O Cinema Sonha Com Filmes Cyberpunks?

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O Cinema Sonha Com Filmes Cyberpunks? UNIVERSIDADE FEDERAL FLUMINENSE INSTITUTO DE ARTES E COMUNICAÇÃO SOCIAL CURSO DE CINEMA E AUDIOVISUAL LUIS GUSTAVO DE SOUZA GOMES DOS SANTOS O CINEMA SONHA COM FILMES CYBERPUNKS? Niterói 2016 LUIS GUSTAVO DE SOUZA GOMES DOS SANTOS O CINEMA SONHA COM FILMES CYBERPUNKS? Monografia apresentada ao curso de Graduação em Cinema e Audiovisual da Universidade Federal Fluminense, como requisito parcial para o título de Bacharel em Cinema e Audiovisual. Orientador Prof. DANIEL MOREIRA DE SOUSA PINNA Niterói, RJ 2016 Agradecimentos A minha mãe, que me guiou até aqui, e ao meu avô, que me mostrou o poder das histórias. Agradeço ao meu orientador Daniel Pinna pela paciência e por mostrar-me os códigos da matrix. Aos professores Cezar Migliorin, Elianne Ivo, Hadija Chalupe, India Mara Martins, João Luiz Vieira e Tunico Amancio por seus ensinamentos. À professora Janete Oliveira por aceitar gentilmente integrar a banca. Ao professor Jorge Lopes por estar ao meu lado desde o início desta jornada. RESUMO Esta monografia tem como objetivo relacionar os estudos de atmosfera fílmica à criação de obras cyberpunk, a partir da análise da série animê Psycho-Pass. Para isso faremos uma genealogia do subgênero na literatura e nas produções japonesas e, em seguida, definiremos os mecanismos que constituem a atmosfera da série, baseados nos conceitos de vigilância e disciplina juntamente com os estudos de atmosfera fílmica. PALAVRAS-CHAVE: Cyberpunk, ficção científica, Animação, Animê, Psycho-Pass. ABSTRACT This research aims to relate studies on cinematic atmosphere to the creation of cyberpunks works, from the analysis of the anime series Psycho-Pass. In order to do so we'll elaborate a genealogy of this subgenre in literature and japanese productions and then we'll define the constitutive mechanisms of the series' atmosphere, based on the concepts of surveillance and discipline, along with the studies of cinematic atmosphere. KEYWORDS: Cyberpunk, Science fiction, Animation, Anime Psycho-Pass. Sumário INICIANDO ACESSO: INTRODUÇÃO.................................................................................10 1. ADMIRÁVEL GÊNERO NOVO.........................................................................................14 1.1. As Fontes do Cyberpunk...............................................................................................14 1.2. De moto pelas ruas de Neo-Tōkyō................................................................................34 2. EU, CYBERPUNK...............................................................................................................42 2.1. Fluam minhas narrativas disse o diretor........................................................................43 2.1.1. Ficha Técnica.........................................................................................................45 2.1.2. Personagens principais..........................................................................................46 2.1.3. Episódios...............................................................................................................55 3. UM REFLEXO NA MATRIX..............................................................................................64 3.1. A série diferencial..........................................................................................................66 4. CYBERCRASH....................................................................................................................80 REFERÊNCIAS BIBLIOGRÁFICAS......................................................................................82 7 Índice de figuras Figura 1: lançamento do módulo lunar, do filme: Viagem a Lua, de Georges Méliès..............19 Figura 2: Metropolis, de Fritz Lang.........................................................................................20 Figura 3: Blade Runner, dirigido por Ridley Scott..................................................................24 Figura 4: Neuromancer.............................................................................................................30 Figura 5: cidade favelizada do filme Elysium, dirigido por Neill Blomkamp.........................33 Figura 6: Metropolis, adaptado do mangá de Osamu Tezuka, dirigido por Rintarō................35 Figura 7: Astro Boy..................................................................................................................36 Figura 8: perseguição de moto pelas ruas de Neo-Tōkyō, do filme Akira (1988)...................37 Figura 9: Makoto Kusanagi, protagonista do filme Ghost in the Shell....................................40 Figura 10: The Girl with the Dragon Tattoo (2011), versão americana da obra sueca............43 Figura 11: Seven - Os Sete Crimes Capitais, dirigido por David Fincher...............................45 Figura 12: Kōgami Shinya (狡噛 慎也)..................................................................................46 Figura 13: Akane Tsunemori (常守 朱)...................................................................................47 Figura 14: Nobuchika Ginoza (宜野座 伸元).........................................................................48 Figura 15: Shūsei Kagari (縢 秀星).........................................................................................48 Figura 16: Tomomi Masaoka (征陸 智己)...............................................................................49 Figura 17: Makishima Shōgo (槙島 聖護)..............................................................................50 Figura 18: Sibyl System...........................................................................................................51 Figura 19: Kasei Jōshū (禾生 壌宗)........................................................................................52 Figura 20: Yayoi Kunizuka (六合塚 弥生)..............................................................................52 Figura 21: Karanomori Shion (唐之杜 志恩)..........................................................................53 Figura 22: Saiga Jōji (雑賀 譲二 )...........................................................................................53 Figura 23: 45MW.TRG Dominator..........................................................................................54 Figura 24: Plano-detalhe do pé de Makishima Shōgo.............................................................67 Figura 25: Makishima Shōgo encontra Kōgami Shinya, episódio 1........................................67 Figura 26: Makishima Shōgo olhando para Kōgami Shinya, episódio 1.................................68 Figura 27: Kōgami Shinya olhando para Makishima Shōgo, episódio 1.................................69 Figura 28: Cidade de Tōkyō em Psycho-Pass..........................................................................70 Figura 29: Tōkyō em Ghost in the Shell..................................................................................71 Figura 30: Los Angeles em Blade Runner...............................................................................71 8 Figura 31: centro de Tōkyō em Psycho-Pass...........................................................................73 Figura 32: periferia de Tōkyō em Psycho-Pass........................................................................73 Figura 33: ruas da periferia de Tōkyō, Psycho-Pass................................................................74 Figura 34: scanner de stress de Psycho-Pass...........................................................................75 Figura 35: Sibyl System...........................................................................................................76 Figura 36: Assassino na fábrica...............................................................................................77 Figura 37: Interface de observação do Sibyl System...............................................................77 Figura 38: Akane Tsunemori usando uma interface de acesso ao CommuFields....................78 Figura 39: Avatar de Akane Tsunemori no CommuFields.......................................................78 Figura 40: Nobuchika Ginoza e Akane Tsunemori como Avatares no CommuFields de Spooky Boogie..........................................................................................................................79 Figura 41: Makishima Shōgo...................................................................................................81 9 INICIANDO ACESSO: INTRODUÇÃO Os filmes no cinema hoje tem aquele ar de livros cyberpunks dos anos 1980. Não que isso seja uma máxima, mas muitas obras audiovisuais, incluindo animações para TV, quadrinhos, jogos, etc, tem recorrido a elementos desse subgênero da ficção científica para compor sua estética e narrativa. O cyberpunk, desde seu surgimento, tem influenciado o cinema e sido transformado por este, a ponto de hoje, após The Matrix, Akira e Ghost in the Shell, o subgênero ter tomado novas direções. Esses novos caminhos, de certa maneira, convergem para as nossas vivências cotidianas e muitos dos dilemas com a tecnologia expostos nessas obras são realidade em nossas vidas. O cyberpunk nasce na literatura com o livro Neuromancer, de William Gibson. Nele, o autor reúne vários elementos da cultura da época: a tecnologia emergente, os movimentos punks, o medo (mesmo que velado) de uma guerra nuclear, o desenvolvimento de grandes corporações, a popularização dos computadores pessoais, um visual urbano e uma sensação de melancolia constante (símbolo tão marcante de nossas vidas contemporâneas). A ficção científica, por sua vez,
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