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¡Somos Los Monos De El Espectador! Estudio Sobre Los Procesos De Apropiación E Hibridación En La Historieta De Prensa En Colombia Entre 1980 -1990

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¡Somos Los Monos De El Espectador! Estudio Sobre Los Procesos De Apropiación E Hibridación En La Historieta De Prensa En Colombia Entre 1980 -1990 ¡Somos Los Monos de El Espectador! Estudio sobre los procesos de apropiación e hibridación en la historieta de prensa en Colombia entre 1980 -1990. María Auxiliadora Toro Molinares Trabajo de grado presentado como requisito para optar por el título de Historiadora Director: Andrés Jiménez Ángel Escuela de Ciencias Humanas Programa de Historia Universidad del Rosario Bogotá – Colombia 2021 AGRADECIMIENTOS En primer lugar, deseo agradecer a Dios por permitirme llegar hasta este punto de mi carrera profesional. También, quiero agradecer a mi amada madre, Rita del Carmen Molinares Cervantes, por ofrecerme la oportunidad de estudiar. A ella, mi fuente de inspiración, le ofrezco el presente escrito. De igual modo, me gustaría dedicar este trabajo a mi padre Wilfredo Arturo Toro Rodríguez, el cual falleció durante la etapa final del presente proyecto. Espero hacer honor a su memoria, siendo un ejemplo de perseverancia. Además, deseo agradecer a mi fiel mascota, Dante, por aliviar mis preocupaciones en los instantes de confusión. Igualmente, debo agradecer a mis hermanos mayores, Wilfredo y Eduardo Toro Molinares, por sus palabras de apoyo y buenas intenciones. Sin duda, no sería correcto omitir el gran impacto de mi mejor amigo y colega. Gracias a Mateo Reyes Escolar por su dedicación y buena voluntad. Sin sus consejos, sugerencias, conocimientos y ánimos, este documento no sería una realidad. Por otro lado, me permito agradecer a la Universidad del Rosario por su formación integral. A mis maestros y maestras por compartir sus experiencias y saberes. Gracias a mi director de tesis, Andrés Jiménez Ángel, por su infinita paciencia y disposición al guiarme en este proceso. Finalmente, me gustaría dar un agradecimiento especial a los historietistas y miembros del equipo editorial de Los Monos de El Espectador por brindarme parte de su tiempo personal para compartir su obra. Este texto se nutrió de sus valiosas vivencias, de las cuales su maravillosa obra queda como testigo. Espero haber hecho con esto un pequeño homenaje a sus trayectorias y a la huella que dejaron con el suplemento dominical. 2 TABLA DE CONTENIDO 1. INTRODUCCIÓN ..............................................................................................................................8 1.1 CÓMIC COLOMBIANO: UNA LECTURA A CONTRACORRIENTE. ...............................................................8 1.2. MARCO TEÓRICO........................................................................................................................................... 11 1.2.1. Una breve definición del cómic. ..................................................................................................................... 12 1.2.2 La apropiación desde la traducción, los estilos y formatos. .............................................................. 15 1.2.3. La hibridación desde el estilo y la narrativa ............................................................................................ 21 1.3. METODOLOGÍA Y FUENTES. ....................................................................................................................... 24 1.4. ESTADO DEL ARTE. ....................................................................................................................................... 31 1.5. SEGMENTOS DE ANÁLISIS ............................................................................................................................ 38 2. CAPÍTULO UNO ............................................................................................................................. 40 LA INDUSTRIA EDITORIAL EN COLOMBIA Y LOS PROCESOS DE APROPIACIÓN EN LOS MONOS DE EL ESPECTADOR ENTRE 1980 - 1990. ............................................................ 40 2.1. LA CONSTITUCIÓN DEL CÓMIC EN COLOMBIA: LA IMPORTACIÓN DE UN MODELO DE PUBLICACIÓN. ......................................................................................................................................................... 40 2.1.1. La historieta estadounidense entre 1960 y 1980: la consolidación de las industrias. .......... 40 2.1.2. Monachitos, monitos, monos: Colombia como país receptor. ........................................................ 42 2.1.3. El cómic colombiano en los sesenta: hacia una producción local................................................. 46 2.2. LAS ARTES GRÁFICAS Y EL BOOM DE LA HISTORIETA: PANORAMA DE LA INDUSTRIA EDITORIAL ENTRE 1970 Y 1980. ........................................................................................................................ 49 2.2.1 La historieta como un producto cultural con proyección comercial. ............................................. 51 2.2.2 La industrialización del sector editorial: Las historietas y la tecnificación de las Artes Gráficas entre 1970 - 1980. ........................................................................................................................................... 55 2.2.3 La codicia de los periódicos: el impulso para el “boom” de historietas. .................................. 58 2.3. LOS MONOS DE EL ESPECTADOR: LAS HISTORIETAS Y TIRAS CÓMICAS DE PRENSA COMO CONTENIDO ADICIONAL......................................................................................................................................... 63 2.3.1. La estrategia de El Espectador: El contenido adicional ................................................................... 63 2.3.2. El Espectador en la década de 1980: “Seguimos adelante” ............................................................ 66 2.3.3. Los Monos de El Espectador: La inauguración de un proyecto .................................................... 68 2.3.4. La construcción de Los Monos: El rol del editor ................................................................................... 71 2.3.5. Las secciones coleccionables de Los Monos ........................................................................................... 73 2.4. EL PROCESO DE APROPIACIÓN EN EL CASO DE LA TRADUCCIÓN DE THE LOVE PIRATE, GARFIELD Y JIM HENSON’S THE MUPPETS. ................................................................................................... 76 2.4.1 The Love Pirate: Un tabloide a modo de Comic Book .......................................................................... 76 2.4.2 The Love Pirate: la construcción de un nuevo emisor .......................................................................... 83 2.4.3 The Love Pirate : El montaje y la importancia de la organización argumental ....................... 85 2.4.4. The Love Pirate: La traducción y el valor del diálogo. ....................................................................... 89 2.4.5. Otros casos de traducción editorial: Garfield (1976) y Jim Henson’s The Muppets (1981) ..................................................................................................................................................................................................... 93 3 3. CAPÍTULO DOS ........................................................................................................................... 103 LA HISTORIETA DE PRENSA ENTRE 1980 Y 1990. LA HIBRIDACIÓN COMO UN MEDIO DE RENOVACIÓN DEL CÓMIC EN COLOMBIA. ...................................................................... 103 3.1. EL DISPOSITIVO EDITORIAL COMO UNA ESTRUCTURA OBLICUA. ................................................. 103 3.1.1. Los Monos: Historietas nacionales e Historietas extranjeras ........................................................ 103 3.1.2. “Llego el Cartero”: El Canal de comunicación entre editores, autores y lectores ............ 107 3.1.3. Historietas nacionales: Negociaciones entre editores y autores ................................................. 109 3.2. “SOMOS LOS MONOS DE EL ESPECTADOR” ......................................................................................... 112 3.3. HISTORIETAS HÍBRIDAS. LA FUSIÓN DE ESTILOS Y NARRATIVAS. ............................................... 128 3.3.1 La ciencia ficcion de Bernardo Elías Ríos: Una propuesta sugestiva en Los Monos de El Espectador ........................................................................................................................................................................... 128 3.3.2 Jorge Peña y cómo construir un superheroe: Tukano el cacique de la selva amazonica. 141 3.3.3 Los Cuidapalos: humor desde la tragedia ambiental. ......................................................................... 151 CONCLUSIONES ................................................................................................................................... 170 BIBLIOGRAFÍA ..................................................................................................................................... 177 ANEXOS ................................................................................................................................................... 186 6.1. ENTREVISTA A CLARA HELENA CANO DE GUERRERO. .................................................................. 186 6.1.2. Entrevista. ............................................................................................................................................................... 186 6.2. ENTREVISTA A JAIME LÓPEZ. ................................................................................................................ 196 6.2.1. Descripción. ..........................................................................................................................................................
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