the hero and the symbolic task proposed by the eory
of the Story. is analysis will enable us to determine whether the
journalist in these lms is presented as a truth seeker who succeeds
in fullling their task. In two of the movies, the journalist is portrayed
as a truth seeker, but despite uncovering the truth, they are silenced
by the state or its corrupt representatives. In
La Historia del baúl
rosado
, the journalist is depicted as an opponent driven by a desire
for professional success, while in
El Rey
, they serve merely as an
informant of events.
Keywords:
Journalists in cinema; colombian lm noir; colombian crime cinema;
latin american cinema; north american lm noir.
Resumen:
Este artículo analiza el personaje del periodista en cuatro películas co
-
lombianas del género negro o criminal, Perder es cuestión de método
(2004), El Rey (2004), La historia del baúl rosado (2005) y Antes del
fuego (2015). Nuestra hipótesis plantea que el personaje del periodista
en el cine negro norteamericano se representa como un buscador de la
verdad que logra su cometido como un héroe, pero en Colombia repre
-
senta una tarea inútil ante un estado ausente o represor que impide el
triunfo de verdad alguna. Mediante un análisis textual se identican
las posibles coincidencias y divergencias entre las funciones del héroe y
el destinador, y el cumplimiento de la tarea simbólica propuestas por
Jesús González Requena en la Teoría del relato para identicar si el
periodista se presenta como un buscador de la verdad y logra cumplir
su tarea en los lmes estudiados. En dos películas el periodista es un
buscador de la verdad, pero, aunque logra descubrirla, es silenciado
por el estado o sus representantes corruptos. Asimismo, en La historia
del baúl rosado se presenta como un antagonista movido por su deseo
de éxito profesional y, nalmente, en El Rey, es un informador de la
historia, sin importancia como personaje.
Palabras clave:
Periodistas en el cine; cine negro colombiano; cine criminal
colombiano; cine latinoamericano; cine negro norteamericano.
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
developmental trajectory parallels Latin American detective novels which are reected in cinema, adapted and fused with
other genres to inuence the portrayal of crime.
On the other hand, the crime narrative in Latin America has evolved signicantly, moving away from the classic crime genre
to establish its own characterisation, which is reected in the region’s rich tradition (Forero, 2010: 51). In Argentina, this
evolution is strengthened by integrating literature and noir, adapting works by Borges, Cortázar, and Sábato. is tradition
has been reinforced in Colombia since the 1990s (Pöppel, 2001: 65), particularly following the enactment of the Film Law of
2003
.
is genre also thrives in various Latin American countries, including Brazil, Uruguay, Mexico, Cuba, and Chile. While
inuenced by the American crime novel, it has developed its own characteristics, such as the presence of social anomie,
reecting ideological confusion and the challenges in identifying social norms (Forero, 2010: 51). Anomie is common in the
noir and detective genres. Still, its prevalence diers in the North American and Latin American contexts. ese divergences
are related to interactions between individuals and the law and the legitimacy of institutions and the State in each respective
context (Forero, 2010: 54).
is narrative diverges from North American narratives in its portrayal of power dynamics and the perception of the system.
While narratives in the U.S.A. centre on a solid democracy and the individual character’s motivations, Latin American
depictions highlight a system controlled by corrupt elites and a distrust towards the functioning of the state (Giardinelli,
2013: 231). e Latin American narrative reects a system controlled by corrupt elites, upholding a ctitious democracy to
preserve the power of an oligarchy. In contrast, in the North American stories, the law plays a more decisive role compared
to Latin American stories (Forero, 2010: 57). Furthermore, trust in the State’s functioning is crucial in distinguishing these
narratives. North Americans maintain trust in the individual’s potential triumph, whereas, for Latin Americans, individual
triumph is unlikely and meaningless due to the prevailing distrust towards the system. In the Latin American context, authors
employ the noir genre as a tool to denounce social injustice and oligarchic corruption, serving as an ideological instrument
(Giardinelli, 2013: 225). Javier Sánchez Zapatero and María Marcos Ramos (2014) agree that American lm noir also reects
social, historical, and political realities, depicting North American society’s anguish, insecurity, and complexity. However, this
shared characteristic is not opposed to the contradictions between American and Latin American lmmaking.
1.2. e journalist is an archetypal character in lm noir and crime narratives
Colombian cinema has explored the crime narrative and its relationship to the journalist’s role, revealing divergences from
the American noir genre. Noel Simsolo (2009) highlights that in iconic lms like
e Turning Point
(1977) by Herbert Ross,
e
Captive City
(1952) by Robert Wise,
Park Row
(1952) by Samuel Fuller and
Deadline USA
(1952) by Richard Brooks, journalists
are portrayed as whistleblowers against corruption. However, works such as
While the City Sleeps
(1956), directed by Fritz Lang,
criticise media sensationalism and the lack of journalistic ethics. Simsolo, however, cautions about the limited acceptance of
such lms among audiences, asserting that “e American viewer wants to see adventurous, colourful journalists, amateur
detectives, servants of justice, whistleblowers, or courageous war correspondents. ey are not interested in seeing them as a
murderer, liar or con man” (Simsolo, 2009: 335).
296 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Studies, such as those by Ofa Bezunartea Valencia
et al.,
highlight the exaggeration of journalist stereotypes in North American
cinema, depicting them as driven by an awareness of their social function, albeit constantly navigating within blurred
boundaries. Nevertheless, they assert that “it can be concluded that a very high number of lm journalists are quite obsessed
with their task” (2010: 159). Vélez Cuervo (2015) agrees, depicting the journalist within the archetype of the truth seeker as one
of the most frequent in lm noir (41). However, in the Colombian noir genre, this character is not prevalent, as out of the 24
lms analysed by this author, only three feature the character of the journalist, and only one fully aligns with this archetype.
On the other hand, Spanish cinema has often been juxtaposed with North American cinema, and in both regions, dichotomous
narratives emerge where the journalist is portrayed as a hero committed to the truth (Barris, 1976; McNair, 2010; Ehrlinch,
2006). In North American society, journalists are generally represented as individuals dedicated to uncovering falsehoods and
contributing to strengthening democracy (San José de la Rosa
et al.
, 2020: 318). On the other hand, in Argentina, Giacomelli
(2020) examines the evolution of the detective genre in Argentinian cinema compared to trends in the same genre in
Hollywood during the 1940s. e study concludes that Argentinian crime cinema integrates its own generic models, giving rise
to distinctive expressions of crime cinema featuring characters and situations that reect the context of urban Argentina, while
refraining from incorporating American conventions and emphasising the role of journalism in shaping the crime narrative.
is bears a close resemblance to the nature of Colombian lm noir, which, as mentioned above, adapts to Colombia’s cultural
and political reality, giving rise to the fusion of genres to represent crime.
e analysed works reveal a redenition of the concept of the hero in Colombian lm noir, illustrating an adaptation of the
crime narrative to the Latin American reality and deviating from the North American portrayals of the dedicated and ethical
journalist.
In the limited body of research, Andrés Vélez Cuervo’s
República Noir. Cine Criminal Colombiano (2000-2012),
published in
2015, stands out as an exhaustive study that delves into Colombian lm noir. e author contends that the crime narrative is
an essential element for classifying lm noir. In addition, he examines the characters from a psychoanalytical approach, the
use of traditional archetypes such as “the seeker of truth,” the “persecuted,” and the “femme fatal,” as well as the presence
of heroes whose characteristics deviate from conventional patterns, even embodying antiheroic traits. Contrary to this
perspective, Alejandra Laverde, Carlos Berrio, and Fernando Arenas argue that Colombian journalists are often represented as
individuals constrained by power dynamics and victims of their own ambitions (Laverde
et al.
, 2022: 48). In this paper we aim
to contribute to lling the existing gap in Colombian lm noir research, by examining how this lm genre adapts and evolves
within the specic context of Latin America, with a particular emphasis on Colombia. Specically, it focuses on the character
of the journalist as an archetypal character in crime cinema (noir, police, neo-noir, among others)
1.3. eoretical framework
is analysis is based on the theoretical approach by Jesús González Requena in his work
Clásico, manierista y postclásico:
los modos del relato del cine de Hollywood.
e author denes the story as the journey of a subject’s desire (González, 2006:
521); in other words, the stories pivot around a main character or protagonist, and the suspense lies in their endeavour to
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
attain an object of desire. is gives rise to a basic structure of the story centred around three key elements: subject, desire and
opponent. e opponent is considered the axis of scarcity, driven by their pursuit to full their desire.
Graph 1. e basic narrative outline of the story
Source: created by the authors based on e eory of the Story by Jesús González Requena (2006)
However, there is also the potential for a symbolic narrative
structured around four core gures: “the mentor
,
the hero, the
Object of desire, the Opponent- through that proto-function which is the Task” (González, 2006:5 62). In this case, in addition
to the axis of scarcity, there is an axis of donation. at is, the subject is tasked with fullling a duty donated by a mentor,
symbolising the paternal gure in the narrative who performs four functions in the narrative: “formulating the prohibition,
stating the mandate, granting the magical object, and sanctioning the victory” (González, 2006: 526). Consequently, the
mentor plays a crucial role in symbolic narratives since it is only through their presence and the execution of their functions
that the subject can adhere to the task and, ultimately, become a hero.
Graph 2. Narrative scheme of the symbolic narrative
Source: created by the authors based on e eory of the Story by Jesús González Requena (2006)
e postulates above constitute the key tenets concerning the narrative structure of the symbolic narrative, which are
complemented by elements of writing or lmic enunciation. e latter can be understood as all lmic resources and aesthetic
possibilities accompanying the narration. In other words, these encompass all the resources outside the plot but are integral
to narration, such as the choice of character names, staging, camera angles, and movements, among others. ese can be
subordinated to the narrative structure to elucidate the functions of characters (for instance, presenting the hero in a close-up,
or with costume or props and incorporating setting elements typical of a heroic representation, as in Westerns), or they may
represent the gures in an ambiguous way that conceals the characters’ true intentions, mainly when there are doubts about
the hero’s ability to accomplish their task or when the mentor acts unethically. ese elements are relevant when analysing the
character framed within the archetype of the truth-seeker, which is the present study’s focus.
1.4. Hypothesis and Objectives
Our hypothesis posits that the character of the journalist is portrayed in North American lm noir as a truth-seeker
accomplishing their task as an individual hero. In contrast, Colombian lms depict journalists as representative of a futile task
298 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
in the face of an absent or repressive state that obstructs the triumph of any truth. We have set out the following objectives to
demonstrate this:
Analyse the role of the character of the journalist in lm noir to determine whether there are some distinctive characteristics
in the representation of this character in North American lms, as found in previous studies on the subject.
Identify the qualities involved in constructing the journalist as characters in Colombian lm noir and crime lms based on the
selected lms’ lm writing and narrative structure.
Compare the results regarding the characterisation of the journalist in classic North American lm noir, considering the
treatment of this character in the Latin American context, specically concerning the unique approach of Colombian cinema.
2. Method
Our research is based on the most extensive investigation available on lm noir in Colombia, published by Vélez Cuervo in
2015. e author documents 24 feature lms of this genre produced in Colombia from the late 20th century to 2012. During
this period, Vélez identies three cinematic works in which the gure of the journalist plays a prominent role in the plot.
Consequently, these works have been included in our study. Specically, these lms are
Perder es cuestión de método
(2004)
directed by Sergio Cabrera,
La historia del baúl rosado
(2005) by Libia Stella Gómez, and
El Rey
(2004) by Antonio Dorado.
However, our research has been extended until 2022, enabling us to include
Antes del Fuego (2015)
by Laura Mora
in the sample
.
is work can easily be categorised as belonging to crime cinema according to the postulates of the authors mentioned above.
In this regard, our corpus has been consolidated with these four feature lms for two fundamental reasons: rstly, these
works can be classied within the crime cinema genre, oering a broader perspective of lm noir. Secondly, the gure of the
journalist plays a pivotal role in the development of the plot, either as the main character, opponent, or narrator.
However, as the research by Vélez Cuervo (2015) analysed the role of the journalist in Colombian lm noir and also determined
the qualities shaping these characters, our study employs a qualitative method and the methodology of audiovisual textual
analysis focusing on two fundamental categories of the lms: narrative structure and lmic representation.
We viewed the four lms and analysed them using a textual analysis sheet in which the lms were studied based on the
following analysis categories: rstly, the narrative structure was broken down into elements that allowed us to determine the
functions performed by the characters, particularly the journalist as either hero or not of the story, dened by their task of
seeking the truth. Secondly, the category of lmic representation pertained to the elements of image and sound, aiming to
identify how these resources were used to represent the plot, the character’s motivations, the function each character fulls,
and other aspects crucial to constructing meaning through these formal procedures. e following is the devised textual
analysis sheet.
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
Table 1. Textual analysis Sheet
W
e
viewed
the four films and
analysed
them using a textual analysis
sheet
in which the films
were studied based on the following analysis
categories
: first
ly,
the narrative structure was
broken
down into elements that allow
ed
us to determine the functions
performed
by the
characters,
particularly
the journalist as
either
hero or not
of
the
story
,
defined
by their task of
seeking the truth. Secondly, the category of film
ic
representation
pertained
to
the elements of
image and sound, aiming to identify how these resources
were
used to represent the plot, the
character’s motivations, the
function
each
character
fulfils,
and other aspects crucial to
constructing
meaning through these formal procedures. The following is the devised textual
analysis
sheet
.
Character Analysis Sheet of the Journalist in Colombian Film Noir
N° file
Film identification
Title and
year
Director
Genre/subgen
re
Screenwriter
Storyline
Theme
Scenario
Narrative Structure
Filmic Representation
Comments
Character
Hero
F
ilm shots
Subject
and/or
ally
Mentor
camera
angles/
shot
types
Opponent
Desire or
Motivation
S
hot
composition
Task or
protofunción
Camera
movements
Color
grading
Other
narrative
devices
Costume
Set dressing
Other film
resources
Final remarks
Source: created by the authors based on e eory of the Story by Jesús González Requena (2006)
300 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
is instrument allowed us to determine the motives driving characters, particularly the journalists represented in the lms,
distinguishing between motivations rooted in the pursuit of truth or driven by personal and professional ambitions. It also
enabled us to ascertain who opposes the task, in this case, whether it is a representative of the state or hegemonic powers
(such as the elite or media owners) preventing the journalist from carrying out the task even after uncovering the truth, thereby
rendering their eorts useless. Ultimately, this analytical approach allowed us to verify the proposed hypothesis.
3. Results
Perder es cuestión de método
(2005), based on Santiago Gamboa’s (1997) novel of the same name, begins with the discovery of
a strange and gruesome crime. Víctor Silanpa, a journalist in a bad job and sentimental situation, becomes the main character
of the story when Colonel Aristófanes Moya oers him the opportunity to cover the story and, incidentally, unravel the crime.
A dynamic of mentor and receiver is established between them, not only due to Moya assigning him the task of investigating
the crime but also because he is a representative of authority, asserting, “I am not much more than me; I wear this uniform”
(00:03:50) regarding his aliation with the National police.
However, Moya’s role as a mentor weakens, primarily because he extorts Silanpa, demanding that he draft a speech for him in
exchange for the scoop. is speech serves as a guarantee for Moya to gain entry into a support group that will help him lose
weight as he grapples with morbid obesity resulting from his obsession with food. Another potential mentor emerges when
Victor Silanpa turns to his former boss and mentor, Guzmán, who has the necessary wisdom to guide him in uncovering and
telling the truth. However, this alternative mentor is ghting his own battle with reality, as evidenced by his admission to a
psychiatric hospital, raising doubts about his capacity to full this function.
Silanpa is portrayed as a character lacking in heroic traits and even seems pathetic in some aspects, as he is asthmatic
and suers from painful haemorrhoids, rendering him fragile and vulnerable. e Colonel describes Silanpa as a “starving
journalist” (00:03:00) who also lives with a mannequin with whom he converses when he feels lonely. Despite his limitations,
he is a journalist with outstanding investigative skills, albeit driven more by the pursuit of public recognition and the desire to
rekindle his relationship with his ex-wife rather than the search for the truth.
e lm introduces other characters, such as Emir Estupiñán and Quica. e former is an honest man seeking justice,
underestimated in the lm because he believes in the system and the law. Eventually, Estupiñán becomes Silanpa’s loyal ally as
he endeavours to uncover what happened to his missing brother, who ultimately turns out to be the murder victim at the lm’s
outset. Upon discovering this truth, he declares. “I propose a toast to my brother… a victim of the injustice and corruption that
devours this country, which makes the poor poorer and more submissive and the rich richer and more powerful” (01:27:34).
On the other hand, Quica is a young prostitute who becomes entangled in the investigation when used by Silanpa, knowingly
placing her in jeopardy, once again underscoring the ethical complexities faced by the journalist. Ultimately, Silanpa abandons
her to fate when compelled by Moya to remain silent and publish an alternative version of events following his discovery of a
real estate corruption network in which the Colonel is implicated, who benets by blackmailing those involved.
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
e outcome highlights the futility of individual triumph over a corrupt system in which no one will be convicted of this
crime. e Colonel, through extortion, coerces those implicated and forces Silanpa to fabricate a false account of the events.
Corruption and economic power prevail over justice and truth, resulting in a prevailing sense of defeat. Silanpa, rather than
emerging as the hero of the story, becomes just another pawn in the corrupt system’s game.
In this work, the main character lacks the necessary qualities of a hero due to his weaknesses and self-centred motivations.
Despite this, the lm portrays the journalist as a character with the skills needed to uncover the truth, although it matters little
because he alone cannot challenge and overcome the system.
It proves futile to oppose institutions co-opted by individual powers, which in this work are ridiculed through the portrayal
of Moya’s morbid obesity and speeches detailing his inability to control his food consumption. e unrestrained indulgence
of local culinary delights serves as a humourous counterpoint to popular cinematic traditions. However, the lm not only
satirises authority but also those who believe in justice, as exemplied by the character of Emir Estupiñán, whose surname
implies that he is foolish for believing in the potential for justice in Colombian society.
We can evidence how the lm explores the complexity of the journalist who, although able to uncover the truth, will never
bring it to light because the interests of power will force him to tell a ctional story.
Regarding the lmic representation, the lm follows some genre conventions, employing a
chiaroscuro
colour scheme and
staging in cold tones typical of an urban nocturnal setting. e scenes and the elements of the setting construct sordid places
where clandestine activities, prostitution, and vices are represented. ese formal elements clearly express, through shots,
angles, frames, costumes, and settings, the place each character occupies in the narrative structure, their function in the plot,
and their personal motivations. Colonel Moya is depicted as a caricature of power, characterised by his ridiculous obsession
with food and his portrayal as a childlike obese man enslaved by his desires and ambitions. Moreover, the weakened presence
of the mentor is embodied in an older-looking and sounding wise man, like Guzmán, yet mentally fractured. Finally, Silanpa’s
heroic impossibility as he succumbs to his desires and fears of his failure as a journalist and as an abandoned husband is
evident early on through his physical characterisation, his unkempt wardrobe, and consistently wearing a faded overcoat.
Furthermore, his personal space reinforces his struggles, as he shares a room with the mannequin given to him by his mentor
before being committed to a mental health clinic and to which he confesses his insecurities about Monica, his ex-wife who
does not answer his calls and is continually present in photographs and on his computer screensaver.
Antes del Fuego
adopts a similar approach in constructing the journalist as a truth seeker. is lm revolves around Arturo
Mendoza’s determination to uncover the true motives behind the seemingly staged murder of his friend and colleague
Roberto Sepúlveda “
El Gordo
,” suspiciously made to look like a suicide. e investigation uncovers a conspiracy related to
the Colombian Palacio de Justicia takeover, a historical event in 1985. Milena Bedoya, a nal-year journalism student, is also
involved when she arrives at Mendoza and Supúlveda’s oce to work as an intern the day before Sepulveda’s death.
Mendoza is known in the media for hailing from an inuential political family, being the ex-minister of justice’s son, now
deceased, admired by those who knew him. Despite being a trained lawyer like his father, Mendoza chooses to pursue a career
302 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
in journalism and is recognised for his honesty by a former university classmate who has become a lawyer for maa groups,
when he says, “You are the most decent guy I know” (00:26:38).
In this context, a heroic character is shaped by a mentor who is up to the challenge. A father who has passed on a legacy
of righteousness to a son who sets aside his economic comfort and social status to pursue a poorly paid and sacricial yet
honourable and crucial profession, especially in the corrupt environment of 1980s Colombia.
Although “
El Gordo”
dies early in the story, his ghost continues to inuence the plot. His death serves as the call to adventure
and the catalyst for the investigation, transforming him into a retroactive mentor gure, as he was the rst to uncover the truth
about the network involving guerrillas, the army, and the maa.
Milena Bedoya plays a crucial role in the lm, joining Arturo in the quest to uncover the truth behind “
El Gordo’s”
death
.
She
serves as an ideological counterpoint to Arturo due to her humble background. She is the daughter of a mother left alone
with her children after her husband’s murder during a robbery. Her mother works as an employee at the Palacio de Justicia
cafeteria, making the discovery of the guerillas’ plan to take over the building signicant for Milena, as it exposes the danger
her mother is in.
“
El Gordo”
was murdered because he discovered the guerrillas would take over the Palacio de Justicia in collusion with the
maa and the military and army intelligence, which had knowledge of the takeover. is is why members of military intelligence
threaten and rape Milena and suggest that Arturo withdraws from the investigation: “Do one thing, Arturo: forget about this
case, man. Close that investigation” (01:12:47).
e lm ends tragically when Milean becomes trapped in the takeover
and falls victim to it. Although the ending may be
subject to interpretation, the military voice declares, “We hope that if the sleeve is there, the vest doesn’t appear” (01:22:05). At
the same time, the camera focuses on Milena, implying her disappearance. Years later, Colombia’s justice would discover that
this phrase was an order issued to make civilians suspected of being guerillas vanish. All this was orchestrated by the army, an
institution that relaxed the security of the Palacio de Justicia to facilitate the takeover and later eliminate the guerilla command
trapped in the building.
e lm adheres to noir genre conventions through its urban setting in a cold, rainy city like Bogota. e main character
wears a typical journalist outt, a blazer or woollen vest in ochre, brown and greys, an unkempt beard, a constant cigarette
in his hand, and round glasses he only wears when seen reading at his perpetually messy desk. Cold tones and opaque
images characterise the colour scheme. Archival footage of the takeover of the Palacio de Justicia creates a connection with
documentary lmmaking and highlights its relationship with the historical event that inspired the lm. Regarding the shots,
close-ups of the characters predominate, intensifying the drama surrounding the events. Moreover, camera movements
are strategically employed to track characters during dramatic moments and impending danger. An essential aspect is the
avoidance of explicit depictions of violent or sexual acts, a characteristic of the classic narrative mode where the use of lm
resources is determined by the signicance of the symbolic narrative event rather than its spectacularisation.
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
On the other hand,
La Historia de baúl Rosado
(2005) shifts its focus away from the journalist and centres on the police
detective, Mariano Corzo, tasked with investigating the apparent crime of a young girl whose body is found in a boot. e
character representing the journalist is Hipólito Mosquera, who seemingly demonstrates adept investigative and storytelling
skills by disclosing signicant details of the case in the newspaper
La Verdad
, where he is employed.
From the lm’s rst few minutes, the enunciation reveals that Corzo lacks the necessary qualities to be a hero. Despite being a
detective, he is constantly haunted by the image of his deceased mother and her death. Prefect Castillo, his boss, assigns Corzo
the task of investigating the crime, and he apparently possesses the qualities of a credible mentor by virtue of his position as a
representative of the law. However, doubts about his ability to full his role also extend to Castillo, depicted as obsessed with
philately, a hobby he indulges in during working hours, consequently neglecting his police duties.
Hipólito Mosquera is portrayed as a shrewd journalist who is always one step ahead in the investigation conducted by Corzo.
erefore, he is the protagonist’s opponent. His ability lies in acquiring details of the investigation and narrating entertaining
stories that mock the police precinct, particularly Corzo, thereby boosting sales of the newspaper
La Verdad.
He goes so far as
to make up that the boot where the girl was found is pink. He is so condent in his professional success that he even promises
his sister, “I’m sure this chronicle is going to get us out of poverty” (00:17:22).
Success comes soon, and Mosquera is promoted to editor-in-chief of the newspaper because his articles boost the newspaper’s
sales. It does not matter that his former boss cautions against the sensationalism of his writing or that his former colleagues,
now subordinates, insist that the story of the pink boot cannot be the only front-page topic. “Sales are sales. If you don’t sell,
you don’t exist” (00:38:51) is the newspaper owner’s justication for Mosquera’s actions.
e fable takes shape as Corzo, despite his aws, slowly connects the story of the pink boot with another case involving the
theft of corpses from the local morgue.
Hipólito has crafted a narrative fueled by the desire to grow professionally by recounting a sensational story that boosts his
newspaper’s circulation. e lm’s title suggests this from the outset:
La historia del baúl rosado
(
e Story of the Pink Boot
)
is simply a story, a fabrication with no other crime than the theft of the corpse. Although Hipólito ees to another city for
fear of being exposed, his actions bear no consequences as the case is closed, thanks to Prefect Castillo being pressured by
the newspaper owner where Hipolito works. is suggests that ocial institutions, such as the police force, are subject to the
media’s and their owners’ interests.
e lm stands out for its aesthetic proposal, highlighting lm elements representatives of the genre, such as colour saturation
and the interplay of
chiaroscuro
. However, its narrative structure is compromised by the absence of a central crime. From the
beginning, the title and the sounds of a typewriter suggest the ctional construction of the story, manipulating the detective
and the audience, challenging genre expectations with a plot full of deception and enigmatic characters. is ambiguity in
the narrative is reected in the portrayal of dubious characters, misleading clues, and confusing motivations, fostering an
environment of uncertainty in the plot. Furthermore, the lm emphasises indeterminacy in cinematic resources, especially
evident in its emphasis on visual aesthetics over symbolic aspects of cinematic narrative. is makes the lm seem articial
and detached from authenticity, as it does not seem to go beyond generating an aesthetic nostalgia for lm noir.
304 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Finally,
El Rey
(2004) diverges from the previous works, as the journalist is not characterised as the protagonist or opponent.
Instead, the journalist assumes the role of the narrator, recounting the story of Pedro Rey, a prominent drug tracker who rises
from the popular sectors of Cali, Colombia. us, Julio González, the journalist, declares his role in the work, “He left me his
testimony to tell you how it all started” (00:01:28).
González becomes a diegetic narrator, appearing in several sequences as a secondary character, as the plot focuses on Pedro,
who seems to embrace a value system grounded in notions of friendship, loyalty, helping the helpless, and caring for the
welfare of his community. However, his newly acquired wealth, the need to stay in power, mixed feelings, and the complexities
of the human soul soon transform him into a heartless man who resorts to violence to maintain his status.
Pedro’s desires act as the driving force leading to his downfall, a characteristic that frames the work in the trajectory of the
protagonist’s rise, splendour, and eventual downfall. e lm also incorporates other elements typical of the crime genre,
in this case, gangsters, such as the corrupt cop, dishonest and illicit connections between the maa and politics, and a love
triangle that determines Rey’s downfall. ese elements adapt to the Colombian context and are depicted with a certain
originality. Pedro Rey’s point of view does not allow for the identication of heroic elements; we are only witnesses to the
character’s descent towards his inevitable and violent end. Identifying heroic gures or apparent mentors within the narrative
structure is impossible. At times, Rey seems to have heroic attributes that gradually diminish as he falls into the axis of scarcity
within a framework of ethical ambiguity, preventing the construction of a symbolic narrative for the character. Regarding the
lm elements, the artistic direction excels in recreating the atmosphere of the period in which the story unfolds. e staging
includes details, settings, and scenarios that immerse the viewer in the atmosphere of the 1970s, conveying the feeling of an
era marked by drug tracking.
e journalist only serves to narrate Pedro’s story and, ultimately, to attempt to explain the emergence of individuals like him,
a manifestation of the specic conditions prevalent in Colombia in the latter half of the 20th century. “Characters like Rey
were born from the country’s corruption, economic and political double standards. North American interference and even the
complicit silence of all of us who knew his story…” (01:27:14).
e lm is structured through close-ups
,
prioritising dramatic events where characters’ gestures take centre stage. Sexual scenes
and acts of violence are also explicit. In a lm where these events are a fundamental part of the plot, the lmic representation
adheres to this directive, leaving no space for symbolising them in the construction outside the frame, as dictated by the
symbolic narrative. In this narrative structure, there is an absence of a hero or mentor, the character of the journalist is not a
seeker of truth, a feature established by the the lmic enunciation elements.
4. Discussion
Antes del Fuego
(2015),
El Rey
(2004), and
Perder es cuestión de método
(2005) narrate stories that took place in Colombia
during the nal decades of the 20th century, a period marked by increased organised crime, manifested in the rise of powerful
drug cartels, and the strengthening of various subversive groups. is situation confronted a weak state incapable of governing
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
the territory eectively, and one co-opted clientistically by various types of regional, local, and private powers. In various ways,
these three lms represent how journalism observed and actively engaged in this historical moment.
In contrast to Simsolo’s (2009) assertion concerning the reluctance of U.S productions to depict journalists as corrupt or
submissive to those who are, in
Perder es cuestión de método
(2005), Silanpa possesses such a feeble nature that he cannot
eectively oppose Colonel Moya. His only way of resisting him is by ridiculing him in a speech that holds little signicance to
the plot’s development.
In contrast to the character of Silanpa, Arturo Mendoza, the journalist who takes centre stage in
Antes del Fuego
, is a man
dedicated to a symbolic law. His pursuit of the truth is linked to the task assigned to him by his father and later by his colleague
Roberto Sepúlveda, known as “
El
Gordo”. e lm portrays Mendoza as someone committed to always following the straight
and narrow path and uncovering the truth, specically, the truth that “
El Gordo
” had pursued before being murdered, is
fullled in the lm by this character. Consequently, unlike Silanpa, who is driven by desire and a deceptive task, Mendoza
fulls the conditions to be a hero.
However, the discoveries made by both journalists prove futile in the face of the overwhelming power wielded by those who
control a state rife with corruption. ese works assert that regardless of whether the journalists unearth the truth, it will never
be disclosed if it contradicts the interests of the societal elites.
On the contrary, in
La Historia del baúl Rosado
(2005), the plot revolves around a mystery that ultimately proves deceptive
for the journalist. Mosquera uses his journalistic skills to manipulate reality and fabricate false news, highlighting his lack of
scruples and desire for recognition. His lack of professional ethics, determination, and ambition are evident as he is willing
to transgress moral boundaries to achieve his goals. Moreover, he successfully maintains the deception until the lm’s end,
manipulating the detective and the audience. He emerges as a symbol of corruption, representing the lack of integrity in
journalism. He is not a seeker of truth but of success, leading him to manipulate that truth. His ability to deceive both the
characters in the story and the viewers underscores the deceptive nature of the media in contemporary society. As suggested
by Laverde
et al.
(2022), in
Perder es cuestión de método
(2005) and
La Historia del baúl rosado
(2005), a representation of the
journalist can be observed as an individual submissive to the interests of power and, at the same time, a victim of their own
ambitions. Finally,
El Rey
(2004) contradicts the previously analysed lms. In this lm, the character of the journalist does
not play a signicant role as either a protagonist or opponent in the narrative. Although he is the narrator, his role is not well-
established; his voice appears sporadically, serving a limited function in the plot. It could even be eliminated without aecting
the main narrative, and his role could be related to a documentary intention of the lm or an imitation of the American genre,
which often uses these narrative voices to recount events more intimately, closely
,
and truthfully through the protagonists’
perspectives.
is truth is usually ascribed to the journalist, who, in this case, is not portrayed as a seeker of truth but rather as a mere
storyteller. Nevertheless, the journalist provides relevant historical and contextual information that complements the story,
which could be of interest to the Colombian audience and international viewers. As the lm unfolds, the journalist provides
signicant data about the evolution of events, their societal impact, and the political landscape in the city and the country,
306 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
embedding the plot within a broader historical framework. e journalist acts as a bridge between the ctional narrative
and the actual context on which the lm is based, but his role in the story itself is more anecdotal. Also, Julio González, the
journalist in this case, only makes a brief reection, a
mea culpa
, on how Colombian society, including himself, permitted the
emergence of characters like Pedro Rey. However, his position diers signicantly from what is portrayed in American lms,
where, according to McNair (2010), the journalist takes a dichotomous stance, clearly establishing a dierence between good
and evil. In
El Rey
(2004), the journalist is only a narrator who does not take sides or even portrays the drug tracker as a tragic
hero, a product of Colombian society and a lack of opportunities.
e portrayal of the journalist in Colombian lm noir is not consistently uniform across the four analysed lms. erefore, it
is not a signicant gure within the Colombian lm noir genre. e journalist is also not, as Vélez Cuervo (2015) claims, an
archetype of the truth seeker; on the contrary, our ndings contrast with this author’s assertion, who refers to a notion of a
hero without a specic denition. He generically uses this qualier, even with characters who do not have heroic traits, or in
other cases –subcategorising them as anti-prototypical heroes without describing their characteristics. e same occurs when
applying the term antihero, a category that does not theoretically dierentiate from the hero or the anti-prototypical hero.
e view of the evils aecting our society is also not uniform across these. Violence has dierent faces in these stories or is
even omitted from lms such as
La Historia del baúl rosado (2005),
which is set in a period of political turmoil in the country
without addressing it in the narrative.
El Rey
(2004) is set in the 1960s and narrates the origins of drug tracking in the country;
Antes del Fuego
(2015) portrays guerrilla violence and the political tensions in the 1980s, and nally, in
Perder es cuestión de
método
(2005) corruption is exposed in all strata of Colombian society. erefore, there is no cohesive thread among the lms
in terms of historical context. Still, they do become a kaleidoscope of myriad evils that have plagued the country for almost a
century.
In summary, the lms by Sergio Cabrera and Laura Mora depict journalists as representatives of futile tasks, as the hypothesis
had suggested. On the other hand, in
La Historia del baúl rosado (2005),
the journalist is not portrayed as a representative of
a task; on the contrary, he is an individual driven solely by his desire for professional success. However, this work does not
entirely negate the hypothesis, as while the journalist does not perform any task, it illustrates the absence of the state. Although
not depicted as an oppressor, the state is driven by private interests. A parallel situation occurs in
El Rey
(2004), where the
journalist does not perform a symbolic task
per se
, as his only objective is to recount a story. Still, the work does present, like
all the previous ones, an inept state ensnared by corrupt and maa powers. us, the hypothesis is substantiated in two works,
and two others, it is only partially validated.
5. Conclusions
We found four lms that represent the character of the journalist in dierent ways. Although
Perder es cuestión de método
and
Antes del Fuego
feature two truth-seeking journalists, these gures do not accomplish anything in the rst lm because they are
not up to the task. Despite uncovering the truth, it does not transcend; this discovery proves futile, mainly due to the society he
nds himself in and the state’s corruption, leaving no room for social transformation.
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
However, in
Antes del Fuego,
the historical context provides a profound ethical dimension to the journalist by questioning the
actual events that aected Colombia in 1985. rough the pursuit of truth and the confrontation with reality, the two main
characters are elevated to the status of heroes as they attempt to shed light on a dark period in their country’s history. On
the other hand,
La historia del baúl rosado
and
El Rey
present a dierent perspective. In the former lm, a corrupt journalist
does not seek the truth but, on the contrary, aims to suppress it. Hipólito Mosquera is a complex character that challenges the
conventions of Colombian lm noir. He manipulates reality out of ambition; his lack of scruples makes him a central gure in
the plot. e revelation of his deception and its consequences underscores the corruption and lack of integrity in journalism
and the system in general. is lm experiments with the characters’ ambiguity and the narrative’s uncertainty, defying
viewers’ expectations and oering a critical perspective on Colombian society and media. is latter element connects it with
Perder es cuestión de método,
in which the journalist is defeated by the corruption of those in power who censor the press.
In the latter case, in the lm
El Rey,
the journalist is a secondary narrator who does not play a crucial role, primarily serving to
provide historical context.
Perder es cuestión de método
and
La historia del baúl rosado
challenge traditional roles in lm narrative, exploring the
characters’ weakness and corruption in Colombian society through stylistic elements that question conventional narrative
structures.
In conclusion, each lm represents the journalist dierently in Colombian lm noir. From individual struggles for truth
against corruption, as seen in characters like Silanpa and Mendoza, to the manipulation and ambiguity of the characters like
Mosquera and Gonzalez’s narration of Rey’s life. e lms depict the complexity of journalistic ethics, systemic corruption,
and the fruitless pursuit of the truth in an environment fraught with challenges and ethical and social contradictions.
Finally, it is essential to highlight that while this study compares Colombian lm noir with American lm noir, no textual
analysis of any Hollywood lm is performed in the latter case. In this sense, this research opens up possibilities for future
investigations focused on the comparative analysis between cinema in both regions. is inquiry serves as a starting point
to broaden potential comparisons through textual analysis since it addresses the four lms within the lm noir genre in
Colombian cinema, which include the character of the journalist.
6. Acknowledgements
is article has been translated into English by Sophie Phillips, to whom we are grateful for her work.
308 |
nº 39, pp. 293-309
|
July-December of 2024
The role of the journalist in Colombian lm noir: opposing the quest for truth and visualizing state repression
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
7. Specic contributions of each author
Name and surnames
Conception and design of the workAlejandra Laverde Román
Methodology
Alejandra Laverde Román and Carlos Berrio Meneses
Data collection and analysisAlejandra Laverde Román and Carlos Berrio Meneses
Discussion and conclusionsAlejandra Laverde Román and Carlos Berrio Meneses
Drafting, formatting, version review and approvalAlejandra Laverde Román
8. Conict of interest
e authors declare that they have no conict of interest.
9. Bibliographic references
Barris, A. (1976).
Stop the presses! e newspaperman in American Films
. Barnes and Co.
Bezunartea et al. (2010). El perl de los periodistas en el cine: tópicos agigantados.
Intercom. Revista Brasileira de Ciências da
Comunicação
, 145–167.
Cabrera, S. (2004).
Perder es cuestión de método
. Tornasol Films y Producciones Fotograma. Dorado, A. (2004).
El Rey
. Eurocine.
Forero, G. (2010). La novela de crímenes en américa latina: hacia una nueva caracterización del género.
Lingüística y Literatura,
núm.
57
, 49–61.
García, P. (2014). La novela neopolicial latinoamericana: una revuelta ético-estética del género.
Cuadernos Americanos
,
148
,
63–85. https://bit.ly/3H11DZ8
Giacomelli, D. (2020). Periodistas, criminales y pantallas. El cine policial negro argentino y su relación con la prensa durante
el peronismo
. Sociohistórica,
núm. 46.
https://doi.org/10.24215/18521606e109
Giardinelli, M. (2013).
El género negro. Orígenes y evolución de la literatura policial y su inuencia en Latinoamérica
. Buenos
Aires: Capital Intelectual.
Gómez, L. S. (2005).
La historia del baúl rosado
. Felis Films, Moro Films, Oberón Cinematográca y Hangar Films.
González Requena, J. (2006).
Clásico, manierista, postclásico. Los modos del relato en el cine de Hollywood.
Valladolid: Castilla
Ediciones.
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
doxa.comunicación |
nº 39, pp. 293-309
|
July-December of 2024
Alejandra Laverde Román and Carlos Berrio-Meneses
ISSN: 1696-019X / e-ISSN: 2386-3978
Mcnair, B. (2010).
Journalists in lm. Heroes and Villains
. Edinburgh University Press Ltd.
Mora, L. (2015).
Antes del fuego
. Laberinto cine y televisión.
Pöppel, H. (2001).
La novela policíaca en Colombia
. Medellín: Universidad de Antioquia.
San José De La Rosa, C., Miguel, M., & Gil-Torres, A. (2020). Periodistas en el cine español: héroes comprometidos con la
verdad.
Estudios sobre el Mensaje Periodístico
,
26
(1), 317–326.
https://dx.doi.org/10.5209/esmp.67310
Sánchez, J., & Marcos, M. (2014). La representación de la sociedad en el cine negro: Enrique Urbizu y La caja 507.
Tonos digital:
revista de estudios lológicos
. N°. 27.
https://bit.ly/3TH0s94
Simsolo, N. (2009).
El cine negro
. Madrid: Alianza
Vélez Cuervo, A. (2000).
República Noir. Cine criminal colombiano
(2000-2012). Bogotá: Cinemateca Distrital. IDARTES
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>