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CHRISTIAN HUGO PELEGRINI Sujeito Engraçado

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CHRISTIAN HUGO PELEGRINI Sujeito Engraçado 1 CHRISTIAN HUGO PELEGRINI Sujeito engraçado: a produção de comicidade pela instância de enunciação em Arrested Development Tese apresentada à Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Doutor em Ciências pelo Programa de Meios e Processos Audiovisuais. Linha de Pesquisa: Poéticas e Técnicas Orientador: Prof. Dr. Arlindo Ribeiro Machado Neto São Paulo 2014 2 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Pelegrini, Christian Hugo Sujeito Engraçado: a produção de comicidade pela instância de enunciação em Arrested Development / Christian Hugo Pelegrini. -- São Paulo: C. Pelegrini, 2014. 259 p.: il. Tese (Doutorado) - Programa de Pós-Graduação em Meios e Processos Audiovisuais - Escola de Comunicações e Artes / Universidade de São Paulo. Orientador: Arlindo Machado Bibliografia 1. Televisão 2. Enunciação 3. Comédia 4. Sitcom 5. Arrested Development I. Machado, Arlindo II. Título. CDD 21.ed. - 791.45 3 Nome: Christian Hugo Pelegrini Título: Sujeito engraçado: a produção de comicidade pela instância de enunciação em Arrested Development Tese apresentada à Escola de Comunicações e Artes da Universidade de São Paulo para obtenção do título de Doutor em Ciências pelo programa de Meios e Processos Audiovisuais. Aprovado em : Banca Examinadora Prof. (a) Dr.(a) _____________________________Instituição: _________________ Julgamento: _____________________ Assinatura: __________________________ Prof. (a) Dr.(a) _____________________________Instituição: _________________ Julgamento: _____________________ Assinatura: __________________________ Prof. (a) Dr.(a) _____________________________Instituição: _________________ Julgamento: _____________________ Assinatura: __________________________ Prof. (a) Dr.(a) _____________________________Instituição: _________________ Julgamento: _____________________ Assinatura: __________________________ Prof. (a) Dr.(a) _____________________________Instituição: _________________ Julgamento: _____________________ Assinatura: __________________________ 4 5 Para Daniel. Que ele ria muito. 6 7 Aos meus pais; Aos meus amigos: César Zamberlan, Louis L. Kodo, Patrício Dugnani, Fulgêncio Antonio Aquino Duarte; Aos professores do programa com quem tive a honra de passar algum tempo e carregar a experência para o resto da vida: Dr. Arlindo Machado, Dra. Maria Dora Mourão, Dr. Almir Almas, Dr. Eduardo Peñuela Cañizal, Dra. Rosana Lima Soares, Dr. Pedro Guimarães; Ao meu orientador, Professor Dr. Arlindo Machado, por três coisas: pelas orientações sempre ricas e generosas, por ter escrito A Arte do Vídeo, que li ainda na graduação e tive certeza de estar no caminho certo, e por ter escrito O Sujeito na Tela, que me inspirou nesta pesquisa; Ao amigo Professor Dr. Rogério de Almeida, por ter me convencido a fazer o doutorado; À minha esposa (e agora mãe do meu filho), Ara, minha pessoa favorita no mundo. Muito obrigado. 8 9 RESUMO A pesquisa se volta para os mecanismos de enunciação nos sitcoms de câmera única e a produção de comicidade por parte do sujeito enunciador que emerge do texto audiovisual. O trabalho inicia com uma abordagem do gênero sitcom, considerando-o como uma categoria cultural, analisando, em seguida, como o sitcom se constituiu, ao longo das décadas de sua história, em uma variedade de temas e formas que negam qualquer tentativa de abordagem definicional do gênero.Propomos, então, uma análise da oposição entre os modos de produção recorrentes no gênero, o multicâmera e o câmera única. Nestes, observam-se procedimentos de encenação, cinegrafia e edição que produzem material audiovisual com características bem distintas, opondo formas textuais diferentes no interior de um mesmo gênero. Tais modos de produção (e tais formas textuais) vão se articular com as teorias da subjetividade audiovisual na identificação de uma instância mediadora dos diferentes sitcoms. Para tal, buscamos compreender o processo de enunciação audiovisual, perscrutando as formulações oriundas da linguística e revisando o arcabouço teórico das teorias da enunciação na literatura e, especialmente, no cinema. Buscamos também o arcabouço teórico que instrumentaliza a pesquisa para identificar os mecanismos de levam ao riso, revisando as principais formulações teóricas que explicam o fenômeno (a Teoria da Superioridade, a Teoria da Incongruência e a Teoria do Alívio). A partir de tais formulações, propomos uma taxonomia dos sintagmas cômicos que nos permita isolar os ocorrências de gags, eventos cômicos e mordacidade. É neste ponto que isolamos o sujeito da enunciação no contexto do sitcom, observando suas diferenças no sitcom de multicâmera e no sitcom de câmera única. Tomado este último, identificamos a pluralidade de estilos que resulta de mudanças na estética televisual americana ao longo das décadas de 1980 e 1990, em fenômenos conhecidos como televisualidade e continuidade intensificada, para chegar aos single camera sitcoms do começo do século XXI. Desta leva de programas, tomamos nosso objeto de análise, o sitcom Arrested Development, para analisar de que forma o seu sujeito enunciador vai além de sua função de mediador, ultrapassando-a em favor de uma atitude incisiva como comentador da diegese, francamente fazendo rir pelo modo como mostra personagens e situações. Palavras-Chave: enunciação audiovisual, sitcom, Arrested Development, ficção seriada, comédia, multicâmera, câmera única. 10 11 ABSTRACT The research turns to the utterance mechanisms of single camera sitcoms and the making of comic by the utterance subject that comes from the audiovisual text. This work starts with an approach of sitcom genre, taking it as an cultural category, analyzing, then, how the sitcom constituted itself through the decades of its history, in a variety of themes and forms that denies any trying of definitional approach of the gender. Then, we propose an analysis of the opposition between the more usual modes of production of this gender, the multicam and the single camera. On these modes of production, we observe proceedings on staging, cinematography and edition that produces audiovisual material with very distinct characteristics, opposing textual forms in the same television gender. Such modes of production (and such textual forms) articulates with the audiovisual subjectivity theories identifying an utterance instance on different sitcoms. For such, we search understand the process of audiovisual utterance, searching on theories formulations arising from linguistics and reviewing the theory body from utterance on literature and, specially, cinema. We search also the theories that instrumentalizes this research for to identify the mechanisms that takes us to laugh, reviewing the main theoretical formulations that explains the phenomenon of laughing (the Superiority Theory, the Incongruence Theory and the Relief Theory). From such formulations, we propose a taxonomy of comic sintagms that allows us to isolate the occurrence of gags, comic events and wit. It is on this point that we isolate the subject of utterance in the sitcom context, looking for the differences between the multicam sitcom and the single camera sitcom. Taking the last one, we identify the plurality of styles that comes from the esthetical changes on American television by the decades of 1980 and 1990, known as televisuality and intensified continuity, to get to the single camera sitcoms of the beginning of XXI. From this wave of shows, we take the sitcom Arrested Development, to analyze the way its utterance subject goes beyond the mediation role, acting incisively as a diegesys commentator, frankly making us laugh by the way it shows characters and situations. Key-words: audiovisual utterance, sitcom, Arrested Development, serial fiction, comedy, multicam, single camera 12 13 LISTA DE FIGURAS Fig. 01 - Frame da abertura de The Flintstones ............................................... 34 Fig. 02 - Frame de episódio de I Love Lucy ..................................................... 54 Fig. 03 - Frame de episódio de The Honneymooners ...................................... 56 Fig. 04 - Frame da abertura de The George Burns and Gracie Allen Show ..... 58 Fig. 05 - Frame de episódio de Father Knows Best ......................................... 60 Fig. 06 - Frame de episódio de The Phil Silvers Show ..................................... 62 Fig. 07 - Frame de episódio de The Dick Van Dyke Show ............................... 68 Fig. 08 - Frame de episódio de The Dick Van Dyke Show ............................... 68 Fig. 09 - Frame de episódio de The Andy Grifith Show .................................... 71 Fig. 10 - Frame de episódio de The Andy Grifith Show .................................... 72 Fig. 11 - Frame de episódio de The Andy Grifith Show .................................... 72 Fig. 12 - Frame de episódio de Bewitched ............................................... 74 Fig. 13 - Frame de episódio de Get Smart ....................................................... 76 Fig. 14 - Frame de episódio de Get Smart ....................................................... 76 Fig. 15 - Frame de episódio de The Mary Tyler Moore Show........................... 86 Fig. 16 - Frame de episódio de M.A.S.H ........................................................
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