Uma Análise Do Feminino Através Das Personagens Nami E Nico Robin No Anime

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Uma Análise Do Feminino Através Das Personagens Nami E Nico Robin No Anime UNIVERSIDADE FEDERAL DE SANTA MARIA CENTRO DE CIÊNCIAS SOCIAIS E HUMANAS DEPARTAMENTO DE CIÊNCIAS DA COMUNICAÇÃO CURSO DE COMUNICAÇÃO SOCIAL – PRODUÇÃO EDITORIAL O FENÔMENO MIDIÁTICO ONE PIECE: UMA ANÁLISE DO FEMININO ATRAVÉS DAS PERSONAGENS NAMI E NICO ROBIN NO ANIME MONOGRAFIA Francieli Jordão Fantoni Santa Maria, RS, Brasil 2015 Francieli Jordão Fantoni O FENÔMENO MIDIÁTICO ONE PIECE: UMA ANÁLISE DO FEMININO ATRAVÉS DAS PERSONAGENS NAMI E NICO ROBIN NO ANIME Monografia apresentada à Comissão de Trabalho de Conclusão de Curso, do Departamento de Ciências da Comunicação da Universidade Federal de Santa Maria como requisito para obtenção do Grau de Bacharel em Comunicação Social – Produção Editorial. Santa Maria, RS 2015 Universidade Federal de Santa Maria Centro de Ciências Sociais e Humanas Departamento de Ciências da Comunicação Curso de Comunicação Social – Produção Editorial A Comissão Examinadora, abaixo assinada, aprova a Monografia O FENÔMENO MIDIÁTICO ONE PIECE: UMA ANÁLISE DO FEMININO ATRAVÉS DAS PERSONAGENS NAMI E NICO ROBIN NO ANIME elaborada por Francieli Jordão Fantoni como requisito parcial para obtenção do grau de Bacharel em Comunicação Social – Produção Editorial COMISSÃO EXAMINADORA: ______________________________________ Dra. Cristina Marques Gomes (Presidente/Orientadora) _______________________________________ Dra. Marília Barcellos __________________________________________ Me. Janayna Barros Santa Maria, RS 2015 É sempre para e por vocês: Maritê Jordão e Eligio Fantoni AGRADECIMENTOS Após cinco anos finalizo o curso de Produção Editorial. Durante este período fiz amigos, convivi com pessoas maravilhosas, aprendi e ensinei. Ingressei na primeira turma do curso (2010) e depois de um recesso de um ano, devido ao ingresso no mestrado em comunicação, retorno para me graduar como produtora editorial. Neste sentido, agradeço a coordenadora do curso de Produção Editorial, Marília Barcellos, por me auxiliar neste período de readaptação ao curso. Obrigada pela atenção e carinho dedicado! Agradeço também a minha orientadora que foi corajosa o suficiente para embarcar na minha temática e me assessorar durante o processo. Agradeço pelas conversas, orientações, dicas e conselhos! Quero também prestar meus agradecimentos para o departamento de Produção Editorial por estarem desenvolvendo um excelente trabalho. Ao longo destes cinco anos pude ver o enorme crescimento do curso e isto é fruto de um trabalho que se reverte em estudantes cada vez mais motivados. Aos meus professores, obrigada! Em especial, quero agradecer a prof. Viviane Borelli pela longa jornada juntas e por ser uma pessoa maravilhosa em todos os sentidos. Conselheira, amiga e um modelo de profissional. Um dia chego lá! Um agradecimento também para a mestre Janayna Barros pelas indicações de obras para estudo sobre gênero, identidade e representação, obrigada! E por fim, mas não menos importante, à minha amiga querida Cibele Zardo pelo carinho de sempre e alegria que traz aos meus dias; e aos meus pais que sempre me incentivaram a continuar os meus estudos. Vocês são tudo na minha vida! Amo vocês! 6 RESUMO: Criada por Eiichiro Oda, One Piece é uma obra japonesa lançada em forma de mangá (1994) e em anime (1999). A série é a mais vendida no Japão e conta a história de uma tripulação pirata comandada pelo capitão Monkey D. Luffy, personagem principal. Nami e Nico Robin são as únicas mulheres da tripulação e possuem discursos distintos. Neste sentido, pretende-se investigar a representação feminina no anime One Piece, baseado na performance discursiva e imagética das duas personagens. Opta-se por ver este tema pelo olhar do estudo de caso múltiplo comparativo (BECKER, 2000), além de utilizar como ferramenta metodológica a análise semiológica proposta por Eliseo Verón (2004) e Adair Caetano Peruzzolo (1998), de forma a descrever discursivamente, o feminino através das ações durante a trama e identificar as diferentes construções da figura feminina. One Piece trata-se de um fenômeno editorial e cinematográfico, portanto, midiático. Observa- se, por fim, que Nico Robin representa a mulher madura e Nami a transição menina- mulher. PALAVRAS-CHAVE: Representação feminina; Midiatização; Análise Semiológica; Anime; One Piece. ABSTRACT: One Piece is a Japanese work created by Eiichiro Oda and launched, firstly, as mangá (1994) and, later, as anime (1999). The series is the biggest selling and it tells the story of a pirate crew commanded by the captain Mokey D. Luffy, which is the main character. Nami and Nico Robin are the only women in the crew and they have different discourses. In this sense, it is aimed to investigate the female representation on anime One Piece focusing the discursive and imagery of these two characters. It is opted for looking at this theme by the lenses of comparative multiple case study (BECKER, 2000), besides using as methodological tool the semiologic analysis proposed by Eliseo Verón (2004) and Adair Caetano Peruzzolo (1998), in order to describe discursively the feminine through the actions during the plot and also identifying the different constructions of female figure. One Piece is an editorial and cinematographic phenomenon. From these characteristics, it can be considered as mediatic. It is observed, as a last consideration, that Nico Robin represents the mature woman and Nami is the girl in a transition to become a woman. KEY-WORDS: Female Representation; Mediatilization; Semiologic Analysis; Anime; One Piece. 7 LISTA DE FIGURAS Figura 1: Exemplo de mangá shoujo: Kimi ni Todoke ....................................................27 Figura 2: Exemplo de mangá shounem: One Piece ..........................................................28 Figura 3: O comportamento do setor editorial brasileiro entre 2012 a 2013 .....................31 Figura 4: Nicho Obras Gerais e seus faturamentos ..........................................................32 Figura 5: Canais de distribuição ......................................................................................33 Figura 6: O comportamento do setor editorial brasileiro de 2013 a 2015 .........................34 Figura 7: Faturamento por classificação ..........................................................................34 Figura 8: Forças competitivas que definem estratégias de mercado .................................35 Figura 9: Personagens do anime e seus dubladores ..........................................................43 Figura 10: Nami antes do timeskip ..................................................................................61 Figura 11: A inspiração de Oda para a criação de Nami ...................................................62 Figura 12: Nami após o timeskip .....................................................................................63 Figura 13: Nico Robin antes do timeskip .........................................................................67 Figura 14: A inspiração de Oda para a criação de Nico Robin .........................................68 Figura 15: Robin após o timeskip ....................................................................................69 Figura 16: Nami como vilã ..............................................................................................81 Figura 17: Cenas escolhidas – Nami vilã .........................................................................83 Figura 18: Nami como donzela ........................................................................................85 Figura 19: Cenas escolhidas – Nami donzela ...................................................................88 Figura 20: Nami como sedutora .......................................................................................91 Figura 21: Cenas escolhidas – Nami sedutora .................................................................91 Figura 22: Nami como heroína ........................................................................................93 Figura 23: Cenas escolhidas – Nami heroína ...................................................................94 Figura 24: Robin como vilã ...........................................................................................102 Figura 25: Cenas escolhidas – Robin vilã ......................................................................104 Figura 26: Robin como donzela .....................................................................................108 Figura 27: Cenas escolhidas – Robin donzela ...............................................................110 Figura 28: Robin como sedutora ....................................................................................112 Figura 29: Cenas escolhidas – Robin sedutora ...............................................................113 Figura 30: Robin como heroína .....................................................................................115 Figura 31: Cenas escolhidas – Robin Heroína ...............................................................116 8 SUMÁRIO: RESUMO .......................................................................................................................06 ABSTRACT ..................................................................................................................06 LISTA DE FIGURAS ...................................................................................................07 1 INTRODUÇÃO ........................................................................................................10 2 O MERCADO EDITORIAL E MIDIÁTICO DO MANGÁ E
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