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Rodrigo Ribeiro Barreto.Pdf UNIVERSIDADE FEDERAL DA BAHIA FACULDADE DE COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO E CULTURA CONTEMPORÂNEAS A FABRICAÇÃO DO ÍDOLO POP: A ANÁLISE TEXTUAL DE VIDEOCLIPES E A CONSTRUÇÃO DA IMAGEM DE MADONNA RODRIGO RIBEIRO BARRETO Salvador 2005 2 RODRIGO RIBEIRO BARRETO A FABRICAÇÃO DO ÍDOLO POP: A ANÁLISE TEXTUAL DE VIDEOCLIPES E A CONSTRUÇÃO DA IMAGEM DE MADONNA Dissertação apresentada ao Programa de Pós- Graduação em Comunicação e Cultura Contemporâneas, Faculdade de Comunicação, Universidade Federal da Bahia, como requisito para obtenção do título de Mestre em Comunicação e Cultura Contemporâneas. Orientador: Prof. Dr. Wilson da Silva Gomes Salvador 2005 3 AGRADECIMENTOS A meu pai e minha mãe, pela paciência, apoio e carinho ilimitados. A Rosana e Luís Roberto, minha irmã e meu irmão sempre presentes. A Gabriela, a Greice e Ludmila, não podia desejar melhores companheiras de pesquisa. A Luiz, Romulo, Cristiano, Roger, Felix, Sergio e Biagio, que, na hora do aperto, tornaram menos sofrido o percurso de elaboração da dissertação. Aos professores Wilson Gomes – meu orientador oficial há quase cinco anos –, Maria Carmem Jacob de Souza, José Benjamim Picado, Jeder Janotti Jr. e José Francisco Serafim, cujas orientações eventuais foram imprescindíveis para o meu trajeto de pesquisa. Ao Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq), que viabilizou minha pesquisa com a oferta de bolsa durante o Mestrado. 4 RESUMO A trajetória videográfica de Madonna, iniciada há mais de 20 anos, confunde-se com o próprio desenvolvimento do videoclipe, cuja consolidação aconteceu também a partir dos anos 1980. Desde então, a contínua popularidade da artista deu a ela e a seus colaboradores respaldo para executar inovações tanto estilísticas quanto temáticas neste formato. A artista adotou os clipes como mais um desdobramento de seu trabalho artístico e como ferramenta para a construção ou a fabricação de sua imagem pública. Esta dissertação foi guiada pelo propósito de analisar videoclipes, considerando-os como obras expressivas passíveis de serem compreendidas tanto em abordagens voltadas para o deslindamento de sua organização interna quanto no seu funcionamento como instrumentos efetivos no processo de construção de imagem de Madonna. O trabalho apresenta o resultado da aplicação de uma metodologia de análise sobre um corpus de 18 (dezoito) clipes representativos do percurso videográfico da artista. Foram incluídas obras correspondentes a canções de todos os álbuns da cantora e, desse modo, de todas as suas fases criativas. Esta abordagem analítica textual foi desenvolvida e aplicada no grupo de pesquisa Laboratório de Análise Fílmica, coordenado pelo Prof. Wilson Gomes, e procurou identificar: a) os elementos primordialmente manipulados em cada obra, b) os modos de organização interna destes elementos e c) os tipos de efeitos programados na obra e por ela suscitados. Com base na familiaridade conquistada no contato com toda a videografia de Madonna e de posse dos resultados da abordagem individualizada dos videoclipes selecionados, foi avaliada a recorrência de certos elementos – temáticos, cênicos, imagéticos, musicais, narrativos e coreográficos – de uma obra para a outra, procurando identificar a relação destes achados com diferentes conceitos ou pressuposições que nortearam e norteiam as impressões a respeito de Madonna. A imagem da artista está associada à versatilidade, ao amplo controle criativo do seu trabalho, à verve polêmica e à habilidade de reinventar-se através de apropriações diversas, assunção de diferentes personae artísticas e os mais variados arquétipos. Palavras-chave: Videoclipe; Madonna; Crítica e interpretação; Análise textual; Vídeo; Construção de imagem; Música pop-rock; Arte e comunicação. 5 ABSTRACT Madonna’s videography, begun over 20 years ago, follows the evolution of music video itself, also consolidated in the 1980s. Ever since, Madonna’s continuous popularity has provided her and her supporting team with a basis to perform both stylistic and thematic innovations in her music videos. The singer adopted music videos as an additional unfolding to her work and as a tool to construct and forge her public image. This thesis intended to analyse music videos, considering them expressive works which can be understood not only through approaches concerned with the elucidation of their internal organization, but also in terms of their operation as effective tools in the process of construction of Madonna’s image. The result of the application of a methodology of analysis on 18 music videos, representative of Madonna’s videography, is presented. Videos for songs from all of her albums and, therefore, from all of her creative phases have been included. This textual, analytical approach was developed and applied in the Laboratory of Film Analysis, research group coordinated by Professor Wilson Gomes. The approach intended to identify: a) the elements fundamentally manipulated in each work, b) the forms of internal organization of these elements and c) the kinds of effects programmed in the work under analysis. Based on the familiarization obtained by the contact with all the videography of Madonna, and by means of the results of the analysis of each selected music video, the recurrence of certain thematic, scenic, imagetical, musical, narrative and choreographical elements was assessed, aiming at the identification of their relationship with several concepts and preconceptions on which the impressions about Madonna have been based. Madonna’s image is associated with versatility, with a wide, creative control over her work, with her polemical verve and her ability to re-create herself by means of different appropriations, the assumption of several artistic personae and diverse archetypes. Key words: Music videos; Madonna; Criticism and interpretation; Textual analysis; Video; Image fabrication; Popular music; Art and communication. 6 SUMÁRIO INTRODUÇÃO 8 1. OS VIDEOCLIPES SOB DIFERENTES ÂNGULOS 15 1.1. Sobre a estrutura dos videoclipes: a natureza compósita do formato passo a passo 16 1.1.1. Quanto de vídeo há nos videoclipes? : uma comparação com a videoarte 16 1.1.2. A conexão vídeo e cinema: liame fundamental no videoclipe 21 1.1.3. Televisão e videoclipe: as origens do rótulo publicitário e a busca de convenções 26 1.1.4. Música pop e videoclipe: as posições ocupadas pelos artistas musicais 29 1.1.5. Aspectos da dimensão musical dos videoclipes 32 1.2. Características gerais dos videoclipes 37 1.3. O foco teórico sobre videoclipe: abordagens pós-modernas e estudos culturais 42 1.3.1. Pós-modernidade 43 1.3.2. Cultura popular e moldes pós-modernos de análise: os videoclipes como pretexto 45 1.3.3. O posicionamento culturalista anti-pósmoderno 46 1.3.4. A relativização da percepção dos videoclipes como formato comercial 47 1.3.5. Videoclipes e a noção de autenticidade: interseções entre Estudos Culturais e argumentações pós-modernas 49 1.3.6. As limitações das abordagens pós-modernas e culturalistas na análise dos videoclipes 50 2. POÉTICA DO VIDEOCLIPE 52 2.1. Apresentação metodológica 53 2.2. Dimensões textuais dos videoclipes 57 3. APLICAÇÃO METODOLÓGICA: AS ANÁLISES DOS VIDEOCLIPES DE MADONNA 61 3.1. Borderline 62 3.2. Like a Virgin 70 3.3. Material Girl 75 3.4. Papa Don´t Preach 81 3.5. Open your Heart 86 3.6. Like a Prayer 92 3.7. Express Yourself 97 3.8. Vogue 101 3.9. Justify my Love 107 3.10. Fever 113 3.11. Take a Bow 118 7 3.12. Human Nature 124 3.13. Ray of Light 129 3.14. Drowned World/ Substitute for Love 134 3.15. Music 140 3.16. What It Feels Like for a Girl 146 3.17. American Life 151 3.18. Hollywood 157 4. A CONSTRUÇÃO DA IMAGEM DE MADONNA ATRAVÉS DOS VIDEOCLIPES 162 4.1. A proeminência de Madonna no formato videoclipe 163 4.2. Carisma e fotogenia nos videoclipes de Madonna 164 4.3. O estilo camaleônico de Madonna 169 4.4. Situações e temas recorrentes nos videoclipes de Madonna 171 CONCLUSÃO 179 REFERÊNCIAS BIBLIOGRÁFICAS 185 ANEXO I: Pinturas de Tamara de Lempicka 193 ANEXO II: Fotografias de Horst, Hoynigen-Huene & Hurrel 194 ANEXO III: Fotografias de Guy Bourdin 195 ANEXO IV: Videografia de Madonna 196 8 INTRODUÇÃO Na década de 1930, segundo Neil FEINEMAN (2000: 13), os estúdios hollywoodianos experimentavam a associação entre música popular e imagens através da elaboração de produtos com uma unidade própria1 e que – destinados à promoção musical e ao entretenimento – eram exibidos nos cinemas americanos junto com os desenhos animados, as notícias e os trailers que antecediam o longa-metragem. Denominados simplesmente de short films, essas filmagens em estúdio tinham uma duração entre três e oito minutos e mostravam apresentações de diferentes artistas, como, por exemplo, Bessie Smith, Billie Holiday e Bing Crosby. Alguns desses short films organizavam-se também como breves conduções narrativas, que apresentavam, às vezes, temas mais instigantes do que os próprios filmes de Hollywood. Como o formato era considerado meramente uma distração prévia à exibição dos longas, a censura sobre os short films era menos severa; desse modo, as histórias mostradas podiam caracterizar-se pela presença de certa ironia, dedicando-se a comentários sociais ou políticos. Na mesma época, as investidas européias semelhantes resultaram, como de hábito, em filmes de caráter mais nitidamente experimental: a imagem tendia à abstração ou ao jogo de formas geométricas e utilizava-se a música erudita ou o jazz2. Com o advento da Segunda Guerra Mundial, os short films perderam seu espaço nas salas de cinema, deixando de ser produzidos. Uma possibilidade alternativa para a exibição de curtas musicais surgiu em dois momentos e locais diferentes. Trata-se da invenção de máquinas caça-níqueis batizadas The Panorom Sound (EUA, pós-guerra) e Scopitone (França, década de 1960) e distribuídas em bares, clubes e pontos comerciais: a concorrência televisiva foi determinante para o 1 Não se tratando, portanto, de trechos editados de filmes musicais. 2 O mais destacado cineasta com este tipo de trabalho foi o alemão Oskar Fischinger.
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