Vicente Gosciola, Ingrid Schmidt

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Vicente Gosciola, Ingrid Schmidt 1 Narrativa Transmídia em Desenhos Animados: De Gravity Falls a A Casa da Coruja Vicente Gosciola1 Ingrid Schmidt2 1 Introdução Os séculos XIX e XX foram extensivamente marcados pelo surgimento de novos meios de comunicação que remodelaram o comportamento da sociedade, como o cinema, a televisão e a internet. Esses meios rapidamente ultrapassaram sua função básica enquanto transmissores de informações, vindo a ser considerados como formas de entretenimento. Partindo de suas peculiaridades constitutivas, formam hoje aquilo que entendemos por "indústria midiática" — um modelo de produção e negócio baseado em comunicação, informação, arte e entretenimento para a grande audiência, uma derivação do conceito de “indústria cultural”3 proposto por Theodor Adorno e Max Horkheimer (1985). Thomas Elsaesser (2018, p.184) acredita que tecnologias como o controle remoto, o videocassete, o equipamento de DVD, a internet e o telefone celular teriam redefinido o uso e a função das imagens em nossa sociedade. Entretanto, elas não representariam uma obsolescência do meio cinematográfico, mas sim imporiam um novo desafio, fazendo com que os conteúdos audiovisuais tivessem que se adaptar para uma nova realidade de consumo. A rápida adoção da internet no início dos anos 2000 teria proporcionado um cenário em que os consumidores são mais ativos e envolvidos com os conteúdos, contribuindo para a formação de uma verdadeira cultura de fãs. “A ubiquidade da internet permitiu que os fãs adotassem uma inteligência coletiva na busca de informações, interpretações e discussões narrativas complexas que convidam à participação e ao engajamento. (MITTELL, 2012, p. 1 Pós-doutor pela Universidade do Algarve-CIAC, Portugal, Doutor em Comunicação pela PUC-SP., Mestre em Ciências da Comunicação pela ECA-USP, Professor Titular do Programa de Pós-Graduação em Comunicação da Universidade Anhembi Morumbi e Líder do Grupo de Pesquisa CNPq Narrativas Tecnológicas. E-mail para contato: [email protected] 2 Mestranda em Comunicação Audiovisual pela Universidade Anhembi Morumbi. Linha de Pesquisa: Processos Midiáticos na Cultura Audiovisual.. E-mail de contato: [email protected]. Projeto desenvolvido com apoio do PROSUP/INSTITUCIONAL - CAPES, EDITAL 001/2020. 3 O termo “Indústria Cultural” refere-se a um modelo de produção de arte e cultura que utiliza técnicas do sistema capitalista e se aproxima da ideia de produção em massa, tendo como objetivo o lucro e a manutenção do pensamento dominante. 2 35). Com isso, as narrativas puderam – e tiveram - que se transformar para engajar a audiência e se destacar frente à crescente concorrência. Em 2006, Mittell trouxe pela primeira vez o conceito de complexidade narrativa, definindo como "uma redefinição nas formas episódicas da narração em série (...) Recusando a necessidade de fechamento da trama em cada episódio, que caracteriza o formato episódico convencional" (MITTELL, 2012, p. 36). Para ele, a complexidade narrativa “privilegia estórias com continuidade e passando por diversos gêneros.” (MITTELL, 2012, p. 36). Para Mittell, as mudanças teriam demorado a ocorrer porque a complexificação iria contra a lógica tradicional da indústria televisual que “assumia que a inconstância do público a narrativas seriadas semanalmente e as pressões relacionadas a direitos favoreciam a manutenção de episódios de sitcoms convencionais e de dramas processuais intercambiáveis.” (MITTELL, 2012, p. 34). Por mais que essas tecnologias não tenham sido o único fator que provocou o surgimento da complexidade narrativa, elas foram responsáveis por elevar o papel dos consumidores, transformando-os em fãs ativos e engajados que não só discutem e interpretam as narrativas, mas também produzem conteúdos relacionados a elas. “A televisão narrativamente complexa encoraja e às vezes até mesmo precisa de um novo modelo de engajamento do público.” (MITTELL, 2012, p. 48). As narrativas complexas não podem mais se limitar ao meio televisual e devem se expandir para outros meios a fim de alimentar esses fãs engajados e curiosos e, dessa forma, se manterem “vivas”. Mais recentemente, um novo meio de comunicação viria a remodelar mais uma fez as formas de se consumir conteúdo audiovisual: as plataformas de streaming. A tecnologia de transmissão contínua surgiu na primeira metade da década de 1990, mas ganhou força quando a Netflix, fundada como uma locadora digital de filmes e séries, passou a disponibilizar seu conteúdo on demand com um modelo de assinatura mensal. Em 2018, a plataforma lançou House of Cards, sua primeira série original, cuja primeira foi disponibilizada na íntegra. Surgiu, então, um novo modelo de consumo audiovisual denominado como “binge- watching,” que consiste em assistir os episódios de uma temporada obra seriada sem intervalo, de maneira contínua, sem a necessidade de esperar a semana seguinte. Esse novo modelo reconfigura as práticas de conteúdo televisual não só porque a narrativa deve ser pensada de forma mais contínua e objetivando a renovação para a temporada seguinte, mas 3 também porque esse modelo é intrínseco aos serviços de streaming e, portanto, possibilitam um consumo ainda mais personalizado, imediato e financeiramente acessível que a televisão. No streaming, os fãs têm muito mais facilidade de pausar e rever os conteúdos que consomem em busca de pistas e informações extras, o que fortalece a construção de narrativas complexas como definidas por Mittell. Ademais, as plataformas têm acesso direto aos números reais de exibições dos episódios e, de acordo com a Vice-Presidente de Produtos Originais da Netflix, Cindy Holland (2019) os têm como base para definir a renovação ou o cancelamento de cada série. Dessa forma, o processo de re-visualização de episódios passa a ter uma importância ainda maior, e os criadores de conteúdo precisam adotar modelos narrativos que levem os fãs a assistirem mais de uma vez suas obras favoritas e, assim, colaborem para o crescimento dos números e a renovação da série. 2 A Narrativa Transmídia e suas Ferramentas Em 2001, Henry Jenkins elaborou um modelo denominado “narrativa transmídia”, que consiste no ato de “comunicar diferentes tipos e níveis de informação narrativa, usando cada meio que melhor possa fazer para contar sua parte da história.” (GOSCIOLA, 2019, p.36). Apesar de o conceito de transmídia já vir sendo utilizado por outros autores em outros contextos, Jenkins foi o primeiro a uni-lo ao termo narrativa, continuando a utilizá-lo dessa forma em seus futuros trabalhos. É intrínseca ao modelo transmidiático a existência de um conteúdo central em um meio principal que norteie todos os outros, enquanto os conteúdos complementares levam a audiência de volta para o principal. “Para criadores, a narrativa transmídia deve sempre apoiar e fortalecer a experiência da narrativa televisual. (MITTELL, 2014, p. 255). Posto isso, a narrativa transmídia coloca-se como uma possibilidade para os criadores de conteúdo televisual na atualidade, visto que contempla as necessidades de provocar discussões entre grupos de fãs, fomentando uma cultura participativa, e de convidar os espectadores a assistirem de novo aos conteúdos, elevando assim os números de audiência. Todavia, para que um conteúdo televisual possa utilizar uma narrativa transmídia de um modo que faça a audiência sempre retornar ao conteúdo central, é preciso que os conceitos que McKee (2006) denomina de “elementos da estória” tenham como objetivo engajar os fãs com o universo ficcional para além da televisão. A estrutura, o ambiente, o gênero, a personagem e os significados da estória (MCKEE, 2006) devem refletir esse aspecto transmidiático por 4 meio de ferramentas específicas que intensifiquem a experiência e o envolvimento da audiência. Um exemplo destas ferramentas é o easter-egg, um termo originado da área da programação, onde “partes não essenciais de códigos eram incluídas em programas para nada além de marcar o trabalho de seu autor, mas que logo passou a ser aplicado a outros tipos de mídia para se referir a qualquer elemento que esteja mais ou menos em segredo sob a superfície.” (CLARKE, 2012, pg. 145). No meio cinematográfico, esse termo geralmente se refere a elementos extra-diegéticos que são incluídos em algumas obras de forma a dialogar com o espectador e convidá-lo para uma investigação com informações para além das fornecidas aos personagens. Por mais que o termo easter-egg tenha sido “emprestado” da programação na atualidade, a ideia de se colocar elementos extra-diegéticos em filmes a fim de que o espectador os procurasse enquanto assiste a obra é quase tão antiga quanto o cinema em si. No início dos anos 1910, quando se dizia que o então chamado “cinema de atrações” daria lugar ao “cinema de integração narrativa”, um direto alemão, Joe May, iniciou uma moda de sucesso, apesar de curta, do que chamava-se de “Preisrätselfilme”, ou “filmes-desafio-prêmio” como um subgênero do filme de investigação (de inspiração dinamarquesa), onde pistas eram plantadas sem serem reveladas até o final. Ao contrário, prêmios eram oferecidos aos espectadores que os identificavam. (ELSAESSER, 2009, p. 16) Entretanto, o modelo de narrativa transmidiática e as tecnologias contemporâneas reconfiguraram o conceito de easter-egg. Não se trata mais apenas de uma “caça ao tesouro” com um possível prêmio, mas sim de um mistério a ser desvendado que impacta diretamente na resolução da trama. O espectador é convidado a resolver o mistério junto ou mesmo antes que o protagonista. As comunidades de fãs na internet se transformam em
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