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Dissertação De Mestrado De Francisco Beltrame Trento

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Dissertação De Mestrado De Francisco Beltrame Trento 0 UNIVERSIDADE FEDERAL DE SÃO CARLOS DEPARTAMENTO DE ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM IMAGEM E SOM Francisco Beltrame Trento A CONSTRUÇÃO DE MUNDOS ONLINE: UMA ANÁLISE DA COMUNIDADE DE FÃS DE LOST, DARKUFO São Carlos 2013 1 UNIVERSIDADE FEDERAL DE SÃO CARLOS DEPARTAMENTO DE ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM IMAGEM E SOM Francisco Beltrame Trento A CONSTRUÇÃO DE MUNDOS ONLINE: UMA ANÁLISE DA COMUNIDADE DE FÃS DE LOST, DARKUFO Dissertação apresentada ao Programa de Pós-Graduação em Imagem e Som da Universidade Federal de São Carlos (UFSCar), na linha de pesquisa Narrativa Audiovisual, para a obtenção do título de MESTRE em Imagem e Som. Orientador: Prof. Dr. João Carlos Massarolo. São Carlos 2013 Ficha catalográfica elaborada pelo DePT da Biblioteca Comunitária da UFSCar Trento, Francisco Beltrame. T795cm A construção de mundos online : uma análise da comunidade de fãs de Lost, Darkufo / Francisco Beltrame Trento. -- São Carlos : UFSCar, 2013. 182 f. Acompanha Anexo em CD-ROM. Dissertação (Mestrado) -- Universidade Federal de São Carlos, 2013. 1. Televisão. 2. Redes sociais online. 3. Multimídia. 4. Lost (Programa de televisão). 5. Autoria. 6. Discurso. I. Título. CDD: 791.45 (20a) UNIVERSIDADE FEDERAL DE SÃO CARLOS Centro de Educação e Ciências Humanas Programa de Pós-Graduação em Imagem e Som [PPGml BANCA EXAMINADORA DA DISSERTAÇÃO DE MESTRADO DE FRANCISCO BELTRAME TRENTO xandre Sobnnho -UNICAMP 3 AGRADECIMENTOS Agradeço, primeiramente, ao meu orientador Prof. Dr. João Carlos Massarolo, nestes dois anos e meio de mestrado, pelas referências bibliográficas, sugestões de novos rumos da pesquisa, pelas broncas e pelos cafés nas padarias. Aos amigos do Grupo de Estudos sobre Mídias Interativas em Imagem e Som (GEMInIS), pelas discussões férteis, pelos projetos realizados e pela amizade. Ao prof. Dr. Dorival Campos Rossi e à profa. Dra. Gladis Maria Barcellos de Almeida, membros da banca de qualificação, que fizeram críticas construtivas e trouxeram sugestões para o desenvolvimento deste trabalho. Ao Prof. Dr. Gilberto Alexandre Sobrinho, por ter aceitado participar da banca de defesa, e aos professores Dr. Bruno Roberto Campanella e Dra. Maria Lúcia Santaella Braga, suplentes nesta banca, cujas bibliografias muito me ajudaram durante a dissertação, e foram referências na construção de artigos, textos, etc. Agradeço à Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) e ao Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPQ), pela bolsa concedida nos período de agosto de 2011 a fevereiro de 2012, e à Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), pela bolsa concedida nos meses subsequentes. À secretaria do Programa de Pós-Graduação em Imagem e Som (PPGIS), especialmente a Felipe Rossit, pelo apoio logístico. Aos professores das disciplinas que cursei no PPGIS: Prof. Dr. Arthur Autran, Profa. Dra. Suzana Reck Miranda, Profa. Dra. Luciana Sá Leitão Correa de Araújo, Prof. Dr. Samuel Paiva, e também à Profa. Vanice Sargentini (PPGL/UFSCar). Também agradeço ao Prof. Dr. Leonardo Andrade, à Profa. Dra. Josette Monzani e à Profa. Flávia Cesarino Costa. Aos amigos que conheci em São Carlos: Gabriel Correia, Filipe Brito, Luis Nanook, Marco Aurélio Freitas, Paula Gomes, Cristina Couto, Marina Rossato, Isabella Belinger, Patrícia Costa Vaz, Júlio Bazanini, Dario Mesquita, Hugo Reis, Letícia Ferreira, André Emílio, Hellen Câmara, Analú Arab, Edson Costa, Alessandra Santos, William Pianco, Natasha Hernandez, Jonathan Jota, Tássia Valente, Pedro Dolosic, entre outros. Aos amigos Rodrigo Azevedo, Thiago Venanzoni, Felipe Tringoni, Fernando Henrique de Paulo, Isaac Pipano, Caio de Freitas, Ana Paula Campos, Elita Jarcem, Anyzaura Voltolini, Renato Carvalho, Ulisses de Oliveira, Gustavo Padovani. À Carol e Fabiano. 4 Aos meus pais, pelo suporte emocional e financeiro, desde a Graduação (e muito antes). À Ana, pela companhia e pelo carinho. E a muitos outros que me esqueci de mencionar. 5 O anjo da morte que em certas lendas se chama Samael e contra quem, diz-se, também Moisés teve que lutar é a linguagem. Esta anuncia-nos a morte - o que mais faz a linguagem? Mas é exatamente esse anúncio que faz com que morrer seja tão difícil. De tempos imemoriais, de quanto dura a sua história, a humanidade está em luta contra o anjo para arrancar-lhe o segredo que ele se limita a anunciar. Mas das suas mãos pueris só se pode obter o anúncio que, aliás, ele apenas tinha vindo nos trazer. Disso o anjo não tem culpa e só quem compreende a inocência da linguagem entende também o verdadeiro sentido do anúncio e pode, eventualmente, aprender a morrer. Giorgio Agamben – Ideia da Morte 6 RESUMO A presente dissertação propõe-se a analisar o processo de construção de mundos online como espaços de comunicação transmidiática. A pesquisa relaciona as informações provenientes dos distintos meios utilizados para o desenvolvimento da narrativa seriada do programa televisivo Lost, bem como sua complexidade narrativa. Através deste estudo, puderam ser classificados os diferentes fatores que congregaram a interação dos usuários em uma comunidade online. Também foram investigadas as condições de produção de sentidos e as formações discursivas e ideológicas enunciadas dentro de um sistema complexo de interação comunicacional. Também observamos como o modo de produção da função-autor pode ser estabelecido em ambientes colaborativos da web 2.0. De natureza qualitativa e exploratória, essa pesquisa é um estudo sobre a comunidade online de fãs da série televisiva norte- americana Lost, intitulada DarkUfo, e buscou estabelecer relações entre o processo de construção de mundos textuais e as postagens feitas na comunidade. Com base na metodologia da Netnografia e da Análise do Discurso, buscou-se sistematizar o conhecimento dos processos que envolvem os usuários e o ambiente interativo proporcionado pela comunidade online. Palavras-chave: Comunidade online. Transmídia. Lost. Autoria. Televisão. Mundos possíveis. Seriado. Discurso. Complexidade narrativa. Pesquisa financiada pela Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), processo de número 2011/16408-3. 7 ABSTRACT This dissertation aims to analyze the world-building process as spaces of transmidiatic communication. We listed information from the distinct media utilized on the development of the TV series Lost, including it internal narrative complexity. We studied and classified distinct factors that congregated the user interaction in an online community. We investigated the conditions of meaning production and the discursive and ideological formations enounced in a complex system of communicational interaction. We also observed how the “author- function” acts in collaborative ambient from the web 2.0. This research is qualitative and exploratory, and examines the Darkufo online community, constituted by users that were fans of the TV-series Lost. Based on the netnographic methodology and using the discourse analysis studies, we tried to systematize the processes that involve users and the online community interactive ambient. Keywords: Online community. Transmedia. Lost. Authorship. Television. Possible worlds. Discourse. TV-Series. Narrative complexity. 8 LISTA DE ILUSTRAÇÕES Figura 1 - Compilação feita pelos fãs do número de personagens e recorrência de suas aparições 31 Figura 2 - Conexões entre personagens da primeira e segunda temporada 34 Figuras 3 e 4 - O farol visto pelo lado de fora e de dentro 40 Figuras 5 e 6 - Visualização do exterior de uma estrutura panóptica e desenho original de Jeremy Bentham 40 Figura 7 - Mapa feito por fã que contempla os locais da ilha desvendados da primeira à ultima temporada 41 Figura 8 - A enciclopédia canônica de Lost (1500 imagens em 400 páginas) 46 Figuras 9, 10, 11 e 12 - Imagens capturadas pelos fãs e disponibilizadas na comunidade 47 Figura 13 - Site da Oceanic Airlines (www.oceanic-air.com) 49 Figura 14 - Sequência de dois segundos que os fãs utilizaram para tentar decifrar a identidade de Jacob 58 Figura 15 - Reprodução da tela de entrada do bate-papo em 2010: “Jack fica triste quando você libera spoilers” 59 Figura 16 - Tópico usualmente criado alguns minutos após a exibição dos episódios 60 Figura 17 - Página inicial do DarkUfo 64 Figura 18 - Aumento das visitas no site com a divulgação de spoilersem março e abril/2007 65 Figura 19 - Distribuição geográfica das postagens feitas por usuários da comunidade online DarkUfo 71 Figura 20 - O vitral ao fundo simboliza o sincretismo religioso em The End 90 Figura 21 - Cena mostrada durante os créditos de The End e reproduzida pelos fãs em um tópico sobre o último episódio 92 Figura 22 - Spoilers levaram fãs a mudar suas expectativas em relação ao seriado 103 Figuras 23 e 24 - As duas versões do personagem Desmond conectam as consciências dos mundos catalisadas por descargas eletromagnéticas 131 Figuras 25 e 26 - Primeira temporada: descoberta da escotilha e das cavernas 138 Figuras 27 e 28 - Segunda temporada: interior da escotilha e estátua de quatro dedos 138 Figuras 29 e 30 - Terceira temporada: estação embaixo d’água e vilarejo dos “Outros” 138 Figuras 31 e 32 - Quarta temporada: estação da Dharma e Cabine de Jacob 138 9 Figuras 33 e 34 - Quinta e sexta temporadas: o farol de vigilância e a fonte de energia e luz da ilha 139 Figuras 35, 36 e 37 - Imagens da primeira página do primeiro episódio do fanfiction Lost: The Other Generation e comparação com o roteiro original da série 144 10 LISTA DE TABELAS Tabela 1 – Modos semiológicos
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