Home warmth: sentimentalism in postcrime film and television ; Calor de hogar: sentimentalismo en la televisión postcriminal

This article explores the emergence of a cultural tendency in crime film and television that relies on its melodramatic ingredient. This cultural formation illustrates the postgeneric phenomenon that crime film and television have arguably been part of in the past two decades. This tendency is more visible in the realist branch of the genre, particularly in those products that feature representations of women. In these, the experience of crime is more relevant than crime itself, which reorients the narrative to the private realm, leaving the public or institutional one aside, or rather through their attention to the private they channel a discourse about the role of the individual in the social fabric. More specifically, the article argues that the crime postgenre constructs a discourse that amount to a structure of feeling characterized by hope, which would contradict the hopelessness traditionally attributed to the crime genre. Ultimately, it is argued that unlike the pessimist view of postgenre, which has viewed it as just another postmodern trait, the crime postgenre articulates a certain optimism that in appropriating the sentimental imaginary is not free from ideological power. ; Este artículo propone explorar la aparición de una tendencia cultural emergente en el audiovisual criminal, tanto el cine como la televisión, que descansa sobre su componente más melodramático. La formación cultural resultante constituiría un ejemplo del fenómeno postgenérico en el que habría entrado la creación cinematográfica y televisiva durante las últimas dos décadas. Esta tendencia está presente en mayor medida en el audiovisual criminal realista, con especial relevancia en aquellos productos que descansan sobre la representación de la mujer. En estas creaciones audiovisuales la experiencia que acompaña al crimen es más relevante que el crimen en sí, lo cual redirige las narrativas hacia el ámbito privado, dejando el ámbito público o institucional en un segundo plano, o mejor dicho mediante la atención a lo privado canalizan ...