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Capa Até Sumario UNIVERSIDADE PRESBITERIANA MACKENZIE ! THAIS FERNANDA MARTINS HAYEK ! ! ! ! ! ENTRE O NOVO E O ATEMPORAL: A SONORIDADE PLÁSTICA DE FANTASIA ! ! ! ! ! ! ! ! SÃO PAULO 2014 ! "1 THAIS FERNANDA MARTINS HAYEK ! ! ! ! ENTRE O NOVO E O ATEMPORAL: A SONORIDADE PLÁSTICA DE FANTASIA ! ! ! ! Tese apresentada ao Programa de Pós graduação em Educação, Arte e História da Cultura, da Universidade Presbiteriana Mackenzie, como requisito parcial á obtenção do título de doutor em Educação, Arte e História da Cultura. ! Profª. Drª. Regina Célia Faria Amaro Giora ! ! ! ! ! ! ! ! ! SÃO PAULO 2014 ! "2 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !! !H417e Hayek, Thais Fernanda Martins. ! Entre o novo e o atemporal : a sonoridade plástica de Fantasia / ! Thais Fernanda Martins Hayek. – 2014. !! 216 f. : il. ; 30 cm. Tese (Doutorado em Educação, Arte e História da Cultura) - ! Universidade Presbiteriana Mackenzie, São Paulo, 2014. !! Referências bibliográficas: f. 205-215. 1. Animação. 2. Música. 3. Fantasia. 4. Disney, Walt, ! 1901-1966. 5. Arquétipos. 6.! Mitos. I. Título. THAIS FERNANDA MARTINS HAYEKCDD 791.436 ! "3 ENTRE O NOVO E O ATEMPORAL: A SONORIDADE PLÁSTICA DE FANTASIA ! Tese apresentada ao Programa de Pós graduação em Educação, Arte e História da Cultura, da Universidade Presbiteriana Mackenzie, como requisito parcial á obtenção do título de doutor em Educação, Arte e História da Cultura. ! Aprovada em: ! BANCA EXAMINADORA __________________________________________ Prof. Drª Regina Célia Faria Amaro Giora – orientadora _________________________________________________________ Prof. Dr. Waldomiro de Castro Santos Vergueiro __________________________________________________________ Prof. Drª. Glaucia Eneida Davino ___________________________________________________________ Profa Drª. Simonetta Persichetti ___________________________________________________________ Prof. Drª Rosana Maria Pires Barbato Schwartz ! ! ! ! ! ! "4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Dedico este trabalho à minha mãe, que sempre soube da importância da educação, e leu para mim até que eu pudesse ler para ela. Mãe obrigada !ontem, hoje e sempre. ! ! ! "5 Agradecimentos ! A minha orientadora, Regina Giora, que esteve presente em todos os momentos, me incentivando de maneira singular, com sua relação comprometida com o conhecimento. Meu muito obrigada, pela dedicação, paciência e pelas tardes de Vigotski, Freud, Jung e Fantasia. Aos professores que participaram da banca de qualificação, Waldomiro Vergueiro e Glaucia Davino, pelas ricas contribuições para o aprimoramento deste trabalho. Aos professores que participarão da banca e colaborarão com significativos apontamentos para a melhoria dessa tese. A minha mãe por tudo, ela que me incentivou desde sempre a busca pelo conhecimento. Ao marido, pelo amor, paciência e compreensão, dos momentos de ausência. E por ir comigo até California para pesquisar no museu Walt Disney em San Francisco, nos estúdios em Burbank, e na Disneyland em Anaheim. Aos meus amigos por estarem presentes e pelas longas conversas sobre a tese, obrigada por me ajudarem. A CAPES pela concessão de uma bolsa de estudos, possibilitando a realização do curso de doutorado no Mackenzie. ! ! ! ! ! ! "6 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Quando o Eterno criou o Som, Miríades de ouvidos surgiram para ouvir, E através de todo o universo Rolou um eco profundo e claro: “Todas a Glória ao Deus Som.”! Quando o Eterno criou a luz, Miríades de olhos surgiram para ver., E ouvidos que ouviram e olhos que viam Tornaram a entoar o imponte coral: “Toda a Glória ao Deus da Luz!”! Quando o Eterno criou o Amor Miríades de corações saltaram para vida; E ouvidos cheios de música,olhos cheios de luz, Proclamaram com corações cheios de amor: Toda a glória ao Deus do Amor.” (Miss Miller) ! ! ! ! "7 !Resumo ! A relevância e a criatividade de Walt Disney para a história da cultura e da arte contemporânea estão expressas na sua obra Fantasia (1940), cuja originalidade se caracteriza pela união entre as novas tecnologias aplicadas ao cinema de animação nas primeiras décadas do século XX e as mais diversas linguagens artístico-culturais produzidas até então. Por meio desta combinação entre valores estéticos e éticos, a linguagem simbólica utilizada permite identificar os arquétipos que orbitam o inconsciente coletivo no imaginário popular. Este trabalho buscou apresentar uma análise do filme Fantasia, apontando em especial seus aspectos históricos, estruturais e simbólicos, por meio dos recursos metodológicos propostos em Hermenêutica da Profundidade, por John B. Thompson. Para se chegar aos resultados, foram definidos, portanto, três focos de interesses presentes na obra: o contexto histórico-cultural no qual esta foi produzida a obra; os recursos técnicos da linguagem fílmica e, por último, as questões comportamentais vinculadas à Psicologia Arquetípica. O primeiro capítulo traz uma breve introdução do cinema de animação, as contribuições de Disney e sua equipe para a fundamentação desta modalidade como arte autônoma. Destaca a história da criação e produção de Fantasia no seu contexto histórico. O segundo capítulo aponta os fatores estruturais da obra, fazendo uma análise descritiva e relacionando-a com os princípios de animação, que deram identidade a essa linguagem e ajudaram a fundamentar uma estética singular. No último capítulo é feita uma reintrepetação das formas animadas presentes em Fantasia, propostas por Disney e sua equipe, sob a ótica da psicologia arquetípica, ou seja, que símbolos representam as estruturas mais profundas da psique coletiva dando sentido ao enredo. As considerações finais confirmam a hipótese inicial de que Fantasia é uma obra original no que tange seu percurso técnico, condicionada pelos valores éticos e estéticos da formação judaicocristã no mundo ocidental e seu sucesso atemporal se deve à utilização de símbolos !e mitos universais presentes nos primórdios da história da civilização. ! !Palavras-Chave: Animação, Música, Fantasia, Disney, Arquétipos e Mitos. ! ! ! ! ! ! ! ! ! "8 Abstract: ! The relevance and creativity of Walt Disney to the cultural history and contemporary art is express in the movie Fantasia (1940), which originality is characterized by the union between the new technologies applied to the animation movies in the first decades of the twentieth century and the diverse kinds of cultural and artistic languages produced so far. Through this combination between aesthetic and ethical values, the symbolic language used allows the identification of the archetypes of the collective unconscious that orbit in the popular imagination. This work aims to present an analysis of Fantasia movie, especially the historic, structural and symbolic aspects, through the methodological resources proposed at the John B Thompson’s Depth Hermeneutics. To the results were defined three focuses of interest which are at the movie: the historical and cultural contexts which the movie was made; the technical features of the film language and, finally the behavioral issues linked to the archetypal psychology. The first chapter provides a brief introduction of the animation movies and the Disney’s contributions and his staff for this autonomous art. And, points the history of the creation and production of Fantasia in its historical context. The second chapter aims to show the structural factors of the work, making a descriptive analysis and relate it to the animation principles that gave to this language the bases of a singular aesthetic. In the last chapter, it's made a reinterpretation to the animate forms in the movie Fantasia, proposed by Disney and his staff, in the perspective of archetypal psychology, in other words, what are the symbols that represents the deeper structures of the collective psyche giving the meaning of the story. The final consideration confirms the initial hypothesis that Fantasia is an original work in terms of its technical way, conditioned by ethical and aesthetic values of Judeo-Christian traditions and its timeless success is based on the universal !symbols and myths that exist in the beginning of history of the civilization. ! !Key words: Animation movies, Fantasia, Disney, Archetypes and Myths. ! ! ! ! ! ! ! ! ! ! ! ! "9 ! Resumen ! La relevancia y la creatividad de Walt Disney para la historia de la cultura e del arte contemporáneo están expresas en su obra Fantasía (1940), cuya originalidad se caracteriza por la unión entre las nuevas tecnologías aplicadas al cine de animación en las primeras décadas del siglo XX y los más diversos lenguajes artístico-culturales producidos hasta el momento. A través de esta combinación entre valores estéticos y éticos, el lenguaje simbólico utilizado permite identificar los arquetipos que orbitan el inconsciente colectivo en el imaginario popular. Este trabajo ha buscado presentar un análisis de la película Fantasía, señalando en especial sus aspectos históricos, estructurales y simbólicos, por medio de recursos metodológicos propuestos en Hermenêutica da Profundidade, por John B. Thompson. Para que se llegara a los resultados, han sido definidos, para eso, tres focos de intereses presentes en la obra: el contexto histórico-cultural de ésta; los recursos técnicos del lenguaje fílmico y, por último, las cuestiones comportamentales vinculadas a la sicología arquetípica. El primer capítulo trae una breve introducción del cine de animación, las contribuciones de Disney y su equipo para la fundamentación de esta modalidad como arte autónomo. Destaca la historia de la creación
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