A Cibercultura E O Cinema De Shinya Tsukamoto

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A Cibercultura E O Cinema De Shinya Tsukamoto INSTITUTO SUPERIOR DE CIÊNCIAS DO TRABALHO E DA EMPRESA DEPARTAMENTO DE SOCIOLOGIA A CIBERCULTURA E O CINEMA DE SHINYA TSUKAMOTO: UM ESTUDO A PARTIR DO DÍPTICO TETSUO Marta Sofia da Luz Marcos Pinho Alves Dissertação submetida como requisito parcial para obtenção do grau de Mestre em Comunicação, Cultura e Tecnologias de Informação Orientador: Prof. Doutor José Luís Garcia Junho, 2007 À memória dos meus avós, Constança Carmelita Luz e João da Graça Marcos 2 RESUMO Esta dissertação centra a sua análise na relação entre a cibercultura, a figura do cineasta Shinya Tsukamoto no contexto do cinema nipónico e o díptico da sua autoria constituído pelos filmes homónimos, Tetsuo (Tetsuo: O Homem de Aço, 1989) e Tetsuo II: Body Hammer (Tetsuo II: O Ciberpunk , 1992). Numa primeira etapa, elaboramos uma proposta de compreensão do conceito de cibercultura, noção recente e ainda pouco estabilizada, tentando esboçar aqueles que se nos afiguram como os seus elementos mais relevantes. Esta contribuição é realizada através do cruzamento do pensamento de diversos teóricos e de algumas das principais aproximações conceptuais delineadas em torno daquela categoria. Na sequência desta sistematização, procedemos a uma análise detalhada do imaginário conceptual e artístico de Tsukamoto, inserindo-o no contexto da cinematografia do seu país de origem e das relações que esta tem mantido desde a sua génese com o Ocidente. O propósito desta parte da pesquisa é estabelecer pontos de relacionamento entre o cinema de Tsukamoto e o âmbito cibercultural contemporâneo. De forma a aprofundar esta reflexão, na derradeira parte da investigação efectuamos uma análise ao díptico Tetsuo com o objectivo de aceder à forma como se expressa aquele imaginário quer do ponto de vista do conteúdo, quer ainda dos pontos de vista narrativo, expressivo e técnico. Palavras-chave: Cibercultura, Cinema, Shinya Tsukamoto, Tecnociência 3 ABSTRACT This study analyses the relation between cyberculture, the filmmaker Shinya Tsukamoto, in the broad context of Japanese cinema and his two homonym films, Tetsuo ( Tetsuo: Iron Man, 1989) and Tetsuo II: Body Hammer (Tetsuo II: The Body Hammer, 1992). First we try to understand the recent and not yet stabilized notion of cyberculture, determining its most relevant aspects. This contribution is done by analyzing the thought of different thinkers and some of their main ideas in that field of discussion. After that, we present a detailed analyse of Shinya Tsukamoto’s conceptual and artistic imaginary, in the context of the cinematography of Japan unveiling its relations with Occidental cinema from its beginning. We try to establish some relation points between the cinema of Tsukamoto and the field of cyberculture. In the last part of our investigation we analyse the diptych Tetsuo in order to understand how that imaginary is expressed in terms of it’s themes and narrative, expressive and technical elements. Key words: Cyberculture, Cinema, Shinya Tsukamoto, Technoscience 4 AGRADECIMENTOS A todos os que contribuíram para este trabalho: Ao Prof. Doutor José Luís Garcia, orientador desta dissertação, pelas iluminadas lições que me proporcionou em cada uma das nossas muitas reuniões e conversas, pelas pertinentes e sensatas opiniões, propostas, conselhos e correcções, pela constante disponibilidade e interesse pelo progresso do trabalho e, especialmente, pelo permanente incentivo e amizade que me dedicou. Às minhas colegas e amigas Ana Maria Pessoa e Margarida Graça que, desde o primeiro dia, me integraram na sua equipa de trabalho de tantos anos e com quem tenho podido aprender tanto a nível pessoal e profissional. Aos meus pais, Atílio e Dália Alves, por todo o apoio e estímulo manifestado ao longo deste trabalho. E pela viagem a Londres. Ao Pedro, por ter partilhado comigo este percurso, por ter visto comigo todos os filmes, por ter ouvido e comentado entusiasticamente o meu relato das leituras, por ter acreditado sempre que iríamos chegar ao fim. A Wim Wenders que me ajudou a superar muitas das minhas angústias em relação ao processo de escrita, ao ter revelado: (…) Como de cada vez que tenho de escrever alguma coisa, chegarei muito tarde, depois do deadline. Nunca a escrita me saiu de outro modo. A escrita é o medo: um argumento, uma carta, é sempre o mesmo, as frases chegam inevitavelmente tarde demais, esta parece ser a sua essência. (editorial para o caderno n.º 400 de Cahiers do Cinéma em A Lógica das Imagens, 1990) A todos os autores que me enriqueceram intelectualmente com as suas ideias, a sua escrita e as suas imagens. 5 ÍNDICE Notas Prévias 8 1. INTRODUÇÃO 10 1.1. Apresentação do estudo 10 1.2. Motivação e pertinência 13 1.3. Objectivos e questões de investigação 15 1.4. Metodologia 18 1.5. Estrutura 21 2. CIBERCULTURA: UMA PROBLEMATIZAÇÃO DO CONCEITO 22 2.1. Aproximações ao conceito 23 2.2. Conclusão 42 3. SHINYA TSUKAMOTO: CONTEXTO E TEMÁTICAS DA SUA FILMOGRAFIA 44 3.1. O contexto do imaginário 46 3.2. Génese dos filmes: origens temáticas e expressivas 54 3.3. O trabalho do realizador no contexto do cinema japonês 60 3.4. Temáticas recorrentes na obra de Shinya Tsukamoto 74 3.5. Conclusão 77 4. CIBERCULTURA NO CINEMA DE SHINYA TSUKAMOTO: O DÍPTICO TETSUO 79 4.1. Os filmes 80 4.1.1. Tetsuo ( Tetsuo: O Homem de Aço ) 80 4.1.2. Tetsuo II: Body Hammer ( Tetsuo II: O Ciberpunk ) 84 4.2. Monstros de Tamanho Normal – O corpo como lugar de intervenção 90 4.3. O Grande Mundo Analógico – Regresso ao território 99 4.4. Game Over – Visões do fim e do recomeço 103 6 4.5. Conclusão 115 5. EPÍLOGO 118 BIBLIOGRAFIA 122 Bibliografia citada 122 Bibliografia consultada 129 FILMOGRAFIA 133 Filmes analisados 133 Filmes consultados 133 ANEXO Filmografia de Shinya Tsukamoto como cineasta 137 7 Notas prévias: Ao longo do texto principal desta dissertação os filmes mencionados serão sempre referidos pelo seu título original, sendo o título português (à excepção dos casos em que este não exista) e o ano de produção indicados entre parênteses. No caso dos filmes japoneses, será indicado o seu título original adaptado ao alfabeto latino e, à semelhança dos restantes, será indicado o título português e o ano de produção. No entanto, sempre que estes não possuam um título em português, indicaremos entre parênteses o título em inglês para uma melhor compreensão do significado, embora por vezes este possa não ser literal. No caso de existir necessidade de esclarecimentos adicionais estes serão acrescentados em nota de rodapé. Como se explicitará na introdução desta dissertação, o objecto de estudo toma como base a figura do cineasta Shinya Tsukamoto e o díptico constituído pelos seus filmes homónimos Tetsuo ( Tetsuo: O Homem de Aço , 1989) e Tetsuo II : Body Hammer (Tetsuo II: O Ciberpunk , 1992). Assim, de modo a tornar clara a exposição das ideias apresentadas salientamos que quando pretendermos aludir a cada um dos filmes em particular indicaremos o seu título completo, com a indicação entre parênteses do título português e ano de produção e quando pretendermos fazer referência ao díptico utilizaremos apenas a designação Tetsuo . A não utilização do itálico na grafia do nome Tetsuo indica que nos estamos a referir à personagem presente em ambos os filmes. No Japão o nome de família antecede o nome próprio: por exemplo, Tsukamoto (nome de família), Shinya (nome próprio). Contudo, neste trabalho, para não suscitar dúvidas quanto à identidade dos autores a que pretendemos aludir, optámos pela convenção ocidental já que foi de acordo com esta formulação que os seus nomes se tornaram conhecidos no Ocidente. 8 Buy it, use it, break it, fix it, Crash it, change it, mail it - upgrade it, Charge it, point it, zoom it, press it, Snap it, work it, quick - erase it, Write it, cut it, paste it, save it, Load it, check it, quick - rewrite it, Plug it, play it, burn it, rip it, Drag and drop it, zip - unzip it, Lock it, fill it, call it, find it, View it, code it, jam - unlock it, Surf it, scroll it, pause it, click it, Cross it, crack it, twitch - update it, Name it, read it, tune it, print it, Scan it, send it, fax - rename it Touch it, bring it, pay it, watch it, Turn it, leave it, stop - format it . (…) Daft Punk, Technologic 9 1. INTRODUÇÃO 1.1. Apresentação do estudo No subsolo de Metropólis, uma miríade de trabalhadores indiferenciados emula comportamentos maquínicos operando, ininterrupta e sincopadamente, dispositivos mecânicos. Tal como em Powerhouse Mechanic de Lewis Hine, a performatividade do corpo funde-se com a engrenagem técnica. À superfície, o cientista obcecado com o contínuo incremento da eficácia produtiva anuncia a criação do robô humanóide capaz de superar a falibilidade orgânica. HAL insurge-se contra a vontade humana e comanda, com o seu cérebro de silício, a aniquilação da tripulação da nave espacial Discovery. O computador despreza, contudo, a imprevisibilidade do comportamento do seu oponente, factor que redunda na sua derrota. Assistimos ao desmantelamento da máquina e ao ressurgimento do humano. Perante o olhar omnipresente dos ecrãs publicitários que povoam um cenário eternamente nocturno, culmina o confronto entre o Homem e o seu duplo artificial, modelado à sua imagem e semelhança. O andróide, que ousa questionar o criador sobre a finitude do seu tempo vital, reconhece na morte a diluição da memória, artifício fundador da subjectividade que o equivale ao humano. As máquinas de inteligência artificial venceram a batalha contra a Humanidade. Os humanos foram tornados escravos e a realidade redefinida em função dos interesses do opressor.
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