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South Park: (Des)Construção Iconoclasta Das Celebridades

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South Park: (Des)Construção Iconoclasta Das Celebridades PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades São Paulo Agosto de 2012 2 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado São Paulo Agosto de 2012 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado Comissão examinadora: __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ São Paulo Agosto de 2012 4 AGRADECIMENTOS À CAPES, pelo financiamento parcial da pesquisa. Ao Prof. Dr. José Luis Aidar Prado pela paciência e disponibilidade. Aos meus pais, irmãos e amigos, pela compreensão diante de minhas recusas. Aos meus colegas de curso, em especial, André Campos de Carvalho, Cynthia Menezes Mello e Fabíola Corbucci, Pela amizade e inestimável incentivo. Aos professores integrantes das bancas de qualificação e defesa, pelas orientações e disponibilidade. À Celina de Campos Horvat, por todos os motivos descritos acima. Toda piada é uma pequena revolução. (George Orwell) 5 Resumo O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática. Para tanto, debruçamo-nos sobre o programa televisivo norte-americano South Park , uma animação que se dedica a caricaturá- las. Trabalhamos com a hipótese de que o ídolo é um simulacro que não resiste à profanação do humor. Nesse sentido, tomamos como principal referencial teórico-investigativo os conceitos de “dispositivo ” e “profanação” de Giorgio Agamben, para quem a caricatura presente nos cartoons desvela o caráter humano e ordinário do ídolo, removendo o véu da fantasia que o sacraliza. Mas mobilizamos também, como outros operadores conceituais, o “real” lacaniano, uma vez que, por definição, ele não se deixa desprender nem do imaginário nem do simbólico e também a noção de sujeito cínico, conforme desenvolvido por Slavoj Žižek, o que nos leva a elaborar uma outra hipótese, a de que o engajamento na modalização profanatória do programa pode não ocorrer em razão justamente dessa recepção cínica por parte de sua audiência. O corpus selecionado para análise constitui-se de 71 episódios de 22 minutos de duração, selecionados dentre mais de 200 do referido programa, exibidos entre 1997 e 2011 e também o longa-metragem, South Park: maior, melhor e sem cortes (1999). A seleção recorta principalmente os episódios que se prestam particularmente ao que se pretende demonstrar. Palavras-chave: South Park , celebridade, profanação, desenho animado, fantasia. 6 Abstract The reason of this research is studying the contemporary and social construction of the celebrities as well as the role that it exerts at the mediatic civilization. Therefore we focused on the American TV show South Park , an animation that is dedicated at caricature them. We worked with the hypothesis that the idol is a simulacrum that doesn’t resist to humor desecrate. In order to do that we adopted as the main investigative theorist reference the concepts of “ dispositive ” and “ profanation ” from Giorgio Agamben’s philosophy, to whom the caricature present on the cartoons reveals the human and ordinary character of the idols, taking off the phantasy veil which sacralizes it. But we also mobilize as other conceptual operators the lacanian “real“, once that by definition he doesn´t let himself lose from the imaginary as well as the symbolic and cynical subject notion, as developed by Slavoj Žižek, which takes us to elaborate another hypothesis, the one that the engaging at the modalization defiler of the show might not occur because of the cynical reception of its audience. The corpus selected to analysis constitutes of 71 episodes of 22 minutes duration selected among more than 200 of the previously mentioned TV show, aired between 1997 and 2011, as well as the feature film South Park: bigger, better and uncut (1999). The selection was made mostly based on the purpose of what we intend to show. Keywords: South Park , celebrity, profanation, cartoon, phantasy. 7 Lista de ilustrações Figura 01 ................................................................................................................ pág. 11 Figura 02 ................................ ............................................................................... pág. 14 Figura 03 ................................................................................................................ pág. 22 Figura 04 ................................................................................................................ pág. 23 Figura 05 ................................................................................................................ pág. 24 Figura 06 ................................................................................................................ pág. 25 Figura 07 ................................................................................................................ pág. 27 Figura 08 ................................................................................................................ pág. 28 Figura 09 ................................................................................................................ pág. 29 Figura 10 ................................................................................................................ pág. 30 Figura 11 ................................................................................................................ pág. 32 Figura 12 ................................................................................................................ pág. 34 Figura 13 ................................................................................................................ pág. 36 Figura 14 ................................................................................................................ pág. 38 Figura 15 ................................................................................................................ pág. 41 Figura 16 ................................................................................................................ pág. 42 Figura 17 ................................................................................................................ pág. 44 Figura 18 ................................................................................................................ pág. 46 Figura 19 ................................................................................................................ pág. 47 Figura 20 ................................................................................................................ pág. 48 Figura 21 ................................................................................................................ pág. 56 Figura 22 ................................................................................................................ pág. 59 Figura 23 ................................................................................................................ pág. 61 Figura 24 ................................................................................................................ pág. 63 Figura 25 ................................................................................................................ pág. 67 Figura 26 ................................................................................................................ pág. 70 Figura 27 ................................................................................................................ pág. 71 Figura 28 ................................................................................................................ pág. 85 Figura 29 ................................................................................................................ pág. 89 Figura 30 ................................................................................................................ pág. 90 Figura 31 ................................................................................................................ pág. 91 8 Figura 32 ................................................................................................................ pág. 92 Figura 33 ................................................................................................................ pág. 93 Figura 34 ................................................................................................................ pág. 94 Figura 35 ................................................................................................................ pág. 96 Figura 36 ................................................................................................................ pág. 96 Figura 37 ...............................................................................................................
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