La Vida Es U a Historieta. El Papel Del Comic E La Vida Cotidia a De Jóve Es U Iversitarias E El Estado De Hidalgo

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La Vida Es U a Historieta. El Papel Del Comic E La Vida Cotidia a De Jóve Es U Iversitarias E El Estado De Hidalgo LA VIDA ES U A HISTORIETA. EL PAPEL DEL COMIC E LA VIDA COTIDIA A DE JÓVE ES U IVERSITARIAS E EL ESTADO DE HIDALGO TOMÁS SERRA O AVILÉS ROCÍO TREJO HER Á DEZ 1 UNIVERSIDAD AUTÓNOMA DEL ESTADO DE HIDALGO Mto. Humberto A. Veras Godoy Rector Mtro. Adolfo Pontigo Loyola Secretario General Evaristo Luvián Torres Subsecretario General Administrativo Edmundo Hernández Hernández Director del Instituto de Ciencias Sociales y Humanidades Dirección de Ediciones y Publicaciones Mtro. Alexandro Vizuet Ballesteros Director PUBLICACIÓN Tomás Serrano Avilés Rocío Trejo Hernández 2 UNIVERSIDAD AUTÓNOMA DEL ESTADO DE HIDALGO INSTITUTO DE CIENCIAS SOCIALES Y HUMANIDADES Pachuca de Soto, Hidalgo, 2010 Primera edición: 2010 Tomás Serrano Avilés Rocío Trejo Hernández Autores © UNIVERSIDAD AUTÓNOMA DEL ESTADO DE HIDALGO Instituto de Ciencias Sociales y Humanidades Abasolo 600, Centro, Pachuca, Hidalgo, México. CP 42000 Correo electrónico: [email protected] Prohibida la reproducción parcial o total de esta obra sin consentimiento escrito de la UAEH Esta edición es financiada con recursos CUPIA, 2009. ISBN: en trámite Impreso y hecho en México 3 CONTENIDO LA VIDA ES UNA HISTORIETA. EL PAPEL DEL COMIC EN LA VIDA COTIDIANA DE JÓVENES UNIVERSITARIAS EN EL ESTADO DE HIDALGO........................................ 7 Introducción general ............................................................................................................... 8 Metodología .......................................................................................................................... 12 Presentación .......................................................................................................................... 12 Glosario: ............................................................................................................................... 13 LA IDENTIFICACCIÓN CON LOS PERSONAJES DEL COMIC A TRAVÉS DE LA IMAGINACIÓN COLECTIVA ............................................................................................................ 17 Introducción .......................................................................................................................... 18 La investigación en comunicación de masas ........................................................................ 19 El consumo del comic en la vida cotidiana........................................................................... 22 La estructuración de la imaginación ..................................................................................... 26 La alternativa critica ............................................................................................................. 28 La construcción de la identidad a través del comic .............................................................. 36 La identidad del otaku .......................................................................................................... 41 Conclusiones ......................................................................................................................... 46 LA AFICIÓN AL COMIC EN LAS JÓVENES DE ESTUDIO ..................................................... 49 Introducción .......................................................................................................................... 50 Black Lady ............................................................................................................................ 51 Hanami ................................................................................................................................. 66 Ayme .................................................................................................................................... 77 Análisis de las historias biográficas de las sujetos de estudio .............................................. 83 Un día en La Mole Edición 29 México 19/12/2008 ............................................................ 90 Conclusiones ......................................................................................................................... 92 LA CONTROVERTIDA HISTORIA DEL MANGA Y EL ANIME . LOS ANTECEDENTES HISTÓRICOS ...................................................................................................... 95 Introducción .......................................................................................................................... 97 El origen del Manga ............................................................................................................. 98 El Manga en la Segunda Guerra Mundial .......................................................................... 100 La industria del anime y manga ......................................................................................... 102 El anime en México ............................................................................................................ 106 El cosplay ........................................................................................................................... 107 El Manga en el mundo ....................................................................................................... 110 ¿Satanismo en el Manga ? ................................................................................................... 112 Otra controversia más: la violencia en el Manga ............................................................... 113 Cuando la afición se vuelve adicción ................................................................................. 115 El fenómeno Manga y Anime ............................................................................................. 117 REFLEXIONES FINALES .................................................................................................................. 118 ESTRATEGIA METODOLÓGICA .................................................................................................. 122 Las sujetos de estudio ......................................................................................................... 122 4 Estrategia metodológica ..................................................................................................... 122 Unidades de análisis ........................................................................................................... 122 Los métodos de recolección y análisis de la información .................................................. 123 Conclusión .......................................................................................................................... 127 BIBLIOGRAFÍA ..................................................................................................................................... 128 5 Agradecimientos: A los informantes. A Paola Ponce Jiménez que tuvo mucho que ver en este trabajo. 6 LA VIDA ES UNA HISTORIETA. EL PAPEL DEL COMIC EN LA VIDA COTIDIANA DE JÓVENES UNIVERSITARIAS EN EL ESTADO DE HIDALGO 7 Introducción general Adiós a los cuentos de hadas y de princesas, bienvenidas las historias de guerreras y heroínas japonesas. En la actualidad, los medios de información de masas utilizan la seducción para captar la atención de niños y jóvenes y así obtener las mayores ganancias en el consumo de los productos a los que Marcuse les denomina falsas necesidades (2005), entre los que destacan las historietas , también llamadas popularmente caricaturas o comics. Desde hace unas décadas, En México y en el mundo en general, la economía de origen japonés se beneficia del dinero ganado con la venta de las caricaturas . Los productos están saturando el mercado popular atrapando a grupos de aficionados con repercusiones inimaginables de todo tipo. En este trabajo se analiza la biografía de tres jóvenes universitarias aficionadas al anime . El resultado hace evidente que los productos impresos son el caldo de cultivo que las ha llevado con desenfreno al mundo de la ficción, siempre que hay condiciones de soledad. Con el tiempo, la enajenación toca fondo hasta el grado de hacer sentir a las personas que viven en una realidad bidimensional, donde lo más importante son los personajes del anime favoritos, incluso respecto de la vida misma, y por supuesto, donde la interacción con el resto de las personas se vuelve algo intrascendente. Con la afición a la historieta no importa la interacción social. Los sujetos experimentan estar en una dimensión donde el escapismo es el motor que da rienda suelta a sus posibilidades de pensamiento. En esta perspectiva, el espectador se convierte en actor de las aventuras y desventuras de los principales personajes, y las barreras entre lo posible y lo irreal prácticamente se desvanecen. En este estudio se entiende como afición al comic a la actividad habitual de entretenimiento que las personas encuentran en las historietas. El concepto es sinónimo de hobby o también reconocido como pasatiempo . De esta manera, el trabajo permite imaginar cómo estos productos logran impregnarse en el imaginario social. Al respecto, Benedict Anderon (2005) sugiere el término de comunidades imaginadas, y las define como una construcción social simbólica que sólo existe en la mente de las personas. Esto mismo sucede con los aficionados al anime , por ello, la llamada japonización 8 es un concepto apropiado que se refiere a la reproducción de la vida cotidiana de origen nipón con el consumo exagerado de los productos originarios de ese país. En el mundo, el anime y el manga son una industria sostenida por millones de seguidores, los cuales están obsesionados por acceder a
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