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Anderson Gonçalves Barbosa Da Silva O Jogo De Lost

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Anderson Gonçalves Barbosa Da Silva O Jogo De Lost UNIVERSIDADE ANHEMBI MORUMBI ANDERSON GONÇALVES BARBOSA DA SILVA O JOGO DE LOST COM O TEMPO: Uma análise do universo audiovisual SÃO PAULO 2015 ANDERSON GONÇALVES BARBOSA DA SILVA O JOGO DE LOST COM O TEMPO: Uma análise do universo audiovisual Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Mestrado em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação da Profa. Dra. Maria Bernadette Cunha de Lyra. SÃO PAULO 2015 FICHA CATALOGRÁFICA ANDERSON GONÇALVES BARBOSA DA SILVA O JOGO DE LOST COM O TEMPO: Uma análise do universo audiovisual Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Mestrado em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação da Profa. Dr. Maria Bernadette Cunha de Lyra Aprovado em ----/-----/----- Profa. Dra. Maria Bernadette Cunha de Lyra Prof. Dr. Gelson Santana Prof. Dr. Wilton Garcia Sobrinho AGRADECIMENTOS Agradeço primeiramente a Deus, que permitiu que eu chegasse até aqui; a minha noiva Dayana que esteve comigo todo o tempo; ao meu pai Armendes, minha mãe Iraci, minha irmã Nathalia assim como minha nova família, Adelicia, Fabiana e Lucas, Clara, Dudu e Lalá que tudo suportaram e apoiaram profundamente todas as minhas decisões; a minha orientadora Profa. Dra. Bernadette Lyra que me mostrou as veredas do caminho; ao mentor Prof. Dr. Gelson Santana por sua paciência e ao Prof. Dr. Wilton Garcia Sobrinho pelos preciosos apontamentos; a querida Alessandra Marota que sempre me auxiliou em tudo o que precisei; ao Prof. Dr. Rogério Ferraraz e Prof. Dra. Laura Cánepa pela orientação; aos queridos Prof. Dr. Renato Pucci e Profa. Dra. Sheila Schvarzman pelo seu constante incentivo; aos fantásticos Prof. Dr. Vicente Gosciola e Profa. Dra. Maria Inês Carlos Magno por permitirem o meu ingresso ao programa; ao amigo Prof. Me. Renato Tavares pela oportunidade única de estar aqui; aos mestres Prof. Me. Daniel Gâmbaro, Profa. Me. Thaís Saraiva, Prof. Me. Ricardo Matsuzawa, Prof. Me. Cláudio Yutaka, Prof. Dr. Maurício Monteiro, Prof. Me. Daniel Siqueira e Profa. Me. Priscila Gubiotti, pelo incentivo ao ingresso, amizade e auxílios constantes; a minha terapeuta Márcia pela ajuda; aos gestores Prof. Me. Marcelo Moreira, Prof. Me. Jander Zaneratto e Clóvis Prestes pela compreensão e ajuda quanto as missões profissionais. aos amigos e colegas de profissão Nilson Takasi, Holyver Yoshida, Rosana Parede, Juliana Donatiello, Marcelo Ribeiro, Wilson Nunes, Thiago Yamazaki, Maria Eugênia Borges, Bruno Botas, Bruno Bragante, Marília Folgoni, Barbarah Martins, Flávio Pinto e Thalles Gimenez por dividirem os pesos da caminhada; aos amigos Michel Botto, Daniel Felix, Marcio Quiriano, Vera Santos, Natália Oliveira, Paloma Quintão, Paulo Andrade, Wagner Benedetti Jr., Vagner Amaral e Mariana Jechiu por permanecerem ao meu lado mesmo com a ausência; as amigas mestrandas Juliana Midori e Nayara Vasconcelos pelo apoio nas horas de desespero; aos mestrandos Valdeci Gama, Gabriella Moura, Rafael Navarro, Matheus Tagé, Flávio Ferreira e Joselaine Santos pelo companheirismo; aos colegas Prof. Dr. Valdecir Becker, Prof. Me. Renato Coelho, Prof. Me. Nivaldo Ferraz e Profa. Me. Danielle Pinni pelas conversas e conselhos; enfim, aos que tornaram com sua ajuda esse sonho possível e palpável. RESUMO A série audiovisual Lost (2004-2010, J. J. Abrams, Damon Lindelof, Carlton Cuse) optou por inovar perante a um cenário de incertezas. Os criadores desenvolveram uma obra transmidiática que permitiu a exploração do universo ficcional da série e multiplicaram as formas de interação entre público e obra. O objetivo de “O jogo de Lost com o tempo: Uma análise do universo audiovisual” é utilizar conceitos de jogos como ferramentas para visualizar a relação entre Lost e seu público. O espectador, convidado a tornar-se um jogador capaz de caçar, coletar e reordenar os fragmentos de história monta seu próprio quebra cabeças que contem respostas dos enigmas e mistérios propostos. O tempo é visto mais de perto, tanto como elemento estruturador da narrativa quanto matéria das peças do jogo, permite aos jogadores empregarem sua própria experiência para completar lacunas deixadas propositalmente na narrativa. Assim Lost deve ser jogado caso o espectador deseje ter experiência completa proposta pelos seus criadores. Palavras-chave: Lost, análise de série audiovisual, som e imagem, estratégias narrativas, jogo, tempo. ABSTRACT Lost is an audiovisual series (2004-2010, JJ Abrams, Damon Lindelof, Carlton Cuse) that opted for innovate in front of a uncertainties scenario. The creators have developed a transmedia work that allowed the exploration of series’s fictional universe and multiplied the interaction between viewers and the show. The goal of "O jogo de Lost com o tempo: Uma análise do universo audiovisual" is to use the game concepts as tools for view the relationship between Lost and its audience. The spectator is invited to becoming a player able to hunt, collect and reorder the history fragments to mount your own particular puzzle game that containing answers about the enigmas and mysteries proposed. In a closer, the time can be seen as structuring element of the narrative and substance of the game pieces, allowing players to use their own experience to complete gaps left intentionally in the narrative. Lost must be played if the spectator wants to have complete proposal experience by its creators. Key-words: Lost, audiovisual series analyses, sound and image, narrative strategies, game, time. LISTA DE ILUSTRAÇÕES Ilustração 1 - Elementos ficcionais propostos na reunião para elaboração da história, em 02 de fevereiro de 2004 ....................................................................................... 26 Ilustração 2 - Cartazes de “Procura-se”, que divulgaram a série na convenção Comic Con em San Diego, CA em 2004 ............................................................................... 31 Ilustração 3 - Desenvolvimento de técnicas narrativas apresentadas na primeira reunião da equipe criativa de Lost em 02 de fevereiro de 2004 ................................ 39 Ilustração 4 - Analogia das obras do universo ficcional distribuídas em uma esfera 43 Ilustração 5 - Analogia dos elementos estruturais e o universo ficcional ................... 45 Ilustração 6 - Série como centro da narrativa transmidiática, orbitada pelas suas extensões ................................................................................................................... 53 Ilustração 7 - Distribuição da narrativa por temporada da série e extensões ........... 59 Ilustração 8 - O homem de preto joga Senet com seu irmão Jacob ......................... 84 Ilustração 9 - John Locke, o verdadeiro exibe as peças de gamão em 1x01 The Pilot, enquanto o Homem de Preto exibe as pedras que o simbolizam e ao seu irmão Jacob, em 6x04 The Substitute .................................................................................. 85 LISTA DE QUADROS Quadro 1 - Extensões de LOST quanto ao seu status de canonicidade ficcional ..... 48 Quadro 2 - Divisão dos jogos, segundo Roger Caillois .............................................. 84 LISTA DE GRÁFICOS Gráfico 1 - Espectadores no Horário Nobre por Sessão, de 1952 até 2007 .............. 20 LISTA DE ABREVIATURAS E SIGLAS A.R.G. – Alternate Reality Game, ou jogo de realidade alternativa D.H.A.R.M.A. – Referente a Department Of Heuristics And Research On Material Applications Initiative, Ou Departamento de Heurística e Pesquisa de Aplicações Materiais – Departamento da fundação ficcional Hanso que explora as características da ilha de Lost. DVD – Digital Video Disc, ou disco de vídeo digital SUMÁRIO 1. INTRODUÇÃO ............................................................................................ 13 2. A TRAJETORIA DAS SÉRIES TELEVISIVAS: A GÊNESE DE LOST ....... 16 2.1 Convergência de meios ........................................................................ 16 2.2 A queda de audiência das grandes redes ......................................... 20 2.3 O nascimento de Nowhere ................................................................ 22 2.4 Quando Nowhere tornou-se em Lost ................................................. 25 2.5 A conquista da base de fãs ................................................................ 28 2.6 Uma narrativa transmidiática ............................................................. 33 2.7 A criação do universo ficcional .......................................................... 36 2.8 A expansão do universo ficcional ...................................................... 44 3. O UNIVERSO DE LOST ............................................................................. 47 3.1 As obras do universo ficcional de Lost .............................................. 47 3.2 Status de canonicidade das obras ..................................................... 49 3.3 Obras da narrativa transmidiática ...................................................... 52 3.3.1 Jogos de realidade alternativa ...................................................... 54 3.3.2 Mobisodes – Missing Pieces ......................................................... 57 3.3.3 Mock-documentaries “Os seis da Oceanic” e “Mistérios do Universo” ..........................................................................................................
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