Universidade Federal De Mato Grosso Instituto De Linguagens Programa De Pós-Graduação Em Estudos De Cultura Contemporânea

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Universidade Federal De Mato Grosso Instituto De Linguagens Programa De Pós-Graduação Em Estudos De Cultura Contemporânea UNIVERSIDADE FEDERAL DE MATO GROSSO INSTITUTO DE LINGUAGENS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DE CULTURA CONTEMPORÂNEA TATIANE HIRATA MANGÁ: DO JAPÃO AO MUNDO PELA PRÁTICA MIDIÁTICA DO SCANLATION CUIABÁ-MT 2012 2 TATIANE HIRATA MANGÁ: DO JAPÃO AO MUNDO PELA PRÁTICA MIDIÁTICA DO SCANLATION Dissertação apresentada ao Programa de Pós- Graduação em Estudos de Cultura Contemporânea da Universidade Federal de Mato Grosso como requisito para a obtenção do título de Mestre em Estudos de Cultura Contemporânea na Área de Concentração em Estudos Interdisciplinares de Cultura, Linha de Pesquisa Comunicação e Mediações Culturais. Orientador: Prof. Dr. Yuji Gushiken Cuiabá-MT 2012 3 Dados Internacionais de Catalogação na Fonte H668m Hirata, Tatiane. Mangá: do Japão ao mundo pela prática midiática do scalation / Tatiane Hirata. -- 2012. 148f. : color ; 30 cm. (incluem figuras e tabelas) Orientador: Prof. Dr. Yuji Gushiken Dissertação (mestrado) -- Universidade Federal de Mato Grosso, Instituto de Linguagens, Programa de Pós-Graduação em Estudos de Cultura Contemporânea, Cuiabá, 2012. Bibliografia: f. 122-129 1. Scanlation. 2. Mangá. 3. Cibercultura. 4. Cultura pop japonesa. I.Título. CDU 741.5(520) Catalogação na fonte: Maurício S.de Oliveira CRB/1-1860. 4 5 Sumário LISTA DE FIGURAS .................................................................................................................................................. 7 RESUMO ...................................................................................................................................................................... 9 INTRODUÇÃO .......................................................................................................................................................... 10 CAPÍTULO 1: MANGÁ, ORIGENS E INTERNACIONALIZAÇÃO ................................................................. 15 1.1 Mangá: Japão-Mundo ....................................................................................................................................... 15 1.2 Segmentação editorial para a massa fragmentada ............................................................................................ 19 1.2.1 O sistema em torno da publicação do mangá ................................................................................................. 25 1.2.2 Concursos e trabalho ...................................................................................................................................... 31 1.3 Mangá: memória internacional popular ........................................................................................................... 33 1.3.1 Identidades instáveis e comunidades transnacionais de consumidores .......................................................... 39 1.4 Soft Power japonês: Cool Japan ...................................................................................................................... 44 1.5 Consumo como exercício de cidadania ............................................................................................................ 46 CAPÍTULO 2 : SCANLATION E A VIRTUALIDADE DO MANGÁ .................................................................. 48 2.1 Scanlation: mediação da tecnologia no consumo subalterno ............................................................................ 48 2.2 A espera (muitas vezes) impaciente ................................................................................................................... 54 2.3 Scanlation: emergência de um fenômeno tecnológico e social.......................................................................... 56 CAPÍTULO 3: PANORAMA DA PRÁTICA SCANLATOR ................................................................................ 59 3.1 Origens .............................................................................................................................................................. 59 3.2 Scanlation no cenário brasileiro ....................................................................................................................... 61 3.3 Violações de copyright ...................................................................................................................................... 67 3.4 Limitações .......................................................................................................................................................... 71 CAPÍTULO 4: O PROCESSO DE TRABALHO DOS SCANLATORS ................................................................ 76 4.1 Coleta de informações sobre o universo scanlator ............................................................................................ 76 4.2 A busca pelos grupos brasileiros ....................................................................................................................... 78 4.2.1 Contato ........................................................................................................................................................... 79 4.3 O início do processo de trabalho: busca de material para digitalização .......................................................... 81 4.4 Tradução e adaptação ....................................................................................................................................... 83 4.5 Edição, tratamento de imagens e checagem ...................................................................................................... 86 4.6 Distribuição ....................................................................................................................................................... 87 4.7 Recrutamento dos novos integrantes ................................................................................................................. 91 4.8 O olhar crítico .................................................................................................................................................. 92 CAPÍTULO 5: DÁDIVAS E RETRIBUIÇÕES NO UNIVERSO DO SCANLATION ........................................ 94 5.1 Dádivas e contradádivas na cibercultura .......................................................................................................... 94 6 5.3 Financiamento colaborativo .............................................................................................................................. 98 5.4 O papel da comunidade de fãs na manutenção da atividade scanlator ............................................................. 99 5.5 Redes sociais para a cultura pop japonesa ..................................................................................................... 102 CAPÍTULO 6 : DEMANDAS ARTICULADAS ÀS TECNOLOGIAS ............................................................... 106 6.1 A oferta de títulos de mangá no Brasil ............................................................................................................ 106 6.2 Expansão do mundo ......................................................................................................................................... 111 6.3 Usos dos meios ................................................................................................................................................ 114 CONSIDERAÇÕES FINAIS ................................................................................................................................... 116 Referências Bibliográficas ....................................................................................................................................... 122 Créditos das imagens ................................................................................................................................................ 127 Glossário .................................................................................................................................................................... 130 APÊNDICES .......................................................................................................................................................... 133 7 LISTA DE FIGURAS Fig. 1 Uma das imagens do pergaminho Chojugiga............................................................................................16 Fig. 2 Os ideogramas da palavra mangá..............................................................................................................17 Fig. 3 Capas das revistas Tobae e The Japan Punch............................................................................................19 Fig. 4 Capas da revista shoujo Ribbon (à esq.) e da revista Shounen Jump (à dir.)............................................20 Fig. 5 WAai! Boys in Skirts (à esq.) e Yuri Hime (à dir.)...................................................................................21 Fig. 6 Business Jump (à esq.) e G-Men (à dir.)...................................................................................................21 Fig. 7 Akane-chan, mangá de Tetsuya Chiba..................................................................................................... 22 Fig. 8 Fullmetal Alchemist e Ranma ½ ……………………………………………………………..……...….23 Fig. 9 Página colorida do mangá shounen Death Note........................................................................................24 Fig. 10 Edições compiladas de mangá.................................................................................................................25 Fig. 11 Frente e verso de formulário
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