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One of the hooded sicarios tries severing the right hand with a pocket knife. The victim is objectified as the road is splattered with blood. The body twists and jerks with each blow, its human form almost unrecognisable. The cartel hitmen or sicarios bash the body time and time again, the bones and muscles resisting, the arms difficult to dislocate. Rather than a surgical operation, what unfolds can only be described as chaos. The images show two men tearing a naked male body apart with an axe on a dirt road. The paper encourages discussion on the representation of current conflicts onscreen, and offers an alternative view of the narco war, grossly misrepresented by Hollywood. It then explores the ways in which the shock value in narco videos communicates with the three texts abovementioned through processes of adaptation. This piece explores the aesthetic and ethical implications of adapting real life violence into onscreen text, particularly when depicting killings “South of the border”. The article draws from the theoretical concept of affect (as framed in Aldana-Reyes’ recent work on horror cinema, as well as Brinkema’s The Forms of the Affects) and scholarship on leaked torture photographs (focusing on the Abu Ghraib scandal).
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The article compares and analyses the ways in which violated and mutilated bodies from this conflict are then depicted in scenes from two Hollywood productions – the TV show Breaking Bad (created by Vince Gillian, 2008-2013) and Denis Villeneuve’s Sicario (2015) –, and in Mexican director Amat Escalante’s Heli (Best Director, Cannes 2013). This article offers an overview of the highly mediatized nature of the current phase of the Mexican narco wars, highlighting the existence of explicit videos released online by the cartels, which show executions and beheadings in gory detail.