True re-victimization: el expolio de historias victimales por la industria del ocio multimedia = True victimization : the plundering of victim stories by the multimedia entertainment industry
We are experiencing an unprecedented boom in the info-tainment story of victimization (or non-fictional true crime), a veteran genre today relaunched by hybrid formats and digital variants of ubiquitous, accessible and mass consumption. The profitability of this inexhaustible supply, as well as the...
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Spanisch |
| Veröffentlicht: |
2025
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| In: |
Revista de victimología
Jahr: 2025, Heft: 19, Seiten: 123-162 |
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Volltext (kostenfrei) Volltext (kostenfrei) |
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| 245 | 1 | 0 | |a True re-victimization |b el expolio de historias victimales por la industria del ocio multimedia = True victimization : the plundering of victim stories by the multimedia entertainment industry |c Myriam Herrera Moreno |
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| 520 | |a We are experiencing an unprecedented boom in the info-tainment story of victimization (or non-fictional true crime), a veteran genre today relaunched by hybrid formats and digital variants of ubiquitous, accessible and mass consumption. The profitability of this inexhaustible supply, as well as the -bulimic- voracity of its demand, leads to a new debate on these narratives as conflicting artifacts: on the one hand, they are legitimate cultural and free entertainment works; on the other, the waves of hyper-consumption integrate a potential for dehumanizing leisure that has already given rise to a growing victimological protest. The victims, who one day saw their conflict published in the justice system, may have to face, in addition, the mediatic and recreational amplification of their experience. Thus, we speak of true narrative plundering in cases where the multimedia entertainment industry disregards the well-being and will of the victims by exploiting their stories of violence suffered. Survivors and co-victims will then be relegated as instrumental identities, lacking agency, forced characters at the service of entertainment platforms and subjected to social media e-gossiping. At the same time, the informative and artistic quality, and even the victimological potential of these works cannot be ignored. We propose a non-authoritarian guardianship, based on sensitivity and care and attentive to the moral ownership of the victim of her story, without undermining the essential freedoms of information and creation. | ||
| 520 | |a Vivimos un auge inédito del relato info-lúdico de victimización (o true crime no ficcional), género veterano hoy relanzado por formatos híbridos y variantes digitales de consumo ubícuo, accesible y masificado. La rentabilidad de esta inagotable oferta, así como la voracidad –bulímica- de su demanda remite a un nuevo debate sobre estas narrativas como artefactos en conflicto: de un lado son legítimas creaciones culturales y de libre esparcimiento; de otro, las oleadas de hiper-consumo integran un potencial de ocio deshumanizador que viene ya suscitando una creciente protesta victimológica. La víctimas, quienes un día vieron publificado su conflicto en el sistema de justicia, pueden tener que afrontar por añadido la amplificación, mediática y recreativa, de su experiencia. Hablamos, así, de verdadero expolio narrativo en los casos en que la industria del entretenimiento se desentiende del bienestar y voluntad de las víctimas al explotar las historias que sufrieron. Supervivientes y co-víctimas serán entonces relegadas como identidades instrumentales, carentes de agencia, personajes forzados al servicio del entretenimiento en plataformas multimedia y sometidas al e-chismorreo de las de redes sociales. Al propio tiempo, no cabe desconocer la calidad informativa y artística, y aún el potencial victimológico presente en estas obras. Proponemos una tutela victimal no autoritaria, basada en sensibilidad y cuidado y atenta a la titularidad moral de las víctimas sobre sus relatos, sin menoscabo de esenciales libertades de información y creación. | ||
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