Book Description

Inhabitants of Medellín, Colombia, suffered from the war-like violence perpetrated by drug cartels and other actors in the 1980s and 1990s; thousands died, including innocent civilians, judges, and journalists, many more were injured and left with psychological trauma. Three decades later, however, transnational audio-visual corporations such as Netflix have transformed the traumatic memories into entertainment and the main perpetrator, Pablo Escobar, was converted into a brand. While global audiences learn about Escobar's life and myth, his victims's stories fade into oblivion. Victimhood, Memory, and Consumerism: Profiting from Pablo documents the story of violence that took place in Medellín and critically examines the position of its victims. Drawing on unique empirical material, the book addresses the consequences of commercial exploitation of the city's violent past for victims of mass drug violence, and for the present nature of the city. To demonstrate the magnitude of the profits made from the legacy of Pablo Escobar, the authors cover a range of topics. Firstly, they describe how the immense popularity of narco-series has caused the city's suffering to be appropriated by commercial forces to entertain global audiences; secondly, they detail the Escobar tours, souvenirs, and artefacts offered by Medellín's tourist industry; and, finally, they expose the less visible profits made by political and social actors who engage in the global mythmaking surrounding Escobar. Through interviews with those directly affected by drug violence, the authors show that these cultural forces have immediate symbolic and material consequences. Victimhood, Memory, and Consumerism offers a telling critique of how the global market economy allots uneven narrative power to those engaged in processes of collective memory construction, with the broader aim of addressing an issue that has so far been neglected within criminology, international criminal justice, and victimology: the position of victims of large-scale drug violence. A thoroughly compelling read, this volume will appeal internationally to academics in criminology and victimology, as well as those interested in critical perspectives on Netflix, commercialism, and Colombian history.