The introduction to 21 dilemas éticos del True Crime Contemporáneo (21 Ethical Dilemmas of Contemporary True Crime) presents the book as an “invitation to reflect on the limits, practices and principles that should guide a genre which, perhaps more than any other, lies at the intersection of information, emotion and human suffering”. From this perspective, the communication scholars argue that ethics is not an obstacle to creation, but rather the pathway to providing the genre with excellence in the art of storytelling.
In an interview at UIC Barcelona, the professor of Audiovisual Communication Alfonso Méndiz explains the origins of the book: “Together with Marta Sánchez Esparza, we published several articles on the impact of this new genre – currently the most in demand on streaming platforms – as well as on the narrative devices and types of stories being told. However, we realised that a broader and more comprehensive ethical reflection was needed,” he notes. “The challenge has been to analyse the ethical dilemmas facing the genre without demonising it,” he adds.
The book explores 21 dilemmas inherent to the true crime genre, including sensationalism in production, the re-victimisation of those affected, the commercial exploitation of suffering, biased narratives and the glorification of criminals. “In the case of the Guardia Urbana, for example, who tells the story is especially important. In the production Rosa Peral’s Tapes, the convicted murderer is effectively exonerated, whereas in the series Crims, the four perspectives are presented in a more balanced manner. At present, far too much space is being given to the perpetrator,” the Rector emphasises.
Among these 21 dilemmas, the authors highlight a “proto-dilemma” – the first and most fundamental one: profiting from crime. “Murderers are benefiting financially by selling the rights to their stories to production companies. A well-known example is the trial of O. J. Simpson. When, while already imprisoned, he announced the publication of a book, the US justice system halted its release; it ultimately upheld freedom of expression but prevented the convicted individual from making an economic profit from the book’s sale,” Alfonso Méndiz explains. In this context, the authors had already written an article published on The Conversation platform addressing the proposal announced by the Spanish Government to protect victims from potential violations of their honour and privacy.
Other issues examined in the book include the reopening of cases as a result of media productions and the impact these may have on ongoing investigations. “Although media-driven reviews can sometimes uncover judicial errors or prompt new lines of inquiry, they can also cause significant harm to families, generate secondary social trials and distort historical memory,” the book concludes.
According to Méndiz, the book is intended both for audiences interested in the true crime genre and for screenwriters, producers and even professionals working within the justice system. From the perspective of higher education, he stresses the importance of fostering a sense of responsibility across disciplines: “As a humanist university, it is appropriate for each field of study to encourage students to engage in ethical reflection and to develop critical thinking,” he concludes.
