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From Global Entertainment to Amazonian Tecnobrega: Mobility in Contemporary Entertainment Practices

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From Global Entertainment to Amazonian Tecnobrega: Mobility in Contemporary Entertainment Practices Marcio Bahia Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the PhD degree in Spanish Department of Modern Languages and Literatures Faculty of Arts University of Ottawa © Marcio Bahia, Ottawa, Canada, 2011 1 Abstract Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so- called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries. Key words: entertainment industry, mobility, tecnobrega, aparelhagem. ii Acknowledgments There was a time, not long ago, when I dreamed of pursuing graduate studies in Canada. Coming from a poor family in Brazil, this seemed like just a wild dream. But my beloved brother had done it, and made me believe there is no such thing as an impossible dream. So, I would like to first thank my brother, Marcelo Bahia, for being such a decisive influence in my life, for sharing with me his love for Canada; and for giving me the most wonderful nephew and nieces in the whole world, Tetê, Carol and Marquinho – the incredible triplets who fill our lives with laughter and joy. I also have to thank their mom, Verônica Bahia, for being the “urban legend” that finished her PhD while raising three two-year-old kids! What an inspiration! I also dedicate this thesis to my mom, Belizia Bahia, who lived with me all the joys and pains of the whole process. Thanks mom, for saving every possible penny to give me that trip to Montreal that changed my life back in 1994. Thanks for fighting fiercely to always give me the best possible education, and, above all, thank you for your infinite and unconditional love. Completing this “family dream team”, I am lucky enough to have the most supportive and loving uncles and aunts (including Silvana and José Oliveira) and the coolest cousins (including Gabriela Bahia) who are and will always be my “safety net” in Belém. This dream started during my undergraduate years in Belo Horizonte when I was lucky enough to have “fessoras” who encouraged me to pursue an academic career. Thanks to Lúcia Castello Branco, Maria Lúcia Jacob and Zila Bernd for believing in that young undergraduate student. When time came, two institutions made the dream come true. The Department of Modern Languages and Literatures and the Canada Research iii Chair in Literary and Cultural Transfers were “my house” during the unforgettable graduate years at the University of Ottawa. At the Department, I developed my teaching skills and at the Chair I was introduced to the universe of state of the art academic research. Without their institutional and financial support, this thesis would not have been possible. Institutions, however, are made of people, and at the University of Ottawa I was blessed to meet fascinating professors, wonderful colleagues and lifelong friends. Thanks to all my professors (including Rodney Williamson, Jorge Guerrero, Juana Liceras, José Ruano, Gaston Lillo and Ann Denis), my colleagues (including my dearest Ivete Walty, Pascal Gin, Fernando Andacht, Carlos Gomes and Pierre Sossou) and my friends (including Júlia Paixão, José Roberto Xavier, Margarida Garcia, Richard Dubé and Mariana Raupp). Julinha, Beto, Margaridinha, Richard and Má, you are actually more than friends, you are my brothers and sisters in Ottawa, a special family that also includes Milene Kravetz (Mizica), Andrew Beaudoin, Rafaela Marchi (Rafinha) and Laurence Jolez (Lolo). How could I go through these graduate years without your love, friendship and support? Thanks for all the great moments together and for letting me crash on your sofa every now and then. During “the final push”, I could also count on the invaluable support of my colleagues at Vanderbilt University, Emanuelle Oliveira, Earl Fitz, Cathy Jrade, Victoria Burrus and Cynthia Wasick. Thanks for receiving me warmly as part of your team and for giving me the chance to start a professional career as a university professor. Along with our extraordinary students, you make Vanderbilt an exciting place to work every single day. iv Last, but definitively not least, this thesis is dedicated to Professor Walter Moser. Everything started in 2002, when I sent the prestigious Professor Moser a daring little email asking him to accept me as a graduate student. He had never heard of me, but his reply was attentive, encouraging and receptive. I will never forget the words that finished that first email: “Quando é que você gostaria de começar os estudos aqui?” Since then, Professor Moser has been present in every academic word I have ever written. This thesis is a continuation of that email; it is the result of nine years of endless conversations about everything, of rigorous academic mentoring and of an intense intellectual and personal exchange. Professor Moser, your generosity, kindness, academic rigor, good humor, and brilliance will be an eternal source of inspiration to me. After nine years of partnership, all I can say is that I want to enjoy the privilege of being “seu fiel escudeiro” for at least ninety more years. Thank you for everything! v Contents Abstract …………………………………………………………………………….. i Acknowledgments …………………………………………………………………. iii 1. Introduction ……………………………………………………………………. 1 1.1 The contemporary scholarly debate on mobility …………………………. 3 1.2 Mobility applied to the study of contemporary entertainment …………… 6 1.3 A blueprint of the dissertation …………………………………………… 9 1.4 Tecnobrega: A Latin American case study ………………………………. 20 2. On Mobility ……………………………………………………………….……. 24 2.1 Cultural mobility: a genealogic approach …………………………..…… 24 2.2 Mobility in the social sciences: contemporary uses of the term …………. 45 2.2.1 Cultural mobility and the “cultural omnivore theory” …………….. 45 2.2.2 The “mobility turn” in the social sciences ………………………… 47 3. On the Entertainment Industry ……………………………………………..….. 52 3.1 The Entertainment Industry: searching for a space of investigation …… 52 3.2 The Entertainment Industry: towards a definition ……………………... 67 3.3 Scholarly approaches on “entertainment”: debates and confrontations ……………………………………………………… 71 4. Cultural mobility and the entertainment industry: applications and interfaces …………………………………………………………………. 93 4.1 Aisthesic mobility: focalizing on the mobile nature of entertainment products …………………………………………………. 93 vi 4.2 Kinesthesics …………………………………………………………….. 109 4.2.1 Kinesthesics and the economic dimension of the contemporary entertainment industry ………………………….. 129 4.2.2 Kinesthesics and technology ………………………………..…. 132 4.3 Intermediality ……………………………………………….…………. 134 4.3.1 Franchise media crossover and aisthesic mobility …….……… 142 4.3.2 Remediation and aisthesic mobility …………………….…….. 148 5. Aisthesic mobility and the tecnobrega industry: the case of aparelhagem parties ………………………………………………………….. 155 5.1 Tecnobrega in Pará: a brief history ……………………………..……… 156 5.2 The tecnobrega industry today ……………………………….………… 161 5.3 Aparelhagem parties: a kinesthesic experience ……………….……….. 176 5.4 Kinesthesics, technology and the economic dimension of the aparelhagem business ………………………………………………….. 185 5.5 Kinesthesics, technology and the socio-cultural
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