Aznia, Gorilla City E Outras Representações Da África Nos Quadrinhos De Super-Heróis

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Aznia, Gorilla City E Outras Representações Da África Nos Quadrinhos De Super-Heróis AZNIA, GORILLA CITY E OUTRAS REPRESENTAÇÕES DA ÁFRICA NOS QUADRINHOS DE SUPER-HERÓIS. Resumo: O presente trabalho pretende iniciar um mapeamento de histórias em quadrinhos do mainstream que possuem personagens africanos e representações de sociedades, culturas, geografia, entre outros elementos, do continente africano. Representações da África e de personagens africanos são parte dos universos ficcionais onde narrativas são produzidas nas duas mais bem sucedidas editoras do mercado de histórias em quadrinhos de super-heróis: a DC Comics e a Marvel Comics. Como as duas editoras narram suas histórias em quadrinhos em mundo verossímil baseado na realidade espacial e temporal de seus consumidores, o continente africano é parte de suas geografias e está repleto de cidades, personagens e histórias. Como apropriações da realidade e representações das mesmas em narrativas diversas, o interesse desta pesquisa é explorar e seletar informações sobre os produtos de ambas as editoras e abordar as representações produzidas no imaginário ficcional em leitura direta com a realidade social e política representada, especificamente sobre o continente africano, seus lugares e pessoas. O trabalho tem objetivo de enriquecer conhecimento com acréscimo de informações e elementos sobre representação da África nos quadrinhos, na busca de eficiência para a pesquisa pretendida pelo programa de pós-graduação de especialização em Estudos Africanos e Representação da África no Brasil, com foco na produção, veiculação e consumo de histórias em quadrinhos. Palavras-chave: Representação, África, Histórias em quadrinhos. Introdução A indústria de histórias em quadrinhos tem como suporte uma miríade de narrativas para entreter seu público leitor, e para isso é preciso inserir essas narrativas em cenários verossímeis o suficiente para o reconhecimento. As cidades tornaram-se importantes espaços de representação e estereotipias nos registros narrativos de entretenimento que são as histórias em quadrinhos. Além disso, agregado indiscutivelmente a esse primeiro aspecto de geografia física, povos e culturas são condensados em personagens construídos e elegidos para representar grupos numa geografia humana. São fenômenos produzidos através de discursos e imaginários que abarcam as sociedades que os constroem e as sociedades que os consomem. Fazendo parte de acordos entre ambos, onde os estereótipos são tidos como suficientes para representar grupos específicos, sociedades fora de seus eixos dominantes e estados onde estão contidas as diferentes redes de relações culturais. Tais representações dificilmente aprofundam olhares sobre esses grupos que pretendem descrever, pouco escapando dos limites imagéticos de modelos pré-concebidos, difundidos e culturalmente aceitos através de “impressões sólidas”1. Nas construções desses lugares humanos, desses tabuleiros sociais, as duas principais editoras, Marvel Comics e DC Comics2, se apropriam de discursos e imaginários sobre essas realidades. As duas editoras são quase hegemônicas no mercado internacional de histórias em quadrinhos, suas publicações estão presentes em diversos países, inclusive no Brasil, legitimando a escolha de ambas na reflexão de representação desse trabalho. São empresas do mainstream3 e conseguem agregar valores aos seus produtos, fundamentalmente às narrativas periódicas de seus super-heróis e seus mundos. Dessa forma, as duas editoras conseguem construir um diálogo mais visível, em relação à representação de lugares de Áfricas imaginadas. As abrangências da geografia física e da geografia humana de suas mitologias próprias, ou melhor, das mitologias de seus produtos, fundamentalmente os super-heróis, é tamanha que conseguem extrapolar os limites das páginas de quadrinhos, indo para outras mídias, como animações, filmes e jogos de videogame. Durante décadas de disputa de mercado, as duas editoras construíram uma generosa quantidade de cidades fictícias que se localizam em território africano e que são os elementos principais deste trabalho científico. Serão abordadas duas naturezas representativas dentro dos espaços dessa geografia de fantasia, numa pretensão de mapear os pontos mais significativos. Primeiro a geografia física através das representações de cidades africanas, seus traços visuais e os elementos 1 Como ficou cunhada a palavra por Firmin Didot para denominar a placa metálica e sua marcação na prensa móvel. No caso da sua apropriação, condiz com aquilo que produz enquanto efeito: a ideia de que os traços exagerados correspondem, sozinhos, a uma explanação rígida da representação. 2 No mercado internacional de histórias em quadrinhos e seus derivados, são as duas empresas com maior destaque e que chegam a produzir uma disputa expressiva. A DC Comics, subsidiada à Warner Bros Entertainment, tem sua origem na primeira onda de super-heróis dos anos 30 enquanto a Marvel Comics sobreviveu a diversos processos falimentares e assegurou-se no mercado nos anos 60. 3 Palavra de origem inglesa, comum nas reações comerciais de produtos diversos, para descrever a natureza de consumo e disponibilidade de material específico. No caso deste texto, pra as revistas em quadrinhos das duas editoras citadas. que as compõem. Depois o foco adentrará o espaço da geografia humana, hora aprofundando aquilo tido como cultural nas representações, hora ponderando sobre as representações do político. Entretanto, não serão separadas, as duas categorias aqui definidas, de forma radical, podendo haver claras interseções entre os espaços para construir melhor investigação sobre as representações da África nos objetos propostos. Para isso, é preciso fazer um apanhado mais próximo do quantitativo, mas sem perder de vista a criticidade permissível pela reflexão qualitativa dos dados. Assim, as cidades serão listadas e visitadas, para entender os elementos específicos que caracterizam suas representações entre aproximações e afastamentos com a realidade. Utilizando muito mais uma análise documental apoiada em suportes bibliográficos do que a leitura intensa e direta de uma quantidade onerosa de publicações, a reflexão textual visa-se pensar a função da estrutura na sua fundação e o quão apresenta de discursos para seus consumidores, na maior parte do tempo em compatibilidade com os produtores na legitimação de estereótipos. A África nas aventuras As narrativas em quadrinhos buscam fazer o reconhecimento de seus cenários, seja na representação de um passado próximo de um real ou mesmo assegurar à criatividade do imaginário surreal em estruturas plausíveis. Histórias sobre o velho oeste estadunidense ou mesmo narrativas amorosas dos anos 40, qualquer que seja a natureza da narrativa, seus cenários são parte importante de suas construções. Vão dos meios naturais exóticos e pouco explorados, passando por reinos, vilas, castelos, cidades e centros urbanos futuristas, até mesmo em mundo perdidos sob o mar ou impérios alienígenas. Essa geografia do imaginário em narrativas gráficas, como as histórias em quadrinhos, permite pensar os traços mentais que os cenários se fazem importantes para a construção social e representação de sociedades. Não é algo estranho antes mesmo do advento da Indústria Cultural, mas parte da rede de discursos humanos, principalmente quando o assunto é ficção. Na verdade, mesmo quando a narrativa se propõe a ser fidedigna com a realidade, em registros não ficcionais sobre a própria sociedade ou a sociedade do outro, a representação consegue abarcar discursos e imaginários sobre lugares e pessoas. O espaço físico é reflexo direto da construção social, por conseguinte, reflexo de uma rede mental de como a sociedade vê a si mesma e vê o outro através da confrontação de traços culturais. As histórias em quadrinhos abraçaram duas grandes etapas de sua história enquanto produto de um mercado do entretenimento, ambas úteis na compreensão de aspectos da coletividade através de seus prazeres letrados. A primeira etapa, ainda com engrossamento visível do “cordão umbilical” das narrativas da literatura tradicional, foca suas narrativas em relatos de viagens de seus aventureiros personagens. A chamada Hora da Aventura4, quando as narrativas apresentavam grandes aventureiros enfrentando peculiaridades em terras distantes, foi coqueluche nas primeiras quatro décadas do século XX. A segunda etapa foi a explosão, dilatação e supremacia das narrativas de super-heróis a partir dos anos 30, sendo, muitas vezes, sinônimos de histórias em quadrinhos, fazendo a relação de super- heróis e histórias em quadrinhos serem, de fato, a mesma coisa no imaginário popular de seus consumidores em diversos espaços sociais. A primeira etapa tem uma quantidade considerável de trabalhos, tornando-se pouco interessante reavê-la neste momento. A Hora da Aventura abusou do cenário africano em uma quantidade inesgotável de personagens e publicações, sendo de uma nitidez tão luminosa que chama rapidamente a atenção daqueles que procuram as representações da África nas histórias em quadrinhos. Tarzan, Tintin, Madrake, são apenas alguns exemplos de focos que pesquisadores sentiram-se seduzidos, produzindo diversos trabalhos sobre esse bloco de gênero que teve tanto destaque na primeira metade do século XX. A abordagem sobre esse período não se encontra esgotada, havendo, ainda, muito a se pensar e construir sobre esse nicho de pesquisa, mas é necessário que se façam expedições e bandeiras para outros lugares. 4 Alcunha pitoresca do período de maior prestígio que histórias em quadrinhos de natureza aventuresca, com românticas sagas de heróis em terras
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