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002 Crime Comics Como Letramento Multimodal CRIME COMICS COMO LETRAMENTO MULTIMODAL. EUA (1950 - 1955) RESUMO Este artigo pretende discutir o fenômeno das crime comics, nos EUA, entre 1950 e 1955, a partir de publicações da Entertainment Comics (EC). O termo crime comics1 foi usado tanto por comic book2s quanto por outros veículos que se referiram a publicações do período. Em Crime Suspenstories e (em especial) Shock Suspenstories , elementos comuns a muitas publicações do período permitiram trabalhar temas como abuso policial, racismo, paranóia anti-comunista. As publicações do gênero como um todo estiveram entre os maiores alvos do Comics Code. O código definiu os parâmetros (de forma e de conteúdo) da mídia nos EUA, sem grandes alterações, até 1989. Tais parâmetros foram, em grande medida, baseados em revistas disponíveis no começo dos anos 50 nos EUA, entre elas, os títulos da EC. O fim de revistas deste tipo é sinal de grande engajamento, discussão e mobilização de diferentes setores da sociedade em diferentes contextos. As propostas estéticas e conteudísticas nas revistas da EC são material de grande relevância na compreensão de comic books como fenômeno de letramento multimodal - exigindo e esperando capacitação do leitor simultaneamente em diferentes linguagens. Avaliar que elementos figuraram nesta multimodalidade permite compreender como os comic books dialogam de diferentes formas com o mundo que cerca o leitor, permitindo uma compreensão possível da singularidade do período estudado. PALAVRAS-CHAVE: crime comics; comics code; comic books dos anos 1950; comic book seal of approval. CRIME COMICS NOS EUA PÓS GUERRA Os títulos disponíveis no mercado de comic books nos EUA pós Segunda Guerra Mundial impressionam por sua diversidade. Publicações sobre super-heróis3, funny animals4, sobre cotidiano adolescente5, disputavam atenção nos pontos de venda com temáticas de romance, 1 WRIGHT, B. W. Comic Book Nation – The transformation of youth culture in America. Baltimore: Johns Hopkins Universtity Press, 2003. 2 Este artigo tomará como base as conceituações de comics e comic book de acordo com McCLOUD, S. Understanding Comics – The invisible art. New York: HarperCollins, 1993. e McCLOUD, S. Making Comics – Storytelling secrets of comics, manga and graphic novels. New York: HarperCollins, 2006. 3 Como Superman, Captain Marvel, Wonder Woman. 4 Como Donald Duck, Mickey Mouse, Tiny Tots. 5 Em especial Archie Comics. terror, ficção científica, crime. A queda de vendas em certos gêneros6 (em especial os mais engajados na participação dos EUA na guerra) não significou retração dos mercados como um todo. Os comic books ainda eram (e seriam) muito influentes. Um dos grandes fenômenos editoriais no período pós-guerra até meados dos anos 50 foram as chamadas crime comics. Um dos títulos pioneiros do gênero foi Crime Does Not Pay7, revista que circulou entre 1942 e 1955. Figura 1 – Crime Does Not Pay no. 31 Fonte: TROMBETTA, Jim. The Horror! The Horror! Comics books the government didn't want you to read. New York: Abrams Comic Arts, 2010 . Revista principal da Lev Gleason Publications, Crime Does Not Pay foi editada e escrita (principalmente) por Charles Biro8. As narrativas eram curtas, intensas, macabras. Ancoravam-se com especial destaque a histórias sobre o crime organizado e outros feitos relacionados a personagens fora da lei9. Sob a perspectiva de um criminoso - ou acompanhando tal perspectiva - a narrativa dialoga com outras mídias nos EUA que também buscaram inspiração no universo criminoso. As diferenças para outras mídias, contudo, já começam pela capa. Praticamente 1/3 da imagem era ocupado por um título que facilitaria a identificação da revista frente a outros 6 A queda de vendas em publicações de super heróis levou o mercado do gênero a uma redução em 1/3 do valor que alcançara no pico. JONES, G. Men of tomorrow – Geeks, gangsters and the birth of the comic book. New York: Basic Books, 2004. 7 Crime Does Not Pay. Lev Gleason Publications. (1942-1955) 8 Charles Biro (1911 - 1972). GOIDANICH, H.C; KLEINERT, A. Enciclopédia dos Quadrinhos.Porto Alegre: L&PM, 2011 9 Criminosos apresentados como patologicamente corruptos ou atraídos por criminosos corruptos. HAJDU, D. The ten-cent plague – the great comic-book scare and how it changed America. New York: Picador, 2009. títulos análogos e, também, direcionava o olhar do leitor para um pedaço melhor delimitado da impressão. As ilustrações, portanto, tendiam a uma composição quadrangular que direcionava o olhar do leitor para o centro de uma ação (normalmente) caótica. Não são capas de fácil apreensão. Pelo contrário: o que, por vezes, parece uma cena cinematográfica revela-se composição em diferentes temporalidades. A imagem na figura 1 é composta por uma série de narrativas paralelas (que poderiam render diferentes cenas em um filme). À esquerda, pessoas, grosseiramente disfarçadas de mãe e bebê, atiram contra um policial. Ele encontra-se quase ao centro da imagem, nas escadarias do banco, banhado pela fonte de amarelo mais vivo na capa. Um segundo policial, protegido por uma coluna, responde aos tiros dos bandidos. Perto dele, à direita e abaixo, um outro policial, ferido e sangrando esboça alguma reação ao evento. Mais abaixo, à direita, vemos um homem de terno prestes a entrar em um possível carro de fuga, com a ajuda de um motorista. São relevantes outros elementos que participam da capa. O selo All True Crime Stories! (com True destacado em vermelho), a face de Mr. Crime, a esfera com os títulos das histórias presentes na revista (, Million Dollar Bank Robbery, aparentemente é uma chave explicativa das cenas na capa). Como um todo, a revista buscava na capa uma apresentação que 1)a situava num gênero bem delimitado de narrativas; 2) desse ao leitor um gosto - mesmo que enganoso - do conteúdo narrativo da revista e 3) fosse dinâmica o bastante para atrair a preferência do leitor em relação a outras revistas. Em maior ou menor medida (com resultados mais ou menos satisfatórios), muitas publicações (figuras 2. 3. 4 e 5) compartilharam semelhanças com Crime Does Not Pay. Semelhanças que permitiram um debate (entre diferentes setores) acerca de que - afinal - seriam Crime Comics e quais seus efeitos - se é que seria possível saber - sobre seus leitores e os EUA como um todo. Figura 2, 3, 4 e 5 – Crime comis de diferentes editoras nos anos 50. Destaque paraCrime Suspenstories#22 (figura 5), discutida no senado norte americano. Fonte: TROMBETTA, Jim. The Horror! The Horror! Comics books the government didn't want you to read. New York: Abrams Comic Arts, 2010 CRIME COMICS E REGULAMENTAÇÃO DA MÍDIA Longe de serem as únicas revistas polêmicas do período, as Crime Comics, contudo, estiveram muitas vezes em evidência ao longo de seus anos áureos10. A relação entre tal exposição e sua legalidade foi tênue. Se as imagens grotescas poderiam atrair e manter leitores, elas poderiam atrair atenção de detratores interessados em diferentes tipos de regulação ou restrição de conteúdos. O mercado era frutífero mas arriscado. Revistas poderiam vender muito por atenderem a expectativas de leitores ávidos por suas histórias ou ser banidas de bairros ou cidades por seu caráter questionável11 (figura 7). O constante debate resultou nos Senate Hearings of Juvenile Delinquency de 195412 e o subsequente relatório em 195513. As mais de 400 páginas de transcrição da segunda 10 A partir de 1947, cada edição de Crime Does Not Pay teve tiragem de aproximadamente 1 milhão de cópias. HAJDU, D. The ten-cent plague – the great comic-book scare and how it changed America. New York: Picador, 2009. 11 THRASHER, F. M. The Comics and Delinquency: Cause or Scapegoat. Journal of Educational Sociology, Vol. 23, No. 4, 1949. 12 U.S. Congress.Senate. - Juvenile Delinquency (Comic Books) hearings before the United States Senate Committee on the Judiciary, Subcommittee To Investigate Juvenile Delinquency in the U.S., Eighty-Third Congress, second session, on Apr. 21, 22, June 4, 1954. 13 U.S. Congress.Senate – Subcommittee to investigate Juvenile Delinquency. Interim Report: Comic Books and Juvenile Delinquency, 84th Congress., 1st session., 1955. audiência trazem nos depoimentos de Fredric Wertham14 e William Gaines15 os pontos mais discutidos e trabalhados acerca do assunto. O subcomitê acerca da influência nociva de Comic Books ganhou inesperadamente relevância interna - no comitê - e nacional (não apenas pela repercussão em mídia impressa, mas também por ter sido transmitido ao vivo na TV). Tal relevância foi, em grande medida, devido ao antagonismo criado pelas figuras de Wertham e Gaines. Wertham, psiquiatra comprometido com a denúncia da influência funesta de Comic Books; Gaines, editor da EC16, determinado a argumentar por legitimidade da mídia frente às acusações de corrupção da juventude. O resultado foi extremamente ambíguo. Afinal, se, por um lado, Gaines tenha sido castigado pelos questionamentos dos membros do comitê ao longo da sessão17 (enquanto Wertham tenha tido um lugar de fala para divulgar seu recém lançado livro18), o senado não chega à conclusão definitiva alguma acerca dos possíveis riscos à juventude causados pelos gibis. A recomendação final foi, portanto, no sentido que a própria indústria deveria se regulamentar19. Como resposta aos constantes temores acerca de uma interferência governamental mais incisiva Editoras formam a Association of Comics Magazine20 em 1954. A missão da associação era: separar os Comic Books aceitáveis dos reprováveis21, afim de dar uma resposta a uma opinião pública desconfiada em relação à mídia. Tal separação
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