Desenho Animado: Entretenimento, Ideologia E Cultura De Massa

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Desenho Animado: Entretenimento, Ideologia E Cultura De Massa UNIVERSIDADE DE SOROCABA PRÓ-REITORIA ACADÊMICA PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO E CULTURA Cristiane Giglio Lamas DESENHO ANIMADO: ENTRETENIMENTO, IDEOLOGIA E CULTURA DE MASSA Sorocaba/SP 2012 2 Cristiane Giglio Lamas DESENHO ANIMADO: ENTRETENIMENTO, IDEOLOGIA E COMUNICAÇÃO DE MASSA Dissertação apresentada à Banca Examinadora do Programa de Pós-Graduação em Comunicação e Cultura da Universidade de Sorocaba, como exigência parcial para obtenção do título de Mestre em Comunicação e Cultura . Orientador: Prof. Dr. Paulo Braz Clemencio Schettino Sorocaba/SP 2012 3 Cristiane Giglio Lamas DESENHO ANIMADO: ENTRETENIMENTO, IDEOLOGIA E COMUNICAÇÃO DE MASSA Dissertação aprovada como requisito parcial para obtenção do grau de Mestre no Programa de Pós- Graduação em Comunicação e Cultura da Universidade de Sorocaba. Aprovado em: BANCA EXAMINADORA: ________________________________________ Prof. Dr. Waldomiro de C. S.Vergueiro, ECA-USP ________________________________________ Prof. Dr. Maurício Reinaldo Gonçalves, UNISO ________________________________________ Prof. Dr. Paulo Braz Clemencio Schettino, UNISO (Orientador e Presidente da Banca) 4 Aos meus verdadeiros heróis, aqueles que me ensinaram que a vida é como um desenho animado: foi preciso dar movimento e cor, para que ela pudesse ter alma. Aos meus pais, meus filhos e esposo, todo amor que houver nesta vida. 5 AGRADECIMENTOS A parte dos agradecimentos, por incrível que pareça, foi a mais difícil de escrever. Isso, porque eu tive receio de esquecer o nome de alguém que, durante esta trajetória, foi parte importante para esta pesquisa. Sendo assim, antecipo as minhas desculpas. Primeiramente, meus agradecimentos são direcionados a Deus, princípio e fim, Senhor dos meus passos e a quem eu me inclino todos os dias para agradecer a vida e as pessoas que me cercam. Aos meus pais, meus maiores incentivadores, sem a perseverança deles, a paciência e o amor incondicional, talvez eu não tivesse chegado a tanto. Aos meus filhos, Thaysa e Lucas, os grandes inspiradores desta caminhada. Foi por vocês e tão somente por vocês, que eu mergulhei de cabeça na vida acadêmica, para servir de exemplo e provar que sempre valerá a pena o conhecimento. Ao meu esposo, Fábio, o entusiasta maior, que mergulhou comigo nesta empreitada, modificou a sua rotina e me deu o maior suporte para que eu conseguisse chegar aqui. Agradeço ainda ao meu orientador, Paulo B. C. Schettino que, com humor e muita sabedoria, me conduziu pelas trilhas subjetivas e abstratas do fantástico mundo dos desenhos animados. A você, meu caro, muito obrigada: pela paciência, pelos materiais disponibilizados, pelos filmes, pelas informações que não estão nas páginas de livros, pelas sugestões, pela compreensão em não receber a demanda na data marcada, enfim, por tudo. Ao professor doutor Osvando José de Morais, coordenador do Mestrado em Comunicação e Cultura da Universidade de Sorocaba, pela presença constante em todos os momentos, sempre tirando uma “carta da manga” e trazendo novidades e materiais para enriquecer o tema. Aos professores doutores Maurício Reinaldo Gonçalves, da Universidade de Sorocaba, e Waldomiro de Castro Santos Vergueiro, da USP, que, com humildade e entusiasmo aceitaram participar da banca desta dissertação. Aos professores doutores do Mestrado de Comunicação e Cultura, aos colegas de classe, funcionários e parceiros da Universidade de Sorocaba, muito obrigada. Por fim, aos meus ídolos e principais motivadores desta empreitada: Pica-Pau e sua 6 turma, Homer Simpson e família, Scooby-Doo e Salsicha, Branca de Neve e seus Anões e todos os desenhos animados que construíram a minha dissertação e fizeram parte da minha vida. A vocês, meus “amiguinhos politicamente incorretos”, a minha admiração e a confirmação de que é possível, mesmo com tantas construções acerca de ideologia, ainda assim, dar boas gargalhadas e viver o lado extraordinário da animação. 7 Ora, Marge! Os desenhos animados não têm nenhum sentido profundo. São apenas rabiscos idiotas que se movem e fazem a gente rir feito bobo. (Homer Simpson, episódio A Verdade Sempre Triunfa) 8 RESUMO O sucesso do desenho animado deve-se muito não apenas à técnica de reprodução do movimento ou à sua primorosa produção, mas, principalmente, às características peculiares que a narrativa possui em captar a atenção do receptor e levá-lo a um estado de distração. Falar de desenho animado é levar em consideração que o desenho foi a primeira linguagem do homem e deu origem às relações sociais. A animação, por estar atrelada à publicidade, uma vez que grande parte dos personagens dos desenhos animados teve sua imagem licenciada, tornou-se uma grande disseminadora de ideologia, por meio do medo e da violência presente em suas narrativas. A proposta a seguir apresenta o desenho animado como responsável também pela construção de valores na sociedade e a disseminação de ideologia por meio do entretenimento. Palavras-chave : desenho animado; ideologia; comunicação de massa; entretenimento 9 ABSTRACT The success of the cartoon is not only related to the technique of the movement or its exquisite production, but mainly to the peculiar characteristics that the narrative has to capture audiences attention of the receiver and take it to a state of distraction. Talking about of cartoons is to consider that the design was the first language of human being and gave rise to social relations. The animation, by being tied to advertising, since most of the cartoon characters had licensed his image, became a great disseminator of ideology, by fear and violence present in their narratives. The proposal below shows how the cartoon is also responsible for the construction of values in society and the spread of ideology through entertainment. Key words: cartoon; ideology; mass media; entertainment. 10 RIASSUNTO Il successo del film d’animazione deve molto non solo alla tecnica del movimento o la sua produzione favolosa, ma particolarmente per le caractteristiche peculliari che la narrazione deve catturare l’attenzione del ricevitore e portalo ad uno stato di distrazione. Parlando di cartone è quello di assumere che il disegno è stata la prima língua dell’uomo e ha dato luogo a relazioni sociali. L'animazione, essendo legato alla pubblicità, dal momento che la maggior parte dei personaggi dei cartoni animati aveva concesso in licenza la sua immagine, divenne un grande divulgatore dell'ideologia, dalla paura e dalla violenza presente nelle loro narrazioni. La proposta qui mostra come il cartone anch’è responsabile per la costruzione di valori nella società e la diffusione delle ideologia attraverso il divertimento. Parole-chiave : film d’animazione; ideologia; mass media ; divertimento 11 SUMÁRIO INTRODUÇÃO .......................................................................................................12 CAPÍTULO 1: UM OLHAR SOBRE O DESENHO ANIMADO ..............................20 1.1 Desenho e linguagem: a comunicação do homem primordial .........................21 1.2 Histórias em Quadrinhos: uma arte em seqüência ..........................................28 1.3 Dos quadrinhos ao cinema: um sopro de vida na ilustração ...........................35 1.4 O desenho animado na TV ..............................................................................41 1.5 A infantilização e antropomorfização nas produções Disney .......................... 44 CAPÍTULO 2 A IMPOSIÇÃO CULTURAL NA CONSTRUÇÃO DE VALORES E DISSEMINAÇÃO DE IDEOLOGIA ........................................................................56 2.1 Cultura de massa e meios de comunicação..................................................... 57 2.2 TV e Cinema: uma breve reflexão ...................................................................68 2.3 Mensagens, conteúdos e imagens nos desenhos animados ..........................78 CAPÍTULO 3: A CULTURA DO MEDO ................................................................82 3.1 O entretenimento que assusta ou o susto que entretém? ...............................83 3.2 A espetacularização da violência no desenho animado: quem representa o quê? .......................................................................................................................88 3.3 Branca de Neve e a representação imagética dos contos de fadas ...............95 3.4 Pica-Pau e os ideais norte-americanos........................................................... 101 CONSIDERAÇÕES ..............................................................................................113 REFERÊNCIAS ....................................................................................................120 12 INTRODUÇÃO O sucesso do desenho animado deve-se muito não apenas à técnica do movimento ou à sua primorosa produção, mas, principalmente, às características peculiares que a Televisão e o Cinema possuem em captar a atenção do receptor, tendo em vista que o conteúdo produzido está associado à condição imagética dos meios. Falar de TV e Cinema é assumir a supremacia da imagem e atribuir a estes meios a responsabilidade como elemento fundamental na disseminação de cultura e ideologia. É pela imagem que o indivíduo se transporta ao mundo da fantasia, o mundo que age exatamente na contramão de sua realidade. É neste mundo da fantasia, que o desenho animado apresenta ao indivíduo um momento de descanso, por meio do entretenimento, e o insere num contexto de padrões culturais e de consumo. Analisar um desenho animado feito para ser exibido na TV e no Cinema implica aprofundar-se em seu discurso, em sua linguagem
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