that wanted peace. The media exploited and rewrote historical events which were easily spectacularised, and this version was probably believed by a percentage of the population.

This research has a documentary nature, and for this purpose, four media were chosen: print, radio, television and digital media together with their respective communication items. Ten highly recognised incidents were selected by audiences regarding the Colombian conflict, from the period 1948-2008, they were analysed using a qualitative method, through an analysis matrix, incorporating categories that sought to track elements of spectacularity used during the production process of the news items.

The application of the matrix made it possible to confirm the hypothesis that the studied Colombian media have progressively increased the use of spectacularisation as a resource, and as a strategy to achieve greater visibility.

2. Framework of reference

During the last 25 years, the Colombian conflict has become a tool for attracting audiences and generating profits. Throughout this time new aesthetics have emerged that resort to the use of the spectacular to accompany drug trafficking, paramilitarism and guerrilla stories, among others, which have gained enough strength and approval to permeate the way Colombians show themselves to the world and how their day-to-day life is told; therefore we must understand categories such as that of everyday life:

“Everyday life is largely heterogeneous and this from various points of view, first of all from content and significance or the importance of our types of activity. The organisation of work and private life, distractions and rest, systematised social activity, traffic and purification are organic parts of daily life” (Heller, 1985: 40).

The spectacularisation of the Colombian conflict coincides with the French author Guilles Lipovetsky’s principles of “Artistic capitalism” (2015) and “New beauties”; there is a source of raw materials in Colombia for constructing these types of stories. Colombia could start to change its prevailing narrative proposal from 2016 with the signing of the peace agreements and the beginning of a post-conflict period.

The violent situation in Colombia has systematically provided material for the media and the arts, as exemplified by Lipovetsky’s proposal, where war produces inputs that are successfully marketed and acquired for various uses, including, entertainment.

Lipovetsky presents the concept of “Artistic Capitalism” (2015), where culture, art, and information, among others, enter and compete in the market with the same logic of any product in a society that is opening up to the 21st-century market. It is marked by a change in individuals’ way of relating to the concept of beauty, which is more tolerant, they cling to the present and have a relativism in their values. He also proposes the idea of “New beauties,” which implies a change in what is aesthetically accepted in mass culture, in which beauty is offered as a new seductive and enjoyable experience.

“What needs to be understood is that artistic capitalism does not produce art (by contemporary artists), artistic capitalism produces another art form, a new genre that is not the same but is produced for mass consumption and that has specific