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A Indústria Dos Quadrinhos Quadrinhos 1/21/04 20:39 Page 1 Cadernos da Comunicação Série Estudos A indústria dos quadrinhos Secretaria Especial de Comunicação Social Quadrinhos 1/21/04 20:39 Page 2 A primeira parte deste trabalho – Os gibis americanos nos anos 40 e 50 – é a monografia de Rafael Teixeira, para conclusão do curso de Comunicação Social/Jornalismo pela PUC-Rio, tendo como orientador o professor Miguel Serpa Pereira. Os textos sobre quadrinhos no Brasil são de Rose Esquenazi, jornalista e professora da PUC-Rio, e de Naumim Aizen, editor. A indústria dos quadrinhos – Rio de Janeiro: Prefeitura da Cidade do Rio de Janeiro: Secretaria Especial de Comunicação Social, 2003 p. 72 (Cadernos da Comunicação. Série Estudos, v.10) ISSN 1676-5494 Inclui bibliografia. Conteúdo: Os gibis americanos nos 40 e 50/Rafael Teixeira – Os quadrinhos no Brasil: paixão antiga/Rose Esquenazi – Adolfo Aizen/Naumim Aizen 1.História em quadrinhos. I Teixeira, Rafael. Os gibis ameri- canos nos anos 40 e 50. II. Secretaria Municipal de Comunicação Social. CDD: 741.5 Os Cadernos da Comunicação são uma publicação da Secretaria Especial de Comunicação Social da Prefeitura do Rio de Janeiro. Rio de Janeiro Dezembro de 2003 Prefeitura da Cidade do Rio de Janeiro Rua Afonso Cavalcanti 455 – bloco 1 – sala 1.372 Cidade Nova Rio de Janeiro – RJ CEP 20211-110 e-mail: [email protected] Todos os direitos desta edição reservados à Prefeitura da Cidade do Rio de Janeiro. Nenhuma parte desta publi- cação pode ser reproduzida ou transmitida por qualquer forma e/ou quaisquer meios (eletrônico ou mecânico) ou arquivada em qualquer sistema ou banco de dados sem permissão escrita da Prefeitura. Quadrinhos 1/21/04 20:39 Page 3 Secretaria Especial de Comunicação Social Prefeito Cesar Maia Secretária Especial de Comunicação Social Ágata Messina CADERNOS DA COMUNICAÇÃO Série ESTUDOS Comissão Editorial Ágata Messina Helena Duque Leonel Kaz Regina Stela Braga Edição Regina Stela Braga Redação e pesquisa Andrea Coelho Revisão Alexandre José de Paula Santos Projeto gráfico e diagramação John Lee Murray Capa Carlos Amaral/SEPE Marco Augusto Macedo Quadrinhos 1/21/04 20:39 Page 4 CADERNOS DA COMUNICAÇÃO Edições anteriores Série Memória 1 - Correio da Manhã – Compromisso com a verdade 2 - Rio de Janeiro: As primeiras reportagens – Relatos do século XVI 3 - O Cruzeiro – A maior e melhor revista da América Latina 4 - Mulheres em revista – O jornalismo feminino no Brasil 5 - Brasília – Capital da controvérsia – A construção, a mudança e a imprensa 6 - O Rádio Educativo no Brasil 7 - Ultima Hora – Uma revolução na imprensa brasileira 8 - Verão de 1930-31 – Tempo quente nos jornais o Rio 9 - Diário Carioca – O máximo de jornal no mínimo de espaço Série Estudos 1 - Para um manual de redação do Jornalismo On-Line 2 - Reportagem Policial – Realidade e ficção 3 - Fotojornalismo digital no Brasil – A imagem na imprensa da era pós-fotográfica 4 - Jornalismo, Justiça e Verdade 5 - Um olhar bem-humorado sobre o Rio nos anos 20 6 - Manual de Radiojornalismo 7 - New Journalism – A reportagem como criação literária 8 - A Cultura como Notícia no Jornalismo Brasileiro 9 - A imagem da notícia – O jornalismo no cinema Quadrinhos 1/21/04 20:39 Page 5 A rigidez da censura que se abateu sobre o quotidiano americano entre as décadas de 40 e 50, período conhecido como “macarthismo” – nome inspi- rado no senador Joseph McCarthy, responsável por essa política autoritária e puritana –, também se fez sentir na produção das histórias em quadrinhos, especialmente aquelas dirigidas ao público adulto. O trabalho que publicamos neste número dos Cadernos da Comunicação – Série Estudos é dedicado a este tema, mostrando que esta política atingiu as HQs exatamente no momento em que elas viviam a sua Era de Ouro. Em 1948 aconteceu a maior proliferação de novos títulos e gibis de histórias policiais. No mínimo uma dezena de novas revistas foram lançadas naquele país. As vendas alcançavam números astronômicos por ser uma forma de entretenimento popular e barata. A influência que esse tipo de publicação podia exercer sobre a juventude não passou despercebida das autoridades americanas, preocupadas em preservar os valores morais em que acreditavam. Assim como no cinema, no teatro, na literatura e nas artes de modo geral, as sanções do macarthismo às HQs não fugiram ao absurdo de que sofre qualquer tipo de censura desmedida. Restrições ao uso das palavras “crime”, “horror” ou “terror” em títulos, proibição a cenas de zumbis, vampiros, almas-penadas, lobisomem ou canibalismo eram exigidas. Até mesmo a obri- gatoriedade de mostrar todos os personagens “com roupas razoavelmente aceitáveis para a sociedade” estavam entre as “pérolas” do Comics Code Authority, que em 1954 reuniu todas as “recomendações” que já vinham sendo “sugeridas” desde o fim da década de 30. Posteriormente revisto em 1971 e em 1994, o código, que ainda está em vigor, perdeu quase que totalmente a sua razão de existir, pois não é mais levado a sério. Para tratar de HQs no Brasil, estão presentes neste volume textos de dois estudiosos do tema: a jornalista e professora da PUC-RJ Rose Esquenazi e Naumim Aizen, este último diretor editorial por mais de três décadas da Ebal, a maior editora nacional desse tipo de publicação. Ambos concordam num aspecto: a preocupação de que as revistas de quadrinhos brasileiras, além de divertir fossem educativas, despertando nos jovens e nas crianças a vontade de buscar mais conhecimento. A prova de que, apesar de ser um produto ori- ginário dos Estados Unidos, os quadrinhos encontraram em nosso país um campo fértil para crescer está no fato de que se realizou aqui, mais precisa- mente em São Paulo, em 1951, a primeira exposição mundial dedicada a eles. CESAR MAIA Prefeito da Cidade do Rio de Janeiro Quadrinhos 1/21/04 20:39 Page 6 Quadrinhos 1/21/04 20:39 Page 7 Para o alto e avante! Superman Criado por Jerry Siegel e Joe Shuster Quadrinhos 1/21/04 20:39 Page 8 Quadrinhos 1/21/04 20:39 Page 9 Sumário OS GIBIS AMERICANOS NOS ANOS 40 E 50 Introdução . .13 A censura às artes gráficas . .17 A EC Comics . .21 Causas e conseqüências da censura . .27 Conclusões . .47 O Comics Code Authorithy . .51 Bibliografia . .55 OS QUADRINHOS NO BRASIL Paixão antiga – Rose Esquenazi . .59 Adolfo Aizen, um pioneiro – Naumim Aizen . .67 Quadrinhos 1/21/04 20:39 Page 10 Quadrinhos 1/21/04 20:39 Page 11 OS GIBIS AMERICANOS NOS ANOS 40 E 50 Quadrinhos 1/21/04 20:39 Page 12 Quadrinhos 1/21/04 20:39 Page 13 Introdução A despeito da tão falada atual crise do mercado de histórias em quadrinhos, ninguém duvida que os executivos do ramo lidam com grandes somas de dinheiro. Para se ter uma idéia, ainda que imprecisa, do que isso se trata, basta dizer que as vendas da indústria dos quadri- nhos chegaram a US$ 300 milhões em 1999 – o que, ainda que sig- nifique queda em relação a anos anteriores, não deixa de ser um número expressivo. Considerando, além desse dado, o fato de que os quadrinhos sofrem hoje a concorrência de mídias que não existiam antes da década de 50 – como a televisão e a internet –, é justo supor que tiras de jornais, romances ilustrados e gibis fizeram um grande sucesso na primeira metade deste século. De fato, segundo o escritor Gilbert Seldes escreveu em seu livro The seven lively arts, publicado em 1925, “de todas as artes vivas, a tira em quadrinhos é a mais despreza- da [artisticamente], mas, com exceção do cinema, é a mais popular”. E continua: Cerca de 20 milhões de pessoas acompanham com interesse, curiosidade e encantamento as aventuras diárias de cinco ou dez heróis das tiras em quadrinhos, mesmo que isso seja considerado por aqueles que não têm qualquer pretensão ao gosto e à cultura como um sintoma de grossa vulgaridade, de estupidez e, por tudo que sei, de vidas fracassadas e deprimentes. A partir da década de 30, os Estados Unidos viram um cresci- mento espantoso do volume de publicações de quadrinhos produzidas, associado imediatamente ao aumento da popularidade das HQs. Em 1938, com a primeira aparição do Super-Homem em uma revista em Quadrinhos 1/21/04 20:39 Page 14 14 Cadernos da Comunicação quadrinhos, deu-se o boom que tornou aquela indústria uma das mais férteis da década de 40. Foram anos de multiplicação de personagens, de títulos publicados e de editoras que entravam no ramo. Ainda no início de 1942, registravam-se 143 revistas em quadrinhos em circu- lação nos Estados Unidos, lidas mensalmente por mais de 50 milhões de pessoas. Como será visto detalhadamente, estimava-se que uma revista como a Crime Does not Pay, com histórias policiais, fosse lida por cerca de 5 milhões de pessoas por mês. Paradoxalmente, a Segunda Guerra Mundial fez aumentar o consumo de gibis, pois se tratava da única diversão rápida, barata, de dimensões reduzidas e passível de envio pelo correio que os soldados podiam ter no front de batalha. Mesmo após o fim da Guerra, a maior parte deles manteria esse hábito. Era de se esperar, portanto, que tamanha popularidade fosse incomodar alguns segmentos da sociedade. A deturpação de valores que as revistas em quadrinhos potencialmente seriam capazes de pro- mover começou, a partir de meados dos anos 40, a ser alvo de debates entre os norte-americanos. Com o aparecimento naquele cenário de um psiquiatra de hábil retórica, que chamou para si a responsabilidade de liderar os Estados Unidos em uma cruzada antiquadrinhos, o que se viu foram anos negros para a indústria – em especial para uma edi- tora pequena, mas promissora, que surgia em 1950, a Entertaining Comics.
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